#(i'm paraphrasing and summarizing)

[bookwyrminspiration]

ok so i was thinking abt what was like. off. to me abt stellarlune and i realized it kinda felt like a bad movie adaptation of a book? like it felt (to me) more like a list of plot points that she went through and checked off rather than the more natural flow that the other books had. im guessing this is bc a) she went to film school and b) she actually planned out the plot beforehand this time but thoughts?

Oh that's a interesting comparison proposition! I must admit I have seen few book adaptations so my sense of them isn't refined, but this is definitely a possibility.

Shannon has said that her film school background influences how she writes, but I hesitate to say it's the reason this book is off; she's been influenced by her film school background for the entire series, not just for Stellarlune. That's not something new, unlike this shift.

I think it's more likely that the different planning approach she used impacted the story, your B guess. The entire series prior has had a less concrete structure going in, so even if that's not to some people's taste it's at least consistent. Now with a more structured approach, even though plans can be helpful, it's at contrast with what we're used to--and what Shannon's used to writing, so it doesn't feel quite right.

It's also possible that the off feeling is part of the preparation for the final book(s). The story is coming to a close, and so how that's written and the approach needed may be different from what we've seen before. We're no longer leading up and hinting and leading up and asking questions, those hints needs to be tied together and those questions answered, which can impact the feeling of a story.

To me, Stellarlune feels like a set up for book 10. As though its not part of the story in its own right but making sure everything's in place--that going through the list and checking things off feeling you mentioned--as much as possible so the final book can do what it needs to.

To summarize, I think there's multiple reasons we can look to as explanation for the different feeling. Not that one of them is correct, but that they all intersect to create this bad movie adaptation-esque novel. She used a different writing approach, the series is starting to end, this book came out after a break and perhaps she's re-finding her writing voice still, etc. Those are just some thoughts, but I hope they satisfy your questioning! I'm always open to talking more :)

[triglycercule]

i'm gonna kill myself its 1 in the goddamn morning and i'm rereading horrortale like its a competition. on the bright side i can finally move on from the CORE situation and stuff and time skip 7 years ahead to aliza because even though i do love seeing sans turn into horror i like HORROR. not sans. so seeing horror be a dumbshit is gonna be my favorite part of this :3 hes sooo sily he didn't kill aliza several times over noooo nooo he didn't do that but when he did do that i was infact cheering XD

i'm finally doing it. i'm finally making that stupid ass horror character analysis i promised myself to make like a month ago. and DAMN this shit is actually so fun ngl horrortale is so beautifully tragically written. i've been listening to SAS's horror theme the entire time i've been doing this because it's actually a pretty good theme for depicting horror ans i need to get into a HIM mood. this sets the tone. my hands are so sweaty but i also have my fan blasting at me so i don't know why the hell i'm so sweaty wtf. anyways idk when i'll finish this but it'll be soon TRUST (i need this character analysis more than anyone 💀💀 this doc is just a first draft since horror is like wayyy more complex than i originally thought wtf)

[jazeswhbhaven]

Falalalala, Michael is Sold~ (Christmas Miracle Card Spoilers|Summary)

Howdy there lovelies, sorry it took me fucking forever to drop this, I've been distracted with Amy and Sitri (which I still need to finish out the last parts of that lmao) But, alas here we go with seeing how things play out with this bratty, brother-complex angel being sold at an auction... To view the prologue parts for the card I already went over HERE YA GO <3

If you've already saw all of that, I'm jumping right in. Same format as Raphael's Summary. As a reminder since the angels are paid banner only per PB's warning I am only allowed to really just paraphrase and heavily summarize his card story instead of the usual reacts I do.

Enough of the boring yapfest let's go lol

First I would like to thank my friend for continuously sharing card content with me. I wouldn't be able to do these things without such blessing, ;w;

Second, I would like to let the public know Michael was my fave at first due to aesthetics only. The pretty black hair, the one wing on the side of his head, but goodness doesn't he have some demons in him. (I want this to be a joke and a literal thing because..)

Anyways

We lead in with Michael being pissed off that he's having his body shown, and everyone is infauted with his skin describing it as porcelian white. So marks show up very easily.

I like the continued theme that every seraph does not show their body to anyone but God.

The bid was high, like 55 million. Makes sense Tarataros is rollin' in dough.

Some important things to note for Michael's card is that unlike his brother Raphael, he made a lot of expressions each time he was touched.

Instead of cursing and vocally trying to say anything, his body is simply reacting as he's thinking about how he shouldn't be showing ANYONE this and that MC needed to be stopped.

We still have the elements of "non-consent" but it seems it's different with Michael. He's wordlessly threatening everyone's demise but he doesn't put up as much of a fight.

MC ofc is getting turned on by everything he's doing

The guests have started masturbating in their seats (imagine being that one person just wanting to be there for the auction and your neighbor just starts jackin' it/flicking the bean. lmao)

Oop. We're punching them in the stomach again. I think that's going to be a reoccurring thing for Gabriel too.

This is interesting...Michael slumped forward? I don't even think Raphael did that. I wonder without his powers poor Mike is possibly the weakest? He seemed to be the most powerful aside from Lucifer.

Michael is and has been getting turned on by the way since MC started touching him. He doesn't understand, but I'm like...my guy you almost came when your brother plucked out your eye I know what you are....

Now I don't remember if Raphael was branded, but Michael is branded for the auction. His halo starts glowing around this time too. Again I know what you are.

Also, Michael is so pissed off and horny random objects are shattering and he's basically crying buckets. Also his emotions are affecting the weather too. Neat.

Alright so now he's really upset. He doesn't want MC to touch his cock because it's only for God to see and touch. He was not doing much before but he's definitely putting up a fight now.

Even auctioneer was like "Uh head for the decks folks he may cave the walls in on us" and everyone was like "Nah, stfu" like damn ya'll really want that angel bussy.

So as common theme of sounding continues...as you guessed Michael gets a metal rod stuck in his pee hole and well he's losing his mind ya'll.

I bet he would like being called a good boy by his favorite person...

Anyways, after all the poking and probing from MC it appears that he only needs the rod stroking the inside of his cock for him to get to his climax. Nothing anally is being done to him for his story.

So after he cums he basically leaves in a beam of light. The other devils came on him too. They say though that he left wordlessly he stared at MC as if he wanted to say something. Interesting.

Though that's over and done with, basically the end of the story are the devil's bidding on MC's tormenting as if that's something to bid on lmao but Mammon was like yah 10 billion and it's being donated for the end of the year party in MC's name. What's cute though is that MC is referred to as His/Her Majesty along with Mammon. It's like his citizens shipped them already.

ANDDDD that's all folks. That's Michael's Christmas Story. If you want my blunt opinion????

5/10

I'm sorry ya'll, this card story wasn't really worth the money for Michael fans. It falls short in terms of what's done to him, he kinda just sat there for the majority of it until his cock was touched, and he just kinda poofs back home without confirming any feelings whether negative or positive towards MC like how we see in Raphael's card.

However, I did like the elements of Michael being able to withstand being touched and stayed still for the most part. This has me believe something that I will explain in my theories below. Also in adore mode you can play with his tiny head wing, like pulling on it and such. Wings are sensitive I imagine so it's a fun element.

THEORY TIME

I want to say that I think Michael didn't put up much of a fight because to him any other part of his body being touched, though it hasn't been touched by anyone before...is not that big of a deal to him and perhaps he's had these feelings faintly but just didn't push himself to explore that any further.

Now also, we note that his chastity belt was not removed by MC. I feel that the reason this did not happen is because Michael has 0 feelings for MC and thus the miracle didn't extend to that possibility. Now to compare with Rara's card...maybe during the event he started feeling things for MC, curiosity, and some kind of need for them, in that moment perhaps he felt as if this is what God wanted for him so he gave in 110%.

Michael resisted feeling that way for MC, because he simply did not want those feelings. He just wanted to experience being in pleasure only. Because perhaps...those feelings are deep for "someone else" that keeps getting implied ._. But anyways. That's more for those who ship that to go about, I personally do not lol (brother complex is brother complex)

I also think that perhaps the relationship between MC and Rara is meant to build more than the other two seraph angels. I'll just have to see Gabe's card and see what we're working with. I do not have a prologue for him because he was in the Nightmare Pass only last time....I wonder how they will pan out his story and what differences I will notice.

As always thank you lovelies for tuning in ^^ see you in the next react <3

[rwbyrg]

What Inspired the Fairytale: Warrior in the Woods as a Rosegarden Allusion

I've broken down Ruby as Little Red Riding Hood, and Oscar as the Little Prince, now I want to analyze the two of them within a canon fable. The very first story within RWBY: Fairytales of Remnant: The Warrior in the Woods.

For those who are unfamiliar with it, I will summarize, or you can read it in the official free preview of the book here. One disclaimer before I get started: I'm not speaking about the animated adaptation here. Something Oz mentions in his fore/afterward of the book is that fairytales often shift and change depending on who it is that's telling the story. The book itself seems to aim to tell the most objective version as possible, whereas in the episode of FToR, it's very clear Tai's experiences and biases greatly influences the way he tells the story. With that out of the way...

The story is about a boy who lives in a village surrounded by a forest that is said to protect its residents from Grimm. One day, the boy ventures into the wood further than anyone would think to look for him. There he is attacked by a monster, the first he has ever seen... Only to be saved at the last minute by a cloaked warrior carrying a curved weapon. He thanks her and asks for her name, but she tells him to leave and not return. He doesn't listen. Every year since the day of their first meeting, he ventures further into the wood hoping he will meet his saviour again. And every time, he is proven right when she shows up and saves him at the last minute. Each year, the boy grows older and wiser, training himself how to fight, bringing the woman gifts as thanks for protecting the village alone and without appreciation all these years. Until one day, the village is attacked by Grimm for the first time in ages. On their next planned meeting, the boy - now a man - fights his entire way through the forest to the hut where she lives, and finds it torn apart and empty. He returns home and tells the villagers her story having taken up the mantle of protecting his people in her place. When asked if he kept going back to see her just because she saved him, he replies (paraphrased): "For that reason, and many more. But I believe she knew the deepest reason of all. I fell in love with her the moment I saw her silver eyes."

Even the summary alone paints a picture very reminiscent of Ruby and Oscar's paired arc throughout the show thus far, but I want to break it down even further. First things first:

The Warrior

She is described as "a fair woman in a flowing (threadbare and tattered) black cape" with a "curved blade" she can spin so quickly it "blurs". Her hair is "almost as dark as the Grimm's, white (ones) standing out as brightly as bone", and in the boy's eyes the first time he sees her, remarks that she is "beautiful and fierce". We know by the end of the story, as well as one of the Grimm fights, that she has silver eyes as well and she tells the boy at one point that she fights alone because she is alone, since all the people like her were killed by other humans. This lines up well with how Silver Eyed Warriors have been hunted by Salem and her forces for generations.

When we compare this to Ruby when Oscar first meets her, it hits all the same marks. He is captivated by her silver eyes the moment he first meets her:

She is fair skinned with black hair (if you include the books illustrations, with a reddish tint), has silver eyes, and a torn and tattered cloak.

There is a point at which the woman also ties a red ribbon around her weapon's handle to hold it in place, which immediately acts as a tie in to Ruby's colour scheme.

Lastly, the boy meets the warrior for the first time in a "moonlit clearing". And we all know how much moon imagery Ruby has associated with her by now, that I really don't have to go over it again.

The Village Boy

There are no photos or descriptions of him within the text, just that he is a boy when we first meet him and is a man by the end of the story after visiting the woman annually 4-5 times. So he is roughly 14, aka the same age as Oscar, for both their first appearances.

What we do know about the boy, is shown in the objects he carries for himself and the gifts he imparts onto the woman in the woods.

The first is a parcel of clothing. It includes some blouses, leggings, a black skirt, some boots... and a new hooded green cloak. Ruby's cloak is red, but as we know both in show with ships like Bumbleby, and thanks to Eddy's bit of trivia in that Reddit AMA a while ago, that wearing the colours of people you care for is a common sign of affection within Remnant. Within this story, the woman dons a cloak in a green colour (something heavily associated with Oscar Pine), whereas within RWBY in V6, it is Oscar who dons Ruby's colour on his shoulders in his outfit upgrade.

The second is the sword the boy forges for himself before their third meeting. It is described as long and thin which immediately calls to mind The Long Memory.

From there, the next gift: a bag full of food.

"She opened the bag and pulled out parcel after parcel. There was honey cake, a strawberry tart, and sweet biscuits. When she unwrapped a stack of fresh-baked cookies, her expression lightened, and her happiness made him happy."

The first bolded example: strawberries are cited by Monty as Ruby's favourite food, and as we know by Ruby's first meeting with Ozpin (which is important given his connection to Oscar), she's a big fan of cookies too.

Now that all the aesthetics and symbolism are out of the way, I want to compare the structure of the two stories.

Separation and Reunions

The Warrior in the Woods, as well as Ruby and Oscar's arc throughout the show (as well as The Little Prince) are stories of absences.

The boy starts his tale without the woman in his live for many years before he meets her. When they do meet, it is for only a moment within a day until they must wait another full year before seeing each other again. When they do meet, at least the first 3 times, the warrior saves him from Grimm attacks. Then, at the 4th time, he runs into no obstacles and is able to sit and talk with her without incident, only for her to disappear shortly before their 5th visit, leaving him to take up her job of protecting the village.

Ruby spends the first 4 volumes of the show not knowing Oscar, but when they meet he, just like the village boy, is in awe of her silver eyes. From there, she saves him from Grimm twice (I imagine we are holding out on the third where she saves him with her silver eyes for a volume we haven't received yet)...

...and they are faced with constant separations and reunions thereafter.

Oscar goes missing in V6E8 only to be reunited with everyone in V6E9...

2. They are separated for much of V7 due to disagreements and other external circumstance, only to reunite and make up in V7E9...

3. They are then immediately split up again, one going down to Mantle and the other staying in Atlas, only to reunited at the beginning of V8E1 (suspiciously after Oscar stares into a fire much like the boy at the end of the story).

4. It is short lived before they split up on different teams AGAIN, which leads to another reunion in V8E10...

5. Only to - you guess it - be separated one more time when Ruby falls into a void, leaving Oscar to think that she died and take charge as the new leader carrying her responsibilities in her place.

Which follows the structure of the original fairytale - at least in numbers - down to the letter.

Beyond that structure, there is also the matter of what both relationships are built upon: the act of taking care of one another.

In the book, the woman explains that she protects the villagers "because she can, because no one else will, and because some people are good, like the village boy, and that gives her hope".

This heavy responsibility the warrior carries is very reminiscent of Ruby's character arc. A leader who feels she can't be a failure, who can't rely on her friends and teammates to share how much this all weighs on her, someone that lost all her silver eyed family and fears for her own fate because of a trait she had no control over. Even going so far as to try and push people away for fear they will end up hurt because of her. Someone that "remembers all the people she saved, and all the ones she didn't".

This is juxtaposed by a boy who was sheltered and safe, far from the dangers of the world, but set out and joined hers anyway. And when he did, he brought her new clothes, a new weapon, some food, and an ear she could tell her stories to. When he explains his motives, he says:

"You've spent all these years looking after us. I thought maybe it would be nice if someone looked after you for a change. Because that's what I can do. Because no one else will."

Which ties into Oscar's character exactly as well. After his conversation with Ruby in V5 about how scary all of this is, his first thought after saying she's amazing, is to acknowledge how hard this must be on her. And from then on out we see him looking after her to the best of his ability, despite his inexperience, time and time again. Protecting her when she's hurt, standing up for her when their friends fight, and baking her a casserole after she's had a tough day.

All of these things tie into what Ozpin cites as the main message of the fairytale in his notes at the end of its chapter:

It is often used as a cautionary tale, intended to discourage children from wandering too far from home on their own, or from relying too much on others to save them. But the most enduring, and I think the most inspiring, aspect of this story is one which many have taken to heart: If you can help others, it is your responsibility to do so. Whether that means fighting evil singlehandedly, or baking cookies (for kindness can be as rare as silver eyes) is up to the reader to decide for themselves. From each according to their own abilities.

Ruby and Oscar are two characters driven by their responsibilities to do something about all the bad in the world, in whatever ways they are able, before they run out of time. While Ruby's main allusion is Little Red and Oscar's is the Little Prince, I think it's really inspiring to see a canon fairytale within RWBY's own universe that relates to their story so well as this one.

[communistkenobi]

im an undergrad student who was thinking about specializing in studying fascist movements in North America for my masters and ive really enjoyed reading your book commentary - you connect things that I'm not always aware of in ways that are really comprehensive and appreciate

Do you know of any researchers who are moving things on the topic right now (most of the books ive read are around 20+ years old, unfortunately)?

(sorry if any of this is unclear/grammatically incorrect/weirdly worded - I'm super sick rn)

thank you! I'm really glad to hear that :)

For contemporary writing, I'm currently working through some of Alberto Toscano's work - he has a really interesting article from 2021 on fascism from a Black radical/Marxist perspective where he summarizes various historical analyses of fascism from Black (particularly US) thinkers and activists. One thing I especially appreciate is that he complicates Aime Cesaire's formulation of fascism (i.e., "european colonialism come home") as incomplete when applied to settler colonial contexts, especially the United States - one of Cesaire's articulations of fascism is that (to paraphrase) "one fine day, the prisons begin to fill up, the Gestapo gets busy" and so on, and Toscano, working through Angela Davis and George Jackson, responds with (again I'm paraphrasing) "the prisons are already full! The Gestapo is already here!" etc. Toscano also has a new book that just came out in 2023 called Late Fascism, which explicitly addresses the current moment. I only have a physical copy of that so I can't share a pdf unfortunately, and I still need to get around to reading it lol.

These are also a couple random articles I found insightful:

Carnut (2022). Marxist Critical Systematic Review on Neo-Fascism and International Capital: Diffuse Networks, Capitalist Decadence and Culture War - does what it says on the tin

Daggett (2018). Petro-masculinity: Fossil Fuels and Authoritarian Desire - talks about car culture as a site of modern reactionary political movements, links climate denialism with (proto-)fascist movements

Parmigiani (2021). Magic and politics: Conspirituality and COVID-19 - this one does not mention fascism explicitly, but imo the intersection between new age spirituality, anti-vaccine sentiment, and qanon/q-adjacent conspiracies are pretty important to understanding contemporary fascist social movements, so I'd still recommend reading this

Finally, this isn't an article but I found this recorded lecture about the history of Qanon pretty interesting. I don't think the author gives particularly insightful answers on how to solve the problem of far right conspiracies in the Q&A portion but I found it to be a helpful summary

Otherwise I've been focusing a lot on decolonial scholarship more so than fascist scholarship - this is again guided by Cesaire's argument that Europe/The West broadly is inherently fascist. These works aren't contemporary, but you can look at this post for some of the readings I linked on decolonial scholarship if you want to go that route. Those are serving me more for theoretical frameworks to guide contemporary analysis, not analysis of contemporary events directly

also idk if I need to put this disclaimer, but just in case this leaves my blog: this isn't a full throated defense of/apology for everything in these articles, I'm not claiming they're sufficient to understanding the present moment, these are just some of the things I've been reading recently and have found helpful in some way or another. a lot of contemporary work I have read (much of which isn't linked here because I don't think its very good/do not have it on hand) focuses on populism and authoritarianism as central analytical terminology, which i think does a lot of work to exceptionalize and mystify fascism as a historical and political process/project originating from European colonialism & Western imperialism, but these terms are endemic to the field so you have to contend with them no matter what

good luck with your studies!

[naranjapetrificada]

So I guess I'm just like, done? being coy about racist bullshit when I see it in fics? Especially when it's played for laughs? If I feel like I must come vent about it on tumblr dot com I usually try to summarize or paraphrase shit? But I guess I hit a limit last night. Anyway here's Ed Eats Soap And Is Unfamiliar With Basic Beard Care Despite His Beard-Centric Personal Brand vol. 73:

*brandishes rolled up newspaper in AO3's direction*

[kiindr]

how to make someone feel heard (a small guide by a psychology major) :

make appropriate eye contact

give them space to talk

"go on"

nod

paraphrase what has just been said

ask questions if you're unsure about something they've said

do not make the conversation about yourself

self-disclose when necessary

validate their feelings

"I'm listening"

"That makes sense to me"

summarize things you've talked about and ask them to fill in things you might have missed

these are just some of the many many things you can do. i'll post more if this is helpful!

[ghouldtime]

they are quite literally fictional characters. i understand not supporting writing straight abuse but calling any writing that’s not fluffy and 100% accurate to the character “icky” makes you the icky one. i love when tumblr is just one big place of judgement and holier than thou!

You can just say that you can't read and don't apply critical thinking skills lmao, it's okay

You also ENTIRELY missed the point. You didn't just miss it, you sling shotted yourself in the opposite direction.

Where did I say that it has to only be fluffy? Where did I say that not writing 100% accurate to character is icky?

Genuinely, where. Exact quotes, no paraphrasing or summarizing in your own incorrect words. I'm not quite sure you have the right person or post

Or are you skipping over massive parts and putting words in my mouth that I never said nor implied but you're assuming because you skimmed and didn't properly read or comprehend my post?

Why is it holier than thou to say that I condemn and don't respect people who write and fetishize stuff like rape, abuse, sexual assault, incest, abuse, stalking - I can keep going on about ALLL that I've seen here. I've literally seen all of that written and posted like it's hot and just is something to get off on more times than I can count Why is that holier than thou?

And uh yeah? I'm going to fucking judge people who fetishize that. Kinda worrying if you don't and you're okay with that. If you understood not supporting writing straight abuse, then you'd probably understand my post! If you'd like to continue this conversation, I think you should come off of anonymous so we can have an actual proper talk and so that people can see what you support and what you say, and what you think is okay

Or just stay away from my blog, lol, that's also free

The main reason I'm even replying to this is because I'm going to stand my ground on things as important than this. You're literally highlighting my example of people not understanding why it's a big deal and so harmful - and are trying to justify it. Please reread, read again, and maybe learn that just because something is fictional doesn't excuse it from causing real life harm. That's not how anything literary works. No literature is in an isolated bubble nor are its effects

[proto-actual]

Hey tronblr. It's sysop. Let's talk about the Midjourney thing.

(There's also a web-based version of this over on reindeer flotilla dot net).

Hey tronblr. It's sysop. Let's talk about the AI thing for a minute.

Automattic, who owns Tumblr and WordPress dot com, is selling user data to Midjourney. This is, obviously, Bad. I've seen a decent amount of misinformation and fearmongering going around the last two days around this, and a lot of people I know are concerned about where to go from here. I don't have solutions, or even advice -- just thoughts about what's happening and the possibilities.

In particular... let's talk about this post, Go read it if you haven't. To summarize, it takes aim at Glaze (the anti-AI tool that a lot of artists have started using). The post makes three assertions, which I'm going to paraphrase:

It's built on stolen code.

It doesn't matter whether you use it anyway.

So just accept that it's gonna happen.

I'd like to offer every single bit of this a heartfelt "fuck off, all the way to the sun".

Let's start with the "stolen code" assertion. I won't get into the weeds on this, but in essence, the Glaze/Nightshade team pulled some open-source code from DiffusionBee in their release last March, didn't attribute it correctly, and didn't release the full source code (which that particular license requires). The team definitely should have done their due diligence -- but (according to the team, anyway) they fixed the issue within a few days. We'll have to take their word on that for now, of course -- the code isn't open source. That's not great, but that doesn't mean they're grifters. It means they're trying to keep people who work on LLMs from picking apart their tactics out in the open. It sucks ass, actually, but... yeah. Sometimes that's how software development works, from experience.

Actually, given the other two assertions... y'know what? No. Fuck off into the sun, twice. Because I have no patience for this shit, and you shouldn't either.

Yes, you should watermark your art. Yes, it's true that you never know whether your art is being scraped. And yes, a whole lot of social media sites are jumping on the "generative AI" hype train.

That doesn't mean that you should just accept that your art is gonna be scraped, and that there's nothing you can do about it. It doesn't mean that Glaze and Nightshade don't work, or aren't worth the effort (although right now, their CPU requirements are a bit prohibitive). Every little bit counts.

Fuck nihilism! We do hope and pushing forward here, remember?

As far as what we do now, though? I don't know. Between the Midjourney shit, KOSA, and people just generally starting to leave... I get that it feels like the end of something. But it's not -- or it doesn't have to be. Instead of jumping over to other platforms (which are just as likely to have similar issues in several years), we should be building other spaces that aren't on centralized platforms, where big companies don't get to make decisions about our community for us. It's hard. It's really hard. But it is possible.

All I know is that if we want a space that's ours, where we retain control over our work and protect our people, we've gotta make it ourselves. Nobody's gonna do it for us, y'know?

[theconstitutionisgayculture]

The lgbts in Florida and the surrounding area are claiming that the drag show ban will result in women who just don’t dress “in a typical women fashion (ie wearing pants and flannel and ties)” or are even just “not conventionally attractive” will be targeted by police for death just by appearing in public around children (“they’ll be confused for drag queens”, they’re basically claiming a mom who likes wearing pants and baseball caps and shorter hair could be killed for picking up her children from the playground, or a transgender person just walking by children in public could be). On one hand, this is prima facie ridiculous, court trials and innocent until proven guilty exist, people aren’t that stupid, and I don’t think anyone should be around sexual things (regardless of age) period. On the other hand, the police have a bad reputation for a reason, police brutality and such exist, my trust for the government varies greatly, some people really are that stupid, and I am a paranoid person by nature and my mind tends to go towards the worst possible things. But that’s a me problem. I’m pretty sure the law only talks about punishing actual sexual content around children, but I haven’t read the legal text yet. Any thoughts?

So, here's the full text of the most recent version of the "drag ban" law. As with most of these based Florida laws, it's very short, so I encourage everyone to give it a read. But to summarize:

The law never mentions "drag" even once. Instead, it says, and I'm paraphrasing here so read the actual text yourself, that children aren't allowed in any event meant for adults that has a sexual component.

The punishment is directed towards businesses and government agencies that issue licenses for events. Not individuals.

The punishments listed are all fines or license revocations. Specifically Beverage licenses. So if you host an adult event and allow children to attend at your restaurant or bar, the government will come after your liquor license. No jail time is mentioned. And there's certainly no mention of executions.

Again, the law mentions events, not individual actions. So no, this law wouldn't make it illegal for a drag queen to walk past a child in public. That might fall under public indecency laws, or indecent exposure to a minor, but those are different laws that have nothing to do with this one.

So no, it's not at all reasonable to think that this law will lead to ugly women in flannel getting shot by the police just for walking past a playground. Like all left wing overreaction, they're scared of things that will literally never happen. Even the worst, most evil cop who just wants an excuse to kill innocent people wouldn't be able to use this law to justify shooting someone.

The way the media lies about these Florida laws is egregious, even by modern media standards. Never believe a single thing a newspig says about them without reading the law yourself first.

[xhxhxhx]

Yesterday, Eli, my husband, asked if I would write about anything besides what was in my head. I took offense, but it is a question worth asking.

"When will you write about something real?"

I.

First, I feel no particular need to write about the Court, which finished its last term on the first day of July, and will not hear argument again until the first Monday in October. 28 U.S.C. § 2. There is no urgency, and I feel no urge to create it.

In my first post in this series, I paraphrased, without attribution, some of the questions presented in the first arguments of the term. As the paraphrase suggests, they are arcane ones.

Williams v. Washington, No. 23-191, to be argued October 7, 2024, asks whether plaintiffs must exhaust state administrative remedies before bringing claims in state court under 42 U.S.C. § 1983, our catchall constitutional remedies provision.

Royal Canin U.S.A., Inc. v. Wullschleger, No. 23-677, also to be argued October 7, 2024, asks whether a plaintiff may, after their suit has been removed to federal court, defeat federal-court jurisdiction by amending their complaint to omit federal questions.

These are abstract questions, about suits and courts and claims and questions, which makes them somewhat bloodless. They are also subconstitutional questions—questions not controlled by the Constitution—which mutes public concern.

I will, I hope, be able to write about them, and with blood, and concern, and the rest. But first, the groundwork: I needed to prepare the way.

II.

To write about the real, I needed to prepare the way for myself.

First, I needed to take up writing again, and publishing. To get into the habit. Second, I needed to explain my aims, to myself as much as to my readers. Third, I needed to hone the craft.

If we set aside memory, then, to make publishing every day possible, you must transform your experience into content with a high degree of efficiency. You have to get as much out of it as you can.

For lack of a better word, you have to milk it.

To extract content from experience efficiently, you must either write pure fiction or about something immediate, and ready to hand: a text, a current experience, or recent memory.

In daily commentary, you write against, or in dialogue with, other texts, more or less ready to hand, or compilations of texts, likewise, such as the daily record of events ("the news"), the tabulated fact ("the data"), or the edited selection ("the feed"), whose methods of compilation you are more or less familiar.

At a high level of efficiency, you have to write something true and amusing about each bit. Perhaps it's novel: explain it. Perhaps it evokes something: evoke it. Or perhaps you can carry your audience by summary and narration: summarize it, narrate it.

To really milk it, you have to have that knack, either on the output side—perhaps for drawing out the explanation or the evocation—or on the input side—perhaps a knack for taking in text, or selecting it, for summary or narration.

But in either case, you have to take what you take in, and get as much out of it as you can. To make something of the text without simply copying it or pointing to it. To milk it.

III.

Today I have nothing. I'm still getting into the habit, still explaining my aims, still practicing the craft. I'm still learning. But nothing comes from nothing.

Maybe tomorrow you'll get a few drops.

[palfriendpatine66]

Writing Obi-Wan I got an amazing ask that has prompted your Pal to go on several rants so I’m breaking it into parts for readability.

An anon new to writing fanfic asked about characterizing Obi-Wan. They asked about his most important traits to include to really nail his characterization and most importantly:

"In particular, I'm confused about reconciling the (chaotic, dramatic, 10/10) Clone Wars happenings with the way he appears in some other stories (more, well, civilized)."

Well anon: ask and you shall receive. Find your pal’s beginner's thesis below, keeping in mind that there are many others in the fandom who are way more accomplished authors who are much better about characterization in their own works and are way more qualified to speak to this. I'm going to do my best!

I love this ask! Characterization is so important in fan fic as we take familiar characters in place them into different scenarios that we haven’t seen how they react and respond to, and yet want it to feel authentic. The best is when you read a chapter and think of course that’s how Obi-Wan would deal with this.

The first part to nailing characterization is voice. Not even the motivation aspects behind “he would not fucking say that” but I literally ask myself: can I imagine the character’s voice actually saying these things? If I can’t hear Ewan McGregor’s Obi-Wan in my mind speaking the lines of dialogue I’ve written, I know it’s not right. This isn’t something specific I could give you a How To on, it’s 100% based on vibe and feel, BUT. Listen to the dialogue in the movies/tcw/kenobi series. The words he uses, his cadence, his tone. Even if he's being written in an alternate universe speaking about something that canon Obi-Wan has never experienced, and never will, it should still *sound* like him. If I had to summarize his voice: civilized yes, and more mature or refined than Anakin’s speech patterns, but with the ever present threat of sass. Underlying almost everything he says is a sense of I can and will destroy you if you piss me off, so tread lightly.

That brings me to your point of reconciling the different parts of Obi-Wan. There’s a line in Stover’s novelization of Revenge of the Sith which (I'm paraphrasing) says: he’s a Jedi Master who deep down still feels like a padawan. To me, this is why he can be the cool, calm logical Jedi Master one moment and then impulsively launching himself out of windows to hang from a speeding droid the next.

He is the expert of Fake it Till You Make It. He was suddenly thrust into all these roles of responsibility before he was prepared for them, but has taken them on and is Doing His Best. He literally went from being a padawan to having a padawan overnight. He had no time to experience being responsible for himself before he was responsible for someone else. He’s the youngest member on the council and despite, you know, not being trained in the military he is like The Highest Ranking Jedi and in command of a frighteningly huge portion of the GAR. He *is* incredibly competent and good at what he does, but he feels like its a role he's acting. He is playing the part of the wise Jedi, modeling himself after everyone he respects and looks up to and thinks is doing a better job than himself, when a lot of times his personal instinct isn't to react with measured patience but rather Yeet! or Read This Bitch!

Always remember: this man contains multitudes. There is no One Right take on his personality. That’s why he’s so fun to write! And also why there’s so many different versions of Obi-Wan in fan fic, and yet most are able to feel right if they hit the voice. Authors lean into the different sides of Obi-Wan they want to bring out. Some are more into his Big Dick Energy, being a BAMF, having the answers, and being in control General Kenobi. Some relate to the more the anxious padawan desperate to prove himself. Some see the man tossing back shots in the Outlander and think to themselves “this ho has slept with half of Coruscant”. Any and all of these can feel true to the character when done from a place of love and understanding for our main man Obi-Wan Kenobi

[emeraldstorms]

Hi! I'm pretty new to the DD fandom. I saw your post about Matt making up Mike. But people talk about him like he is real? Is this fanon? Is Mike made up or not? I feel kind of stupid to ask because everyone else seems to know what's going on lmao

Please, don’t feel stupid for not knowing 6 decades of comic books by heart.

I’ll try my best to summarize the “Tale of Mike Murdock” as far as my recollection of things allows. I’m sorry I can’t keep it super short because sometimes I need to point out how silly Matt is. Like, I love him, but what a dumbass. 

(DD fans feel free to correct me if I misremember something).

Okay, here it comes(dialogue paraphrased lol)

Not to sound like J. Jonah Jameson, but… this is all Spiderman’s fault. 

In the beginning, Spidey and DD had a rivalry going on. While both acknowledged that they were on the same side, they weren’t exactly fans of one another.

Spidey finds out Matt is DD. Of course, he isn’t gonna out him, but he also apparently can’t just do nothing, but has to let Matt know he knows. So he writes Matt a letter, basically saying “I know you’re DD, but your secret is safe with me” and sends said letter not to Matt’s house or something. No, he mails it to the law firm “Nelson and Murdock”.

In a not so surprising turn of events, Karen Page opens the letter. You know, managing her bosses’ mail as secretaries do. She reads it and tells Foggy about it. Foggy and Karen confront Matt.

Matt is then like “haha, stupid Spiderman! Confused me with my… um… twin brother Mike!”. He says this not only to Karen. No, he also says it to Foggy, who is his best friend since law school, has been to Matt’s childhood home and to his Dad's funeral without seeing hide or hair of a twin brother. 

So Foggy says, “You don’t have a twin brother.” 

Matt says, “Do too! He’s just a loner and also Daredevil.”

Karen and Foggy remain skeptical. But Matt has the advantage that his friends don’t know about his super senses yet. So when a man, looking like Matt but interacting with the world like a sighted person, appears, they do buy it. (It’s a 1960s comic book after all).

For a while Matt juggles his three identities, but at one point it becomes too much (especially the Matt-Karen-Mike triangle getting out of hand). So he fakes DD’s and thus Mike’s death. Then he’s like “Very sad. But my brother trained a successor to be DD in case of his death.” So he can go on being Daredevil, but no longer having to play Mike as well. And that was that for a while.

Anyway, since Matt is not only a dumbass but also a dork, he had a dossier about Mike. For reasons, the dossier got in the hands of Reader, a blind inhuman who has an ability called “Literary Manifestation” aka what he reads (in braille) becomes real. This works three times between two resting phases (with kind regards to DnD xD). So he reads the dossier about Mike and Mike manifests. For emergency cases, Reader has a braille note on his belt, spelling “erase”, but Mike senses the danger and flees before Reader can use the note.

Mike then kidnaps Foggy to get Matt to meet and talk to him. Afterwards, Matt feels it would be wrong to “kill” Mike and lets him go. 

Mike becomes a criminal - I’m not sure if because Matt created him as a “roguelike character” or because he has no other choice with not having any papers. So he joins a group of burglars at one point whose leader has a Norn stone. The burglars use it to open doors, make walls disappear etc, but Mike steals it and uses it to change reality.

So far he is real only for himself, but he changes the world so people remember him, his mother, his brother, childhood friends etc.

TLDR: Mike was just a fake identity of Matt, but now he is real because of inhuman power and a norn stone 

I hope this helps and you’re a bit less confused. <3

[imminent-danger-came]

hello! i wanna know more about what you mean here. i haven’t seen anything of the sort, but i can’t keep up with all the theories/meta and i’ve only been here since a bit before s5. i asked around and others i know are active in the fandom also haven’t LOL. So what do you mean by what we already knew, or this idea in general? i would really like to know more about it, it’s very intriguing. :)

Hello self-spaghettification! Finally getting around to this

It probably would have been better of me to say "founding/establishment of katolis as we know it", which is what I meant. I haven't done a personal deep dive into tdp lore myself, but I'll give you a summary of what I know!

So let's start with the Orphan Queen:

The orphan queen, even in her logo (revealed at a SDCC in 2019), is tied to the sun primal. We know she had the cube, and we know that she had the cube before Aaravos was imprisoned (and potentially even before Aditi went missing). There is a lot of symbols/iconography that overlaps between the Sun Fire Elves and Katolis (the "double tower" motif on katolian and sun fire elf swords, the double square motif, etc.)

In s3 opelia briefly mentions "we have laws viren. Only an orphan can ascend to the throne" (I'm paraphrasing lol). In s4 we get a lot of good information from Zubeia, who summarizes the events that lead to Aaravos' imprisonment, which happen to involve the Orphan Queen and someone from the original Katolian lineage:

So I hope this helps!

[starcanwrecked-confessions]

here's my hot theory on black friday: whatever spell that musical casts, it doesn't work on kids. and i think i know why. adult fans, i know your lives suck and you're trying real hard to make up for it. we think black friday can fix this hole. that's how it works, he promises to fix all the holes. and that's why it works on adults. because you guys have more holes. you need more things and you need it harder. you guys gotta worry about your loveless marriage, or the kids that are gonna hate you, or your endless mortgage. i mean, you're like 20, you probably think your life is over! do you get what i'm saying, mr. pufferfish? because i think we're scared. because if it's not the answer, what is?

(yes i went back to paraphrase lex's entire monologue to summarize what i'm personally seeing from a lot of fandom. i think a lot the younger sk fans who are still in high school (or even college depending on your situation) don't necessarily relate to the main struggles in it yet. a lot of the people i've seen that really latched on to black friday are older fans (and older is a relative term, i'm 24 and i constantly feel like an elder seeing sktwt) who have had to face some of the shit folks like tom and becky have. for us capitalism is the horror.)

~~~

[adachimoe]

Translation: Katsura Hashino's 2008 Persona 4 Developer Interview (Parts 1/3/4)

I paraphrased and summarized parts of this interview before, but now, here is an actual full text translation... This was translated by Alex Highsmith of Shmuplations, a professional who has translated a ton of video game developer interviews before. I asked him to do these 3 specific parts as I believe they are the juiciest parts of this interview and probably the most interesting to people who are fans of Persona. Full text below the read me cause of how long it is. (ﾟДﾟ*)ﾉ

You do not have permission to post anything from this interview on the god awful Fandom wiki.

--------

[[PART 1]]

--I understand the title "director" implies a range of different jobs, depending on the project in question, but would you mind explaining in detail what your role in Persona 4 entailed?

Hashino: Mainly, designing the systems and crafting the rules for the game. I also worked on the story outline and themes. I left the details up to the staff who were specifically in charge of the scenario and system design, but I would also make revisions and changes to the stuff they brought to me.

--That's actually a great transition for my next question: what is/are the theme(s) of Persona 4?

Hashino: The theme, um… it's a small-town murder mystery. (laughs) First and foremost, I wanted to make an RPG that would revolve around a murder mystery. After Persona 3, we worked on P3 FES, and we were developing P4 in tandem. I spent some time thinking about what the players who enjoyed P3 would find interesting in the next game--what would they like to see. From there, our ideas eventually took the shape you see today, of exploring a string of murders in a small country town.

--So, just to re-cap then: with P3 in mind, you decided to set this game in a completely different small town, then for the plot, you arrived at the idea of a serial murderer…? Is that about right?

Hashino: Well, not exactly--the "small country town" and "murders" ideas basically came together as a set in my mind. It's kind of a Kosuke Kindaichi vibe… I've always loved those kind of mysteries, where a person from the "big city" visits a small town, and during his stay he solves a mystery of some type.

--That reminds me of Kindaichi's works like Inugamike no ichizoku (The Inugami Clan) and Yatsuhakamura (The Village of Eight Graves). Do you like mystery novels, then?

Hashino: I'm not an expert or anything, but it's a genre I've enjoyed since I was younger.

--What are some of your favorite works?

Hashino: For older stuff, I like Arthur Conan Doyle and Agatha Christie. Also, he's a sci-fi author, but I also enjoy writers like Isaac Asimov. I love those classic older works, and when I was a kid that was all I read. You know there were those kids in elementary school, right? The ones for some reason would write all their book reports on mystery novels?

--Ah, yeah! There were some kids like that at my school too. (laughs) So then, why did you decide to add mystery elements to Persona 4?

Hashino: I think it should be obvious to players what's interesting about your game, and what kind of story it is, before they buy it. This is something I reflected on and realized after Persona 3, but for the earlier games, it was hard to know what they were about until you played them. So this time, the premise is simple and upfront: there is a murder incident in a small town, and the adults are oblivious to the truth of the situation. The protagonists then proceed to investigate--sort of like a Junior Detective League--and attempt to solve the mystery.

--You mentioned the earlier games and reflecting on them… am I right to assume you weren't only looking at P3, but were thinking about the whole flow of the series, all the way back to P1?

Hashino: No, in terms of being inspired to make the content of the game more obvious, I was talking about P3. The truth is, P2 and P2: Eternal Punishment were so long ago, I wasn't really thinking that far back. Plus the fans themselves consider P2: Eternal Punishment to have wrapped everything up. However, when the very first Persona came out, the developers then (my senior colleagues) were trying to make a new style of Megaten game, something that would appeal to more casual players. So for me personally, there was a sense of going back to the roots in wanting to do the same thing with P4.

--Would that include the basic question of "what are Personas…?"

Hashino: Yeah. We tried to depict these characters' struggle in a head-on, direct way, while at the same time returning to the fundamentals of the Persona series. That is, rather than thinking in terms of sequels and multi-part stories, we wanted to go back and once again ask ourselves, "OK, so what role were the personas really meant to occupy in this world…?" And what approach would be best to attract a new generation of users and show them the appeal of Atlus' RPGs…? We talked about what makes a Persona game a Persona game… were there necessary criteria? For example, with the progenitor of Persona, the Megami Tensei series, you've got the light side and the dark side, that contrast of exterior and interior (omote and ura)--if those are the foundations of Megaten, then what are Persona's…? Those were our questions as we began the development of P4, and to tell the truth, I was somewhat uneasy about the answers we would reach. When I look back at P3 now, it ended up being a big success, and ultimately that's the most important thing for any game.

--Did that anxiety stick with you until the reviews finally came in?

Hashino: I mean, there were people at Atlus saying stuff like, "Maybe we shouldn't have called it a Persona game…" and "This isn't Persona." (laughs) But the opinion of the players is the most important thing, so now I can say that I'm very satisfied.

--So do you know now precisely what makes something a Persona game?

Hashino: Hmm, well… one example, I guess, would be the "angsty" feeling of the games. When you're young, much of your life is managed for you by adults, but eventually everyone has to break out of that protective shell--and it's a bit like being on a train where the rails suddenly disappear, isn't it? Sooner or later, that time comes for everyone, but that de-railing provokes a keen sense of angst in many young people. Yet it's almost like we don't want to forget those times… there's a nostalgia for it, you could say. When you become an adult and are stressed out by your job, it's very difficult to find the time to re-discover yourself. I think it'd be cool if Persona can provide people a chance to re-experience that in game form, to go back to the beginning and reflect on it all once more. Of course, I don't think this is unique to Persona--there's a lot of works of art in the world that have a similar appeal.

[[PART III]]

--Going back a bit, I wanted to ask some more specific questions about the development process. What were some of the challenges you faced in creating a mystery?

Hashino: I'd say one big challenge was interweaving the real-world elements of the murders with this fantastic psychological world where you're battling with personas. I mean--OK, there's these murders, but then if all of a sudden a Shadow pops up out of nowhere, it would be like… "forget these murders, wtf is that!!" (laughs) Also, in P3 the dungeon fights were basically just for training, and in the beginning they don't have much connection to the story. We wanted to intertwine those more with the story, so for P4 we first came up with the idea of someone getting kidnapped, taken to this mysterious other world, and you have to go rescue them… and that led to us coming up with the serial kidnapping-murder part of the story.

--It sounds like rather than having a whole mystery story figured out from the get-go, you rather focused on how to artfully interweave the gameplay systems and main story.

Hashino: I often start from the end, so to speak, like coming up first with a catchphrase and working backwards from there. For this game, too, rather than working out the details of the story, I had more general situations in mind: a town is enveloped in fog and a person disappears -> the main character goes to rescue that person. Just that brief outline sounds exciting, right?

--That being the case, at what point did you come up with the character of the villain Adachi?

Hashino: Actually, this goes back to the discussions we had at the very beginning of the development when we were creating the plot, but one of the themes we hit upon was "how do we get our information." So initially, we wrote the true final villain as someone who mistakenly thought they were doing the right thing.

--Are you talking about Namatame?

Hashino: Yeah. And there was something manipulating him behind-the-scenes, and Adachi was not the villain then. However, as the development went on, we felt the story development was lacking in something, and it needed one more twist with regard to who the true culprit was. The first candidate for that role was Yukiko, actually. (laughs)

--What!!

Hashino: Yeah, I mean, when you think about "murders in a small town" stories like this, a Kindaichi story would have the killer be someone like the ryokan proprietress. (laughs)

--Oh yeah… I know what you mean.

Hashino: It was something I talked about Soejima with, only half-joking of course. The idea of Yosuke the villain also came up. He was a character with solid reasoning abilities and good judgement; it would be believable to players, we thought, that he could have plotted everything himself. We also discussed making the culprit a "likable villain". But we were hesitant about making one of your party members the killer.

--Being betrayed by a close friend like that would be quite painful indeed.

Hashino: But the biggest reason we thought Yukiko and Yosuke wouldn't work, was that we thought players would find it boring if we gave the killer a merely personal motivation for his crimes. That kind of simplistic motive belongs in the realm of Tuesday afternoon TV crime dramas. So we went back and re-examined our themes about information: and this links up with the notion of irresponsibility on the part of the person disseminating the info, but when you think about it, doesn't the responsibility for what happens with that information ultimately lie with the recipient? It's hard to explain, but yeah… we felt the connection between ill-intent and that kind of irresponsibility fit the game the best.

--And that's where Adachi comes in.

Hashino: Initially, Adachi was created as a character whose role is to facilitate the exchange of information between the protagonists and the police investigation. But he seemed a little out-of-place there amongst the other adult detectives, and personally, I started to worry that he would stand out to players as odd and it would be too obvious that he was the killer. So we switched gears midway through the development and took his character in a different direction.

[[Note: I spoke with Shmuplations about this particular part and he understands why this sounds confusing: Does Hashino's "initially" mean "Adachi's character existed before we needed a new culprit" or "we then proceeded to make the character of Adachi to be the new culprit"? While he believes the former is more likely, Hashino does not specify this within interview itself.

I believe this can be read in combination with what Soejima said about Adachi in the Design Works where he mentions Adachi used to be a red herring and then was re-designed after he became the culprit. This is further supported by the 2009 Gamasutra interview where Atlus talks about a villain character changing in development but their design being done before the change and the character's design not looking villain-like.]]

--That "something" manipulating Adachi was, of course, Izanami… was that also something that was revised midway through?

Hashino: Actually, Izanami was there from the very beginning. Even before we had the themes figured out for P4, in the previous games we'd used a lot of Greek gods, so we talked about how this time we wanted to focus on Japanese mythology. And so, around the time that we decided on the theme of uncertainty surrounding the truth and the rumors you're hearing in this small town, I thought these native gods and goddesses would be a force resisting that kind of social anxiety.

--I see. And the story of Izanami and Izanagi is one of the most well-known in Japanese mythology.

Hashino: As we worked out the plot, I took that story of Izanagi descending into the underworld (Yomi) and gave it my own expanded interpretation. In the myth, it is Izanagi's inability to accept Izanami's death that, ironically, nearly gets him killed by her: but I added my own interpretation, that the news and rumors we hear from all these sources == death (that is, it's an invitation for you to cease thinking).

--That's an unusual reading.

Hashino: At the time I thought to myself, "Nice, now this sounds like an idea that would be in a Persona game." (laughs) Izanami sees that humanity has stopped thinking critically for themselves and has surrendered to whatever they hear, and she thinks, "These unthinking people might as well be dead, so I will grant their wish. If I'm wrong, prove it to me." Then, when she happens to encounter certain humans that appear interesting to her, she bestows on them the power to change their reality, and that is how it all begins. But the protagonists are far stronger than she had thought, and though she had planned to merely be a spectator, they strike back in a way she hadn't expected. (laughs)

--Does the fact that she is defeated in the last battle mean that she had erred in her judgment?

Izanami: Yes, definitely. The ability Izanami uses in the battle, "Thousand Curses", I imagined it as a metaphor for all the lies the media tells. And likewise the ability the player uses, "Myriad Truths", that represents the trustworthy words of those people closest to you. I hope players get the message I was trying to convey, that no matter how much irresponsible, unverifiable information the world tries to deluge you with, you can always rely on the truths of your trusted friends to see you through.

--Whoa… that's deep!

Hashino: Also, the fact that there is a date and time that the world will end within the game--that day is meant to symbolize imported culture. There's a similar commentary with the native Japanese deities and a resistance to globalism. The way the Inaba shopping district resists the incursion of the Junes department store chain is part of that too.

[[PART IV]]

--I think the story of Persona 4 wraps up very neatly, but was it a smooth process, writing those scenarios?

Hashino: No, it took a lot of time and research to come up with plot twists, red herrings to throw players off the scent, and all the things you would expect to find in a proper mystery. There were a lot of additions and revisions too. As I mentioned above, in particular I wasn't satisfied with the plot development in the first draft, so aside from adding a "true villain" we also made a lot of changes. In the first draft, for example, we weren't originally planning to have Morooka die.

--What?!

Hashino: We had planned to include Mitsuo and the Void Quest, but we wanted to put a big surprise in there that would really betray player's expectations, and sadly for him, Morooka was sacrificed for that.

--It was kind of a shock.

Hashino: Many people told us that, yeah. It surprised us how popular Morooka was.

--He makes a bad impression on you on your first day at school, but there's many moments throughout the game where you realize he actually cares for the students' well-being.

Hashino: Hah, that's so funny, because I had no intention of making him that way.

--Oh, really?

Hashino: For me, Morooka was the kind of character you'd see in a typical school drama, basically just your typical unpopular homeroom teacher. But perhaps the staff in charge of that scenario had a lot of affection for Morooka, because they added all these extra details and episodes that gave depth to his character. So his popularity had nothing to do with me--it was all our staff.

--It really made that fight with Mitsuo intense. It was like, "THIS IS FOR MOROOKA!" (laughs)

Hashino: It got people fired up, didn't it? I'm glad his sacrifice was not in vain. (laughs)

--Speaking of unexpected stuff, the whole sequence when you're going to Yomotsu Hirasaka for the final fight with Izanami really took me by surprise. It was very difficult to find that route though.

Hashino: For the Normal Ending where you fight Adachi, we were hoping players would see that and feel a sense of closure: "ah, it's all over now." Then, say you still feel something isn't quite right, so you talk to a friend who saw the true ending, and when you go back and search and find the answer by yourself, it's like a fog has lifted from your own brain… I thought that would be cool, if your real-life gameplay experience sort of linked up with the game itself in that way.

--Ah, I can see that, definitely.

Hashino: Of course, partly I just wanted people to play to the very end of this game that we had put so much time into making… (laughs) In the beginning I was saying, "Let's keep it a secret for at least half a year."

--It seems like it must be tough to hide a true ending, or provide the right level of hints.

Hashino: Recently it feels like players are very sensitive to the dialogue, and can detect the slightest whiff of anything suspicious. That's why we put these hints at the very end, hidden in each party member's greetings. We made them say some things that just don't quite add up, hoping that players would suspect something is still hidden. Also, the fact that the Judgement Social Link isn't at MAX despite being so close to the ending is another hint that there might be something more.

[[Note: Judgement maxes after you clear Magatsu Inaba. This is not a translation error. It's an error that Hashino makes in the text.]]

--It sounds like a very tough balancing act. On the one hand, players will get bored if they know what's going to happen, but if things are too vague and opaque that's not good either.

Hashino: Exactly. To that end, when the final draft of the scenario is finished, we have the entire staff read through it to see if they spot anything weird. After reading it, one of our staff blurted out, "The Killer is Yasu!" (laughs)

[[Note: This is a reference to the Portopia Serial Murder Case.]]

--Ah, right, that famous spoiler from Portopia, where the detective's assistant Yasu is the killer. Now that you mention it, that does sort of match up with Adachi's position in P4. (laughs)

Hashino: It's a pretty old game though, so I figured there's no players today that would think that. Nevertheless, early on when we put Adachi's face in some of the magazine spots we did, there were apparently people who were saying "The Killer is Yasu!" in response to him… you see, actually, in the beginning, Adachi's first name used to be Tamotsu (保), which can also be read as "yasu", right? Maybe I'm overthinking it, I thought, but we were trying to really control the timing of the hints we fed to players about the killer, so we hurriedly changed his first name. Of course we'd already finished the voice recording, and there were lines like "Hello, I'm Tamotsu Adachi", so we had the sound staff re-edit those clips and cut the "Tamotsu" part off.

--Sounds like a lot of work.

Hashino: I never imagined "The Killer is Yasu!" was that well-known! (laughs)

[[PART 5]]

--Now that you mention it, because Adachi had a very famous voice actor, I bet that tipped off players to think, "Ah, Adachi must be the killer or someone important."

Hashino: Ah, yeah, that could be. I don't know a lot about voice actors, so I wasn't aware of that at all and merely chose the voice actor who I thought best fit the role. But many of the voice actors in Persona 4, not just Adachi's, received a lot of praise.

--------

You do not have permission to post anything from this interview on the god awful Fandom wiki.