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coriphallus · 5 months ago

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DA: The Veilguard Spoiler review pt2 - The Grime

this is a hard one to tackle without strawmaning anyone because itll be a direct response to alot of defense ive seen for the games morality system so ill just start by saying, iykyk

never a genre has been better equipped to discuss ethics than the interactive medium of games and yes, bioware games have been doing it since baldurs gate and no, theyve not always been 'centrist' and 'conservative'. im not even gonna entertain that idea. do you remember the cultural landscape DA:O released to? the landscape it was developed in? dont give me that just because zevran doesnt write in his little notes -that you can conveniently read- 'gay good. not me but me bisexual'

Thedas is a flawed world and its a world thats just as desperate to hang on to its status quo as our own. every time you play an elf thats thriving, or a human thats queer, or a mage thats not institutionalised you exist in a world that doesnt want you, it is an act of defiance that you do.

im sure we can all see why these games were so popular with the audience they can only weakly try to pander to today.

derailing time again; so one of my favourite paintings of all time is saturn devouring his son. it makes me feel so uncomfortable that it gave me nightmares as a child, and i still cant look at it without feeling this knot in my throat. i hate it. i hate how it makes me feel, how that man looks at me in terror like its begging me for help while cannibalising another. weird story but i was bewitched by that painting as a little kid.

it is not a well drawn painting, the proportions are all over the place, brush strokes crude and inelegant. it doesnt even have a deeper story nor was it intended for an audience. i will never know what goya thought of when drawing it.

i thought alot about that painting later in my life when i was struggling with mental health problems, i thought about goya alot too as an adult and after learning about his life. i stared at his paintings and remembered when i told my dad that i hated [saturns] big eyes and hed jokingly said "it would be scarier if he didnt have eyes"

i know what the drawing looks like now, nearly everyone with a little access to the internet does. if somebody removed saturn from it, we'd still be left with a brutalised headless carcass of a man in a canvas too big for itself. if we removed that too all we'd be left with would be void.

i dont want to live in a world where all i know of goya is his rococo work, i dont want to stare at the painting of a void knowing what filled it before. i hated every second of germinale but i never wanted it to be anything other than itself, the story it tells could never hold credence otherwise.

DAV has done its best to paint over it, but its still on the old canvas and i cant look away from the negative space its left, i know whats under it and it unsettles me, infuriates me. it hands me a palette with baby blues and pinks and tells me to paint over it to make a prettier painting. didnt i hate the eyes? wasnt it gross before?

i am not going to write why we need some grime in art, but its absence is disheartening. and to those who say hanged people in the streets or blighted villagers is dark and mature ill say no. its a kids idea of maturity, its the aesthetic of it with no substance. it means nothing to me if rook can just drench themselves in gallons of blight as they crawl through it. the horror of blight has never been the black goo and slimy tentacles, or the monster woman with way too many tits. it is watching people you love slowly fade away, it is a woman who was forced to cannibalise the contaminated flesh of her friends because the woman she loved betrayed her, it was the sheer scale and inevitability of it.

one area we go to is overrun by it and the game begs me to feel hopeful that flowers are growing again when it never let me lose hope. people have already prevailed, they have roofs over their heads and a steady supply of food on their tables. their spirit is unwavering.

its bad, everybody says. the sky is grey and soil is blackened, as my rook turns some statues to access a haunted house whos inhabitants are long gone and the only story they could ever tell is gone with them.

if the question is do i want to see famine? plague? misery? abuse? assault? the answer is yes. yes. i want to see it all of the filth. i rather face the fucking monster head on with its big bulging eyes and misshapen limbs than stare at the abyss its absence leaves on the canvas.

and if nothing else, this bastardization is disrespectful to the people who gave the IP its fame.

Why choose to be good?

back in the bsn days ive wondered why, even in a fictional universe where your choices have no real-life repercussions what-so-ever, players had more 'good' playthroughts than 'bad'?

what happens when you start killing NPCs, when youre needlessly mean to them? the game actively closes off its own content. you get less out of the game. just as, completely incidentally, you'd get less out of your life if you just started killing everyone around you. The world would be emptier, youd be alone.

in that quote i stole from good place chidi doesnt ask "why be good?" the wording is painfully deliberate. doing good is always a choice, and often not the easy one. what makes the act matter is that you chose to do it, even when given 6 other options not to. did i stop in the middle of an important quest to help a man retrieve an heirloom from a darkspawn infested hut? did i hear what that heirloom meant to him?

i cant stop thinking about that speech ever since playing this game after knowing its predecessors.

So, why do it then? Why choose to be good, every day, if there is no guaranteed reward we can count on, now or in the afterlife? I argue that we choose to be good because of our bonds with other people and our innate desire to treat them with dignity. Simply put, we are not in this alone.

i cant stop looking at this game that spits on its own legacy and think how could they have missed what fundamentally makes us human so bad, what makes us relate and empathise with eachother. what makes us pick the option to interact with an npc who openly hates what hawke is, and allow us to see the traumatised man underneath.

these characters of fiction are written by real people. i have absolutely nothing in common with a guy from canada yet for a brief moment in time i feel a sense of camaraderie as ive felt with goya that i couldnt articulate as a kid.

Nothing too terrible

DAV says it over and over again -as its wont to do with every piece of its flimsy morality- that people can change, people can be redeemed yet it shines as the game with most static characters in its franchise. it simply says things, and since it has nothing to show for it it makes sure to say it repeatedly, in case you missed it.

so when i first played DAO i was in high school, i started with a human noble because fresh out of dark side edgy kotor fame i wanted to be a posh brat. also because, ya kno, we were poor my entire life up until that point and i wanted to have power.

i committed to it, even as the game stripped cousland of everything he had, because i thought a man like him would. i picked the racist options, the sexist options, the options a man in couslands place would. halfway point of the game as i exhausted the initial dialogues something happened; this man who got paid to kill people, who showed no remorse nor care for his victims, begged my cousland to stil his blade.

and i did. i thought maybe he would be as confused as i was, maybe he had a moment of clarity but from thereon bit by bit he was less of an asshole. the characters grew around me, and my character grew around them. i chose to be good because -textually- we were in this together, at the end of all things.

rook is not a character, theyre a mascot. and quite frankly i think they may be a very evangelical mascot because they remind me of evangelical preachings of jesus more than the man from the bible (and i say this as someone whos only exposure to christianity has been through foreign media and the bible ive read that one time). they are the epitome of do no evil and their existence hinges on the frail concept of moral purity. theyre not a person trying to do good, who wants to be good, they are 'good'

-and lemme tell you its a wild choice to have someone like that locked in a prison of 'regret'-

rook can be mean to only one person in the game, and thats someone they dont even have a personal beef with for the most part. but even then they would be shouting at a wall because the game doesnt only undermine them with its narrative, but also every npc in the game suddenly gets possessed by the ghost of wattpad rejects past for a moment to tell them everyone can be redeemed. and i believe it because i played the other games, i believe it because i know zevran and sten and morrigan, isabela and thom and iron bull and dorian. i know it because i can see the vague shapes behind the new coat of paint but i am not rook.

so no, the game fails to get people-can-change points by its own merit, and it cannot gain points from its prequels because it destroyed them. none of those characters i watched grow exist in this universe. zevran cant exist with DAV crows, fenris` story cant exist in an imperium with invisible slaves only glimpsed through empty cages and broken chains left scattered on the ground. i dont know which morrigan this NPC is, is it the woman who grew to learn kindness, who begged to sleep with her friend just to save them despite knowing it would play into the plans of a destiny she so desperately tried to break free from? or is she the clever puppet her mother groomed her to be who wanted to harness the power of a god? i dont know her, i dont know this dorian or this isabela beyond their names ipso facto this is not a sequel.

bellara asks an assassin why he is trying to save the world and his answer is "ive done some things in the past im not too proud of. nothing too terrible, but some of it was bad." and i can hear the games desperation for me to not engage with its material in that 'nothing too terrible'

lucanis never killed anyone innocent, taash never harmed an animal they could shoo of or reason with, emmrich venerates the dead and is friends with every wisp he pulls to use in menial labour, davrin joined the wardens willingly because he wanted to do good...

rook tells harding that her anger is justified when shes not even allowed anger of her own.

nothing too terrible.

aside from creating boring and nonsensical and static characters it creates a dreadful echochamber that we're forced to sustain. No taash is not valid, their gender is but their behaviour is not and for the character to grow and mature it needs to be addressed. lucanis doesnt need to be pampered in shock blankets he needs to see how repressing his problems and jeopardising his health puts people around him in danger etc etc. they are adults and they need to learn more complex ways of healing. and if rooks flaw is that theyre an enabler, then that needs to be acknowledged by the narrative in some way too, and not mindlessly endorsed because they say some buzzwords.

none of these interpersonal relationships feels real because none of these people feel real beyond some draft of themes and tropes. some interactions literally remind me of two bots in facebook comments

i look at this dialogue wheel with familiar symbols and all im reminded of is hawke telling carver he carries every death with him, of him telling his uncle that he wasnt fast enough, of him begging the person he loves to tell him that his mothers death wasnt his fault.

and they dont. they just sit there with him.

#veilguard critical #da:tv spoilers #bioware critical #personal #long post

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thejoyofseax · 2 years ago

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Why We Can't Have Medieval Food

I noted in a previous post that I'd "expand on my thinking on efforts to reproduce period food and how we’re just never going to know if we have it right or not." Well, now I have 2am sleep?-never-heard-of-it insomnia, so let's go.

At the fundamental level, this is the idea that you can't step in the same river twice. You can put your foot down at the same point in space, and it'll go into water, but that's different water, and the bed of the river has inevitably changed, even a little, from the last time you did so.

Our ingredients have changed. This is not just because we can't get the fat from fat-tailed sheep in Ireland, or silphium at all anywhere, although both of those are true. But the aubergine you buy today is markedly different to the aubergine that was available even 40 years ago. You no longer need to salt aubergine slices and draw out the bitter fluids, which was necessary for pretty much all of the thing's existence before (except in those cultures that liked the bitter taste). The bitterness has been bred out of them. And the old bitter aubergine is gone. Possibly there are a few plants of it preserved in some archive garden, or a seed bank, or something, but I can't get to those.

We don't really have a good idea of the plant called worts in medieval English recipes. I mean, we know (or we're fairly sure) it was brassica oleracea. But that one species has cultivars as distinct as cabbage, broccoli, cauliflower, kale, Brussels sprouts, collard greens, Savoy cabbage, kohlrabi, and gai lan (list swiped from Wikipedia). And even within "cabbage" or "kale", you have literally dozens of varieties. If you plant the seeds from a brassica, unless you've been moderately careful with pollination, you won't get the same plant as the seeds are from. You can crossbreed brassicas just by planting them near each other and letting them flower. And of course there is no way to determine what varietal any medieval village had, a very high likelihood that it was different to the village next door, and an exceedingly high chance that that varietal no longer exists. Further, it only ever existed for a few tens of years - before it went on cross-breeding into something different. So our access to medieval worts (or indeed, cabbage, kale, etc) is just non-existant.

Some other species within the brassica genus are as varied. Brassica rapa includes oilseed rape, field mustard, turnip, Chinese cabbage, and pak choi.

We have an off-chance, as it happens, of getting almost the same kind of apple as some medieval varieties, because apples can only be reproduced for orchard use by grafting, which is essentially cloning. Identification through paintings, DNA analysis, and archaeobotany sometimes let us pin down exactly which apple was there. But the conditions under which we grow those apples are probably not the same as the medieval orchard. Were they thinned? When were they harvested? How were they stored? And apples are pretty much the best case.

Medieval wheat was practically a different plant. It was far pickier about where it would grow, and frequently produced 2-4 grains per stalk. A really good year had 6-8. In modern conditions, any wheat variety with less than 30 grains per stalk would be considered a flop.

Meats are worse. Selective breeding in the last century has absolutely and completely changed every single species of livestock, and if you follow that back another five centuries, some of them would be almost unrecognisable. Even our heritage breeds are mostly only about 200 years old.

Cheese, well. Cheese is dependent on very specific bacteria, and there are plenty of conditions where the resulting cheese is different depending on whether it was stored at the back or front of the cave. Yogurts, quarks, skyrs, etc, are also live cultures, and almost certainly vary massively. (I have a theory about British cheese here, too, which I'll expand on in a future post)

So, even before you go near the different cooking conditions (wood, burnables like camel and cow dung, smoke, the material and condition of cooking pots), we just can't say with any reliability that the food we're making now is anything like medieval people produced from the same recipe. We can't even say that with much reliability over a century.

Under very controlled conditions, you could make an argument for very specific dishes. If you track down a wild mountain sheep in Afghanistan, and use water from a local spring, and salt from some local salt mine, then you can make a case that you can produce something fairly close to the original ma wa milh, the water-and-salt stew that forms the most basic dish in Arabic cookery. But once you start introducing domestic livestock, vegetables, or even water from newer wells, you're now adrift.

It is possible that some dishes taste exactly the same, by coincidence. But we can't determine that. We can't compare the taste of a dish from five years ago, let alone five hundred, because we're only just getting to a state where we can "record" a taste accurately. Otherwise it's memory and chance.

We've got to be at peace with this. We can put in the best efforts we can, and produce things that are, in spirit, like the medieval dishes we're reading about. But that's as good as it gets.

#medieval cookery #medieval cooking #food history #historical cookery #historical cuisine #medieval arabic cookery #horticulture #genetics

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complainblogforthevoid · 2 months ago

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The fire nation is actually the least likely nation to be homophobic and the fact that it is canonically the only homophobic nation is a bunch of bull, driven by the idea that bad is bad is bad and we must have only negative things in the fire nation and the other nations are hapless uwu victims. God forbid we have some awareness that cultures can be problematic in different ways.

Also easily none of the nations could be homophobic, or all of them are to varying degrees, but if only ONE nation is homophobic it is NOT going to be the fire nation and here's why.

Air Nomads

Look these guys are just as likely to be homophobic as not actually. Like clearly they're all monks, but that could go one of two ways. You're either a love is love monk, or a sex is sinful monk, and the fact that the monks were separated by gender into different temples and they presumably only had sex to have children so they wouldn't die out, I'm leaning towards the "sex is a tool to create children, to do it for other reasons is to indulge your carnal urges" type monks.

And when two men or two women have sex, it's not to create children.

Therefore, pretty solid that while the air nomads probably don't hate gay people, I don't think it was really an accepted thing in their society just because no romantic/sexual relationship was really accepted within the monk lifestyle. So not homophobic, but not really a thing.

2. Southern Water Tribe

You're gonna look me in the eyes and tell me that a nation with such emphasis on gender roles isn't gonna be hella weird about gay people? The men go off to war, the women stay and mend. Sokka's sexism, although I do think there's an argument that he took it further than his society taught him (because he was overcompensating, as the only man left in the village) was clearly taught to him.

That being said it's a society in which men leave on long journeys for days or weeks at a time and leave their wives at home, so I wouldn't be surprised if homosexuality was common but not discussed. You get a boat husband, yall keep each other company during long voyages while both your wives are gone. The ladies meet up for "sewing circles" while the men are off doing their thing. It's something that happens, but even if you do indulge it's with the understanding that when you get back to the village or your spouse comes back from the hunt you two are married and whatever happened when you were separated is not discussed.

Open homesexuality in such a culture? Can you imagine? Absolutely not.

3. Northern Water Tribe

Again, super gendered society. Women are literally treated like property and supports to be used by men, not allowed to speak in political situations, etc.

The reason I separate the southern and nothern is that their way of living is so different that my conclusion is different as well.

The northern water tribe is far more sexist (southern, we see that gran gran is respected as an elder at least and her words are taken seriously) AND they don't have the same previously mentioned long trips in which the men and women are separated.

Therefore I don't think homosexuality is even okay as a silent, not-talked-about but generally accepted part of society. These guys would absolutely make laws against it.

4. Earth Kingdom

Initially similar problems to the water tribe. They're clearly a very gendered society, only men join the army from what we've seen, the women are at the very least encouraged to be pretty and silent, especially in higher social statuses. In a society that emphasizes the respective places of women and men so much, homosexuality is less likely to be accepted because it necessarily destroys those roles (hence the "okay but who's the man in your relationship" type questions--because people obsessed with gendered society cannot fathom the idea that a relationship can consist of two people not fulfilling the specific roles of "man" and "woman")

Similarly to the Northern Water Tribe, they also don't have the situations in which men and women are often separated for long periods of time. Plus just given the generally rigid, headstrong nature of earth benders as a whole combined with the sexist nature of their general social strata, I just don't think they're going to be easily swayed to accept an alternative family structure than the one they have decided (a man protecting and providing for the family, a woman to care for the children, and their children).

Clearly the earth nation is extremely large and there is a lot of variation between the sections of any society, so I don't doubt there are many places (especially further-removed locations that aren't so under the direct sway of the aforementioned nobility) where homosexuality is accepted even openly, but we're talking about the general societal attitude, not exceptions to the rule.

(This being said Omashu is not homophobic no matter how homophobic the rest of the earth kingdom is because I refuse to believe Bumi wouldn't immediately repeal any homophobic laws the moment he became king)

5. Fire Nation

The Fire Nation is the most equal society in terms of gender norms. This is the only nation that has just as many women as men in the military, and in political situations (although we see many of the higher ups are still men) women are allowed to have a place as well. No one objects to Azula being the next firelord on grounds of her being a woman, no one ever suggests that Azula, Mai, or Ty Lee don't know what they're doing because they're women or expresses surprise that a group of women took Ba Sing Se or whatever.

Now, in terms of accepted relationships I do agree that the nobility likely insist that their own children marry someone that they can have children with--because bloodlines are important in such a society, and royal matches have never been about love or attraction, they've been about making alliances and raising your social status and continuing bloodlines.

We don't see any evidence of harems in Avatar, but there are plenty of historical examples of a king marrying a woman to continue the bloodline and then having male concubines and such, which is what I would suggest as a reasonable way to portray this in the fire nation.

But generally speaking, to the common people, there is literally no reason for the fire nation to have a problem with homosexual relationships. In fact there are more positives than negatives to them, when you have both men and women as soldiers on your ships.

You can ban all sexual relationships in the hope that you can avoid your women soldiers getting pregnant, or you could turn a blind eye to gay relationships because guess what when you have lady soldiers that's a really great way to make sure no one gets pregnant while on really long assignments.

IN CONCLUSION

The reason the fire nation was said to be the only homophobic nation in the comics was plain and simple a "grr fire nation evil" mentality that didn't take into account any of the actual cultures presented, and people need to take into account that someone can be an evil rat bastard and not be homophobic, and there are bigger questions of society in play that you can't just say "oh they're evil and those guys are good so the first will be homophobic and the second wont"

See: Kaido from one piece as a great example of how a rat bastard is not homophobic or transphobic

#atla #avatar the last airbender #atla meta #complaintblog #fire nation #water tribe #earth kingdom #air nomads #give me some god damn depth of character

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tuttle-did-it · 7 months ago

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A lot of your questions, I'm not really qualified to answer as I was not in the writer's room. I have written on the show academically, about the queer and camp relationships, but as to how much was intentional, I cannot say as I was not in the writer's room. Maybe some of the writers intentionally put things in, maybe they put it in cos they thought it would be funny. I can't say. Maybe get in touch with writers like Ken Levine and ask him most of this.

But whether intentional or not, there are queer signifiers within the show. And a lot of it has to do with the visuals of queer in 1970s. I was alive then, and I was queer, and most of the queer men looked like BJ, Fonzie and Thomas Magnum.

I think it’s been said that it was Alan’s idea for the BJ moustache— but that could be wrong. Whether intentionally or not, BJ’s moustache and over-all appearance with the moustache does fall in with the post Stonewall gay scene— particularly the ‘Castro Clone.’

Archetypes like sailor, biker, etc— these clones were a send-up of the hyper-masculine — so butch it’s gay. Ever notice how gay Fonzie seems coded on Happy Days? Clone. Why Thomas Magnum on Magnum PI felt somehow really gay even if he was kissing a woman? How gay the Village People (All stereotypes of hypermasculinity) all were not in spite of the hyper-butch outfits, but because of it. All worth a very similar aesthetic.

BJ’s hair style, moustache and that straw hat, the pink Henley with red braces, a green vest, slightly curly hair and bit longer than traditional, occasionally a tighter t-shirt, the motorbike, and occasionally in the skates with a lot of chest hair. These images were very common within the clone look.

Couple this with VERY lesbian coding of Margaret (especially when Helen visits), the occasionally usually quite limp-wristed performance of Hawkeye (along with the occasional straw cowboy hat), and how often Hawkeye and BJ tend to touch and embrace, shower together, and their general body language—intentional or not— made them visible to us queers who recognised those aspects.

Let’s take this single moment:

BJ’s hands on the hip, the swagger, an arm around him slightly possessively— met with Hawk’s entirely unnecessary grabbing of the fabric on his waist and holding it there— for most of us, there is nothing heterosexual about this moment. It’s too intimate— especially as it’s in front of so many people, showing a comfort and confidence that this kind of touch it’s normal and acceptable.

And because there are repeated moments like this in most scenes in nearly all the episodes.

There is a reason I say that the final scene with Hawk and BJ in GFA is the most romantic divorce in cinematic history. With the queer coding especially with BJ’s aesthetics, there is and has always been a romantic element to this scene. And most of their scenes.

I think that if you showed this scene to someone who didn’t know the episode, didn’t know this show, and told them to focus primarily on body language, they would say this looks like a break up between these two men—neither of whom want to leave the other. That is a very intimate move. Watch that whole scene i entirety-- watch their body language, their expressions. Watch it with the sound off.

Especially because the hand on the back of the head is how Hawk has previously hugged his canon lovers.

How he held Kyung Soon:

And Carlye:

Thanks to @efort for the pics and so quickly!!

When Hawk loves someone and hugs them, he holds their head. This is just a Thing He Does. Did Alan do it to show that Hawk was gay? I doubt it. But I am convinced he did it because Hawk loved BJ.

Did the writers all decide to make M*A*S*H incredibly gay? Did he actors unconsciously about this body language? Did the costume department decide to queer BJ up? I doubt it. Could one or two of the actors or writers see things this way and decide to play off it? Possibly. Do any of them in the show intentionally construct all of this? Did it just magically happen? I don’t know. Wasn’t there in the room with them.

But I can tell you that to those of us who recognised those queer signifiers, seeing body language like this constantly, there was no question. Did the straights get it? Probably not. But that doesn't mean we didn't see it.

Whether they meant it or not, most of the M*A*S*H characters are queer-coded in one way or the other. But BJ is probably the most visually queer, whereas Hawk 100% is a bisexual disaster. On purpose or not, that's what the show definitely makes clear.

you know we’re all rational adults: there’s no way we all hallucinated gay mash narrative out of nothing

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our-ensemble · 3 months ago

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haiii question,,,, sorry for being kinda dumb here but what would be the point of sending emails to hapiele? the story is written already and akatsuki redebuted (???) so what Will they do then? would they just take back the things that happened in the event? sorry again for the bother! i dont go to twt or social media that much so im lost,,,

Thank you for asking, and this isn't a dumb question at all. Of course, contacting HappyElements has been quite the undertaking, so it's only natural to want to know what we should expect. This is a bit lengthy since I wanted to put as much perspective as possible, and as always, I do not mind if others wish to add to this.

The most important thing to acknowledge is that this is an unprecedented scenario, so we're making estimates about how HappyElements will respond. At best, we hope that HappyElements complies with the requests made in the emails and nothing less, with these requests being a) the removal of Ibuki from AKATSUKI since this plays into the existing discrimination and Japanization of Ryukyuans and b) the careful consideration of how Indigenous characters are written going forward. Other additional goals may be added at individual discretion, but in relation to AKATSUKI and Ibuki, this is our main focus.

There is a chance that Enstars can edit or change the story. For example, in Izumi's event, "One Drop * A Specially Chosen Mad Party in UNDERLAND", fans raised concerns about how Izumi and Leo's backstory was mischaracterized in the story, and the line was later changed. However, when it comes to AKATSUKI and Ibuki, we should acknowledge that our concern is with the story as a whole, not a few lines, and so this is not likely. Should HappyElements decide to edit the story, they would likely be attempts to soften the blows that they dealt - but especially for a subject matter like this, it most certainly does not change the fact that the blow is still being dealt.

Another hope is that, even if it does not change AKATSUKI's event, it will push HappyElements to be more considerate in the future with regards to discrimination and characterization. We know that Enstars has been able to change its trajectory with how it approaches topics. For instance, Arashi's earliest stories contained both homophobic and transphobic stereotypes (specifically, she had many stereotypes associated with gay men, which is why the earliest translations of !-era stories tend to use he/him pronouns exclusively. At the time, her gender was not explained.) However, as years passed, the quality of her stories has noticeably improved, with a greater emphasis on her relationship with her gender. Hopefully, pressure from fans will encourage HappyElements to consider the racist, anti-Indigenous message that its pushing, and reevaluate how to approach Ibuki and other marginalized characters.

Some fans are also taking the angle of focusing on mischaracterization as a sort of "foot-in-the-door" technique. Again, as was the case with Izumi, if we can argue that certain things are out-of-character and that the continuous mischaracterization will be a threat to HappyElements' profits, then we might be able to use that momentum to target the racism in the story, since for AKATSUKI, the mischaracterization has been done to facilitate the discrimination that we see, and thus is not wholly separate from the issue. (Though on that note, fans have been asked to emphasize the treatment of Ibuki, since we must not treat occassional mischaracterization as comparable to active discrimination rooted in prejudices that continue to affect Ryukyuans in the present.)

At the same time, we must acknowledge that HappyElements has not made any efforts of note regarding other concerns raised by fans. Most relevantly, the event "Answer * Matrix of Stars Drawn Towards One Another" contains racist, anti-Indigenous sentiments in its depiction of the Amagi village. Instead of taking inspiration from Ainu culture as has been the case with the Amagis thus far, they made the Ainu village a sci-fi setting. Japanese imperialism has worked tirelessly to erase the culture of the Ainu in order to assimilate them. By making the Amagi village less culturally rooted and more fantastical, Enstars erases the presence of Ainu culture from their world - likely because it wasn't deemed interesting enough, since Enstars does value its shock factor - which is insensitive to the plight that the Ainu face to this day.

With all this in mind, we have to remind ourselves that this situation is still developing. The reaction to fans' emails has been mixed in the past, and the response to concerns of discrimination especially has been disappointing. Though, we also need to acknowledge that this is arguably the strongest, most concentrated reaction of the fans towards HappyElements, and we cannot allow them to intimidate us, nor can we allow them to forget that they are enabling dangerous anti-Ryukyuan sentiments that are not without real-life consequence.

Lastly, as I personally see it... even if "nothing" happens, I still ask that fans continue to pressure HappyElements. If HappyElements cannot treat marginalized people with respect, then at the minimum we should do the opposite and show marginalized fans that we stand with them. As I've mentioned time and time again, what we have seen in Enstars is reflective of real-life prejudices that are actively harming people. Even if HappyElements' mind does not change, other people observing the situation may reevaluate their own biases, and we can counteract whatever harms could occur as a result of HappyElements' lack of care.

#asks #enstars boycott #enstars #ensemble stars #akatsuki #ibuki taki #I understand that this isn't very conclusive. however both realism and hope are essential to deciding how we move on from here

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eternalera · 8 months ago

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im sorry but love IS the main theme in jjk, no not just in the movie but ALL of jjk.

dont believe me? fuck it, fine, i'll explain

lets start it out with the obvious, jjk 0. this is the prequel to the actual anime and manga series (although i guess actualy isnt the correct term... you get the point) and it starts all because of yuuta and rika who were both children when they fell in love.

rika gives yuuta a ring and tells him that its a promise ring and that its a promise that they'll be together forever.

yeah rika DIES

but dw, she gets turned into a curse... by yuuta, but it was on accident so... yeah fun-

then geto shows up and basically attacks the school and yuuta and rika save it using LITERALLY the power of love. then soon enough gojo ends up telling yuuta this 'love is the greatest curse of all'

yeah love is literally the main theme of that, yuuta's love is what cursed rika and caused her to become a curse but what of gojo? why is he saying 'love is the greatest curse of all'?

well soon after this he mentions his 'one and only' and its heavily implied (actually canon) that its suguru geto, YEP the mf who attacked the school. now lets take it back a few notches shall we <33

gojo and geto went to school together where they became extremely close friends (implies lovers as they do a TON of romantic stuff in japanese culture such as giving geto second button to gojo aka the one close to his heart and them riding on a bike together which is illegal in japan but its also considered romantic to break the rules with your lover so like??!?! yeah theyre gay)

soon after they have a mission to protect the star plasma vessel and imma spare you the details lets just say that it goes HORRIBLY wrong and it ends up causing a rift between gojo and geto. gojo ends up awakening becoming a better version of himself for it and is trying to show it to geto. yet he doesnt know that what happened with him and how he basically got a power up did NOT happen to geto.

geto was left to question who he was fighting for anymore and this caused him to... get a little silly and kill an entire village anyways the kfc breakup happens yada yada and remember that these two were really really REALLY close friends at least and most likely lovers (how i'll be referring to them from now on)

now what day did geto attack the school aka the night of 1000 demons parade? december 24, the same date which is the most romantic in japan (to my knowledge) and the same date which gojo killed him... YEAH THAT SHIT WAS PLANNED

but lets move onto something a little more... recent.

ITAFUSHI!!!

honestly my fav ship and why im all writing this in the first place. their love for each other was literally so great that they killed the king of curses. the whole reason that megumi locks in is because he realizes that yuuji is gonna be sad if he dies and that he doesnt want yuuji to be sad

these two care for each other so much and its basically shown at the start of the manga, how megumi sees yuuji and saves him without hesitation, he just doesnt want to see a good person die.

he then says 'what if someone you saves kills another in the future' and when yuuji asks him that megumi cant answer. and when he can yuuji literally flips back and kills himself in order to save megumi and mind you he was fearing death a few seconds ago, saying how he didnt want to die yet and how he had regretted eating that stupid finger

yet when it came to saving megumi all of the sudden that didnt matter anymore, in fact when sukuna offered to bring him back he said no because he didnt want sukuna hurting more people... speaking over that-

SHIBUYA!!! yeah sukuna takes over yuuji and kills a bunch of people- kinda ironic seeing how megumi asked yuuji 'what are you gonna do if someone you save kills those later?' even MORE ironic that before that its revealed that yuuji swallowing the finger caused a bunch of parts of sukuna to wake up and start killing people and both of them realized this and went 'imma not tell the other cause thatll make them sad'

anyways megumi gives his bf a pep talk and then BAM megkuna and yuuji goes batshit against sukuna <3

anyways before megumi separates from sukunas body he says that he's gonna try living for someone else just one more time and its pretty obvious that this person is yuuji.

ALSO fun little thing.

love the greatest curse of all won against the king of curses, sukuna. sukuna who refused to feel or care for human emotions. aint that something?

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sophaeros · 28 days ago

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the strokes for rip it up - new zealand, october/november 2001 / no. 283 — print version web version

Simple Scruffy Spunks

Scruffy rock stars get all the chicks. Julie Warmington and Kylie Klein Nixon corner the dashingly shaggy boys from the Strokes in London — once at an interview, then at a party — and find they just wanna drink and rock.

Meeting Julian Casablancas is like meeting living proof that rock'n'roll will never die. The 22-year-old New Yorker and singer with the Strokes should be embracing the "now" culture of many of his peers. He should be scrupulously clean, drug and booze free, heading down to Florida for the summer break with a pretty blond on his arm and Basement Jaxx on his personal MP3 player.

But he's not. Rip It Up still hasn't met him. He's in bed, hungover and refusing to get up. He is unwashed, jet lagged and beer crusted. Yay! We don't mind. When he finally does show, two hours late for the day's round of interviews, he's dishevelled and rye. His grin is about as infectious as rabies and he is, quite frankly, sexy as fuck.

"Hey, this is new," notes band manager Ryan Gentles, who’s been sitting fretting in the hotel lobby for what appears to be half the night and all of the morning. He's referring to Julian's tan La Coste jumper, not the attitude.

When we get our turn at the Strokes info trough, the boys are tucking into Thai rice and a round of amber nectar. It's 1pm. Handshakes and suitably half-arsed "nice to meet yous" are flung at us and we wade in.

"New Zealand," bellows Fabrizio "Call Me Fab" Moretti (drummer) when he hears the article is for Rip It Up. "Man, that's supposed to be a beautiful place. I have a friend who went there on an exchange, he said it was really cool." Aww, how sweet, he's heard of us. So when are you gonna go play there? "Dunno," whispers bass player Nicolai Fraiture shyly, "but we're going to Australia next month." Ah, great. Let's move on shall we?

—

"The coolest band on the planet", "the saviours of rock", playing on the catwalks of New York and Paris, hounded, followed and adored. Rumours abound — their names are made up, they were put together by the lead singer's dad (John Casablancas, founder of the Elite Model Agency), they're constantly fighting with each other, they're constantly fighting with strangers, they drink to much, they're gay, they're straight, they're homophobes. Everybody wants to know everything they can. But one thing is sure, The Strokes are roundly agreed to be the quintessential rock band, the "great white hope" of nu-rock'n'roll. They're more than that.

They're five guys who hooked up in high school with a shared interest in booze, girls and guitars. Casablancas (the vocals, wit, sex, and charm behind The Strokes) met Nicky Valensi* (the guitar playing, gorgeously cynical, faux English schoolboy) at New York City's Drake School before being shipped off to L'Institut Le Rosey in Switzerland for some "discipline". It was here that Casablancas bonded with Albert Hammond Jnr (dead pan and wised-up afro with a guitar).

Seems the Hammonds were having the same problems as Casablancas. Neither Julian nor Albert has anything particularly nice to say about the school, apart from adoring it for introducing them to each other. A year later Julian would be re-united with Nicky and meet up with Nicolai Fraiture (bass, stoically shy and sweet) and Fabrizio Moretti (drummer, earnest and excitable, all round ace guy) at The Dwight School on Manhattan's Upper West Side.

When fate drew Albert to the Big Apple via Los Angeles (his songwriting father, Albert Hammond, wrote It Never Rains In Southern California), Julian was the first person he looked up. Luckily the first vestiges of The Strokes had already been formed and all they needed was another guitarist. Albert was their man.

They performed together — properly — for the first time in 1998. There are stories floating around about debuts at Nicky's sister's 21st birthday and seedy bars in the village. Almost all these stories they will admit, are true. So they slowly built up up a reputation until finally getting booked at New York's Mercury Lounge. There they met Ryan Gentles, who became their manager. The Strokes were complete.

The rest will be history, as premature as that might be for a band who have just released their debut album, Is This It?.

So what are they all about? Besides saving us from the glut of pre-masticated pop and souls stifling dance, what are their hopes and ambitions?

Playing music and doing their stuff, by all accounts. Their stuff: a sublime mix of 70s New York City and noughty's savvy. Fashion flash and strep throats, with a smattering of anglophilia to match the op-shop chic. Garage soul-sensibilities and themes as diverse as personal disgust and underage lust.

We discover that Julian always roots for the underdog and doesn't "really give a fuck about baseball," and that the last time Albert cried was "as the plane was taking off". For Fab it was when Nicky's girlfriend dumped him (for the cute one from Weezer no less). At this, Nicky leaps to his feet to sing, Don't Cry For Me Fabrizio, at the top of his lungs.

"The Beatles hated each other, but we love each other," Nicky says. To prove the point they all agree that if they could only take five things to a desert island they would take each other and their manager. That is until Julian demands that one band member opt out so they can "take something more useful like a girl, or our fucking instruments". Just in time Nicky reasons that they can make their instruments out of coconuts and bamboo.

The band is open and unguarded — they want to chat. Chiefly with each other, but it's fine just being around this kind of energy.

Julian F. Casablancas. Nicholai Fraiture. Fabrizio Moretti. Nicky Valensi. Albert Hammond Jnr. The Strokes have got cool names. "I guess we just had cool parents who chose our names," chimes Fab. "My mom was like: (mock Italian accent) 'I think this boy will be a rocking roll star'."

The table then descends into chaos and spilt pints as they discuss the finer moments of Mrs. Moretti's experience. "But," adds Fab soberly, "she didn't know I was only going to be a drummer... she was too extravagant."

—

They take themselves seriously, oh yes. The album, Is This It?, took them one month to record... 30 days. It is the product of their "salad days" gigging around Manhattan and Philadelphia.

"That's why it works so well," says Fab, "we've had a really really long time to perfect the album outside the studio... an album that's who we are as The Strokes."

Who they are is a piece of carefully crafted art that will move you from the groin on out. A record to be cherished for its ability to make you smile and get up. Surely this is the wonder of Is This It? It's rock'n'roll that makes ya wanna move.

After experimenting with a different producer, namely Gil Norton of Husker Du and Pixies fame, the boys went back to their old friend Gordon Raphael who originally produced their three song EP Modern Age. They wanted to cut back on production, as Albert says, "To keep it true to the live set."

They all agree that Norton was great, but not for them. "Doing things professionally doesn't fit with our style," the lax and by now pissed voice of Julian crawls across the table. "If we stay raw it sounds, like... great."

Talk about understated. On the track Take It Or Leave It you can hear this man's tonsils crying out for mercy, you can smell the blood on Albert's shirt sleeves. This ain't no Radiohead mate.

They just wanna rock, and drink. Which has to be admired.

They're so un-phased by the media's insistence on linking them to The Velvet Underground, The Stooges, The Ramones and any number of late 70s New York punk they care to mention. Is This It? isn't going to shatter anyone's illusions about what these boys want to sound like.

"What a cool band to be compared to," admits Julian about The Velvet Underground. He means a band that's beloved and credible, different and weird... not to mention fucking good. "It's sorta a subconscious goal to have music that cool, but actually make it popular... a cool way to make popular music more interesting."

Rip It Up demands an explanation for so suddenly signing to majorinos RCA then. A chorus of oohs and ahhs goes up around the table before the earnest protestations that RCA are the best of a bad bunch. They do look slightly... defensive? Albert pipes up: "It's like being bisexual. Yeah, you get the best of both worlds."

The rest of the band agrees. "They just give us money and stay out of our way," says Nicky, flicking his hair out of his eyes.

Are they unrepentant about signing to a major? "I had the fucking head of RCA on the phone 4 o'clock in the morning," states Julian, "telling me how much he loved the album." Yes indeed.

Why is this not sickening? Why are the credibility censors not in overdrive? Because this is a band pure and simple. Mates who saw the spark reflected in each other. And they ain't that pretty, or well dressed. OK they are, but the point is, they just are. The Strokes were always going to happen thank Christ. A wake-up call for the apathetic. No slouching unless you mean it.

Julian says: "I wanted to make the music sound like it was from 30 years ago, but being heard now. With everything that entails. Do you understand?" If he means pared down and honest to the point of embarrassing, then yes. "Or the other way, like music from the future heard now."

True, Is This It? sounds a lot like it's something you dug out of your dad's wardrobe where the band on the cover are all wearing winkle pickers, whatever they are. There's more though, it's an understanding and knowledge that blasts the naïveté of 60s garage out into space.

Julian's descriptive powers and the knowledge aside, aren't they worried they'll lose this edge? Money, girls and power have wrecked havoc with better men than them. "But who cares as long as it sounds like we want," mutters a very distracted Nicky, only putting his head up occasionally from his magazine. "I mean, rawness, maybe we will want it more produced if that's what we like."

And herein lies the rub. In a perfect world RCA would not through money at these kids. RCA would ignore them no matter how good they actually were, no matter how much they want the cotton wool cosseting of the Big League. The band would have to work, creating themselves every step of the way. Paying their dues and becoming in the end a band utterly worthy of the 'great white hope' tag that has been hung carelessly on their coat hanger shoulders.

Will hype drown the creative spark? The worry is that in six months time no one's going to give a fig about Fab's broken hand, and Julian's dad, anymore than they'll care about any second album.

—

A few days later we bump into The Strokes lending moral support to fellow New York City space cadets, the Moldy Peaches, at their first London gig. The boys are high as heaven having come straight from the BBC where they recorded three songs for the legendary Top of the Pops. "Man," wails Julian, resplendent in pink silk tie and shiny grey suit jacket. "It was so fucking cool. It fuckin' rocked."

Fab is more sedate. "I can't believe we did it, but I fucked it up." Surely not? "I was so nervous I kept making mistakes. I sucked." But watching their performance on the show later it is easy to see that this is a band still on the rise, perfectionism aside, they control the stage, the cameras and above all, the hearts and souls of an audience more accustomed to Shaggy and Nelly Furtado. The fact that they’re on TOTP's at all (their single Hard To Explain entered the UK charts in the top 20 on a wave of passion and media hype) speaks volumes about the music buying public's desire for some Goddamn grunt.

At their epoch marking, celebrity studded, sold out show at Heaven in London, tickets are changing hands for £150 (NZ$500). The after party — the place is in a frenzy. The boys can barely move for the cameras clicking, autographs to be signed and girls hanging off every thread of their thrift store suits.

"I've been trying to get to the other side of the room for the last hour," Julian says incredulously. He's separated from his mates as they are accosted from all sides.

Nicky is posing in a photograph for a fan. Nicolai is signing a CD. Albert is being followed and literally clawed by a young female. It is as if she senses this is her only chance before he gets blasted into the rock pantheon. Fabrizio escapes the seething mass, broken hand in a sling (sadly replaced temporarily half way through their UK and Australian tour with Strokes friend Matt Romano), opting to talk to people outside the guest pass zone.

They have made it, with all that this entails. Young, talented, beautiful, cool and full of charisma, it seems that the rock and roll glitterati is at their blessed rock'n'roll feet. Hype and fashion aside, the music stands for itself. This is what we've been waiting for.

—

*Note 16/03/2025: Rip It Up appears to have gotten Nick and Nikolai mixed up. Julian and Nikolai were the ones who met first.

—

Stroke it

by Scott Kara

It’s nothing new, but God bless The Strokes. The comparisons between The Strokes and some bands from the past are obvious. Remember the first time you heard Nirvana's Nevermind or the Pixies Surfer Rosa and every damn song on the album was catchy –- well, that is true for the Strokes debut Is This it?

Even the band themselves make no secret of the formula behind their success. Julian Casablancas told Rip it Up: “I had this idea to make is This It? (their debut album] sound like music heard in the future, from 30 years ago.*

It's no surprise The Strokes stripped back gargle hails from New York, the home to the Ramones and Television.

At present American rock is known for either nu-metal - Linkin Park, Mudvayne, Limp Bizkit - or the clean and "nice" variety - Incubus, Train, Staind and Lifehouse. So it's a relief to have something as simple, raw and raunchy as The Strokes.

It makes you recall the past golden era of some American bands who paved the way for the Strokes like the Pixies, Husker Du, Sonic Youth and of course, Pavement.

As an indication of the influence these American bands had on world music take a look at Pavement front man, Stephen Malkmus. This low-key, lo-fi singer/guitarist is credited with inspiring Blur's true break-through album, The Great Escape.

Malkmus used to be friends with Blur's Damon Albarn but since Blur "ripped off" Pavement's signature sound on albums 13 and Blur, the relationship has been touchy. Malkmus is also credited with having some influence over Radiohead's OK Computer.

But if the USA has Malkmus and Pavement, then England would argue that they have Mark E Smith and the Fall. And if the USA and England have their patron saints of simple, clanging and banging music then New Zealand bands like The Clean, the Verlaines and Straitjacket Fits can claim some part in The Strokes DNA.

These so-called Flying Nun bands were a huge influence on Stephen Malkmus. "For me it was the years 1986 - 1990 when I was into Flying Nun," he told Rip It Up in April this year upon the release of his latest solo album."I went off to college and got into punk and New Zealand music. It was kind of poppy and jangly but it was slightly underground." What better way to describe The Strokes?

Clean, clang, bang

THE AMERICANS:

Ramones

Ramones (1976)

Blitzkrieg Bop was the Ramones first anthem. Rock’n’roll stripped back to its bare essentials — four chords, catchy tunes and deliciously daft words.

Television

Marquee Moon (1977)

The Strokes could very well be Television. But the difference is, Television played three-minute songs as well as ten-minute songs.

Husker Du

New Day Rising (1985)

Sonic three-man guitar rock. The opening assault of New Day Rising could just as well have signaled Apocalypse rising.

Sonic Youth

Daydream Nation (1989)

If the Ramones were simple, catchy rock’n’roll then Sonic Youth were simple, catchy, noise. Whether you’re sailing Cross The Breeze or riding a Silver Rocket — it’s a trip.

Pavement

Slanted and Enchanted (1992)

Debatable whether this is their best work but it’s what the public wanted and apparently what Blur — and Radiohead to a certain extent — needed.

THE BRITS:

The Fall

458489 A-Sides (1990)

This album encompasses the mid to late 80s when the Fall was at their arty, deviant best. Everything from warped opener Oh Brother! to the jaunt of Dead Beat Descendent.

THE NEW ZEALANDERS

The Clean

Boodle, Boodle, Boodle (1981)

Simple, catchy and child-like. It’s music that became uniquely Kiwi sounding and is a sound that many overseas still associate most strongly with NZ.

The Chills

Kaleidoscope World (1984)

This eight-song collection included everything from the dark foreboding Pink Frost to the rollicking Rolling Moon and the flutter of Kaleidoscope World.

The Bats

Daddy’s Highway

Noisy country pop music you can stage dive to. Their line up read like a mini NZ-super group including Robert Scott (ex-Clean) and Paul Kean (ex-Toy Love).

Straitjacket Fits

Melt (1990)

Shayne Carter (now Dimmer’s head honcho) has a unique voice and shows on Melt his genius songwriting talents. She Speeds might not be here, but who cares.

The Verlaines

Hallelujah All The Way Home (1985)

Graeme Dowqnes (see story over page) is a poet and story teller and puts it to music. He now teaches the rock’n’roll degree at Otago University.

#not my scans #bands #the strokes #julian casablancas #nikolai fraiture #fab moretti #nick valensi #albert hammond jr #iti era #interviews #rip it up nz #HUGEE THANKS to the christchurch city library staff for helping me get these!!!!! i've been trying for MONTHS #(not sure if i should name the staff member theyre so so nice but idk if it would be a breach of privacy somehow? sdkjfhdg)#and to the redditor who suggested i contact christchurch city library!!#so happy u guys can now read one of the funniest strokes interviews ever #be sure to check out the web version in the link there's more funny stuff that didnt make it in to the print ver!!#like rip it up gifting the strokes a robot doll and julian saying he had a nightmare about a robot like that destroying the world

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