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msbunnat · 2 months ago

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sorry if you’ve been asked this before but how do you interpret Zeus in Greek mythology?

I know you like to keep the details of your comic a secret but can you at least elaborate on your perspective about his canon?

Like me personally, I see Zeus as kind of a force of nature, probably cuz he kind of is. He’s the man made character created in order to further understand that which man did not know, like all the gods. And also like the other gods his actions are hard to rationalize cuz they’re so dam inconsistent. One moment he’s treating women as disposable then the next he’s giving Hestia the respect and permission to never marry without any question.

sorry for the Yap sesh lol, love ur art and ur comic btw!

I think this is the first time someone has asked this and I am very happy to answer!

*THIS IS TO BIG SORRY!! ;-;

First, I need to make it clear that the Zeus of ancient myths and my Zeus will be different, even though its based on mythology. I am just contributing with my two cents to this range of fanfics that have existed since ancient times.

I truly believe that all the myths we love and explore are basically fanfics based on a religion and that people in the past used them to spread knowledge, comedies, tragedies and just to have fun while keeping the image of their gods alive. That is why the gods are so inconsistent in mythology, since we have many variations even of a single myth and it will always depend on who is telling the story (I wish it were easier to make fics like this about my religion, but I am afraid of the reaction of extremists).

I interpret Zeus in mythology like all the other gods, I no longer make a distinction based on the prejudice of him being a compulsive pervert, he has many sides. As all gods re natural forces, natural as in animal and plants, but also human feelings and urges.

Zeus has some basic pillars that myths tend to respect: He is THE father, he is the fairest one, he is the executioner, he is seductive, he is good-humored (sometimes he makes some bad jokes kkkkkk), he defends natural balance more than anything and he respects the will of others (this seems ironic, but calm down!!). After reading more myths about him and different interpretations, I understood that this modern view of him as a player is completely distorted and ignores all the other myths he participates (I understand that it became his joke, but… some people take it to seriously). So I started to form my own view of his myths.

Most of his adulteries are consensual and when they are not, they remain in that confusing area of what was once consensual, since it is always mentioned that he seduces (for example, how he turned into an bull or a shower of gold because he knew that his potential partners really liked those things - and I find it hilarious that it seems like he didn't even intend to get Danae pregnant kkkkkk, but it ended up happening). This doesn't mean we can't understand that some of these seductions are abusive (like taking the form of a husband to have a night with Persephone or Alcmena), but saying that he discarded them doesn't seem right either. He often protected his lovers and bastards in the most intelligent way possible and sometimes he just walked away too for the good of others. And in a way, as the father and lord of the sky, he is always watching. I also hate how we take away any woman agency when it comes to Zeus, like, there re myths that they wanted a casual nigth with a god... stop ignoring that!! (the bad thing is that Zeus is also a pilar for fertility ;w; so if he sleep with someone with a uterus... they will get pregnant).

Going to the non-literal side, we have to remember that Zeus is a god and his adultery should not be seen as the same as that of mortal men. He cant acuatlly be with a mortal on the mortal realm and be a husband there... I also want to say: Hera wasn't that jealousy (I think she herself knew that Zeus needed to spread his blood/goodness in the world - yes, a strong interpretation is that Zeus' affairs are a metaphor for spreading goodness). On the contrary, she respected the bastards who faced their challenges and thus deserved to be close to them on Olympus. Hera tested the heroes for two reasons: So they understood that she and Zeus were in charge (so that no one would think they could usurp the throne, and she protected both her and Zeus, as well as Zeus do his best to also prevent the bastards to die and have some help - both Zeus and Hera do all this from a distance, they want to be fair with eachother) and to see if they deserved to be with the immortals.

It seems ironic today, but Zeus respected everyone's will, but it was in the Greek terms (more of in atenians terms, bc we don't have much of the other states). He accepted the decisions of Hestia, Athena, Artemis… I don't remember seeing him laying a finger on them or wanting them to get married. On the other hand, we have versions of him as father of Persephone, 'selling' her (but the myth was about an arranged marriage and I think it makes sense that it's Zeus, since the focus ends up being Demeter's suffering and this encompasses more complex feelings when losing her daughter because her 'husband' gave her away, while he is still respected and loved socially).

Now the bad side of Zeus in how fair he is. He punishes Apollo in some situations, even though I understand why he needed to do it… But he is not shallow enough to be evil for the sake of evil… It left a impression on me when he killed Asclepius and hurt Apollo (obviously), it is sad and I doubt he enjoyed killing his grandson, but if he didn't do it… the balance of the cycle of death would collapse and he is the one who sustains this cycle with the greatest respect. In fact, my theory is that he doesn't face Nyx, not because he fears her, but because no matter who wins the fight, the world will end (if Nyx dies, the night and everything that comes from the night, for the Greeks like sleep and death, will be disturbed / if Zeus dies the throne will be empty and no other god would do what he does, maybe Athena, but the world was too sexist back then to let her become sovereign and I also think she would be colder than Zeus when making decisions and would have no descendants…). But sometimes he just wanted to prank and have fun! So like, no straight answer here.

In the case of Ganymede, I believe that his myth is more one of those in which Zeus is merely a narrative tool, more than an active role. People just started shipping them and that's when the pederasty boom happened, but before that Ganymede was just a boy who was handsome and got a 'dream job' (poor thing…).

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longing-for-rain · 3 months ago

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Just so you know, some of your anons are coming from a blog called @mal3vol3nt

I do not know if you’re aware, but she’s chronically obsessed with you and has also been sharing your ao3 on Twitter and inciting harassment there too, saying you’re “racist” and a “degenerate” and accusing you of writing underage. Her blog lately is mainly posts about you and it sounds very similar to some of your anons

I had to check this out for myself and...wow. All I can say is just...wow 🤣

No, I actually had no idea who this person was but from the looks of it she's been obsessed with me for months? I guess that explains the anons, I knew these people were mad, but apparently they've been over here steaming over my takes and are legitimately terrified of me. And I didn't even know them! Didn't realize I've been doing numbers on Twitter (or X whatever it is now) despite never having an account.

(The rest is below; please don't click if you do not wish to see insensitive discussions of rape or if you are not in the mood to read opinions so malformed they will melt your brain)

I guess I have another angry little troll who doesn't know what a captial letter is obsessed with me. Wish I could say it was the first time, but alas. A lot of particularly funny things here though.

> Advertising your terrible ragebait Twitter like anyone finds you important

Lmao.

> "write fanfiction of katara being raped so zuko can save her"

What a terrible misread of the point of that story, but then again, I don't expect much else from a terminally online crybaby who exclusively consumes media for children. If you can't handle adult discussions about adult topics, maybe don't read stories that are clearly marked 18+ and with far more extensive trigger warnings than any mainstream media will give you.

> "measuring the size of her breasts and hips"

Lmao. I said she is drawn differently in different scenes. That's it. You guys are another level of unhinged.

> "obviously fetishes and racism"

It's kind of creepy how they sexualize Zutara, while simultaneously accusing us of doing that. Why do you assume a fetish is the only reason behind someone liking a ship? Why would you say this about a group of people including many black, brown, and indigenous women? And minors? And if you want to get into the whole fetish thing, don't even get me started on the shit I've seen from the kataang fandom. Hint: when I say some of you have a "mommy fetish" I mean it in a very literal sense. Not to mention the whole kataang rape discord debacle.

> "sick fantasies about these minor characters"

I have never depicted a minor in a sexual situation. I make a point to explicitly avoid doing that, and all characters are depicted as adults. Your lack of media literacy isn't an argument. If you're going to criticize my writing, at least read it, which you clearly didn't. And if the content is too upsetting for you, you clearly lack the maturity to engage in these kinds of discussions.

Imagine treating ship discourse this seriously, actually unhinged. Who said that Ember Island Players is the real Katara? What? She talks a big number about coke-fueled rants, must have given it a try herself. How do you expect to be taken seriously when you never say anything of substance and screech "racism" or "colonizer" every other word but can't even articulate the significance of those terms? Honestly, at this point you sound like a right-winger who thinks saying "but I'm [identity] and I agree with [opinion]" is a golden ticket to winning every argument.

And look at this: apparently I deserved all the things she and her friends sent me? Actually I respect this take, at least she's honest about it unlike the people who cry and backpeddle when they get caught red-handed.

I'm actually cackling at this one. Genuinely laughing; my neighbors are probably concerned. It's like you took every single Bad Person Allegation and threw it into a blender. And to top it all off, apparently 24 is "pushing 30" now LMAO. And apparently I, a lesbian, could only possibly like Zutara because I think Zuko is hot. Not to mention the way they entirely miss the point of Zutara, but ATLA itself, by insisting that Zuko is a "violent imperialist" who is apparently unworthy of love by anyone who does not share his skin tone. Kind of ironic coming from the people crying that I'm a racist who doesn't understand the show. Next level clownery.

This is so funny. These people are absolutely terrified of me, no amount of unhinged anons will hide that. It's fine for men to tell me I deserve rape and death, that I'm a dirty pervert for daring to speak out about sexual trauma, and that women's sexual trauma is nothing but a fetish, but if I respond to that man telling him he should die for being so disrespectful and misogynistic to rape victims, I'm the monster? I stand by it. If you think what he said about rape and rape victims is acceptable, especially if you're a man, die! Hang from ropes, as I said.🥰

I guess I should be really scared though. This is clearly a very influential figure in the fandom who is renowned for her enlightened wisdom on the plight of fictional cartoon characters against evil imperialists like me (adult with job).

...oh wait. I was excited for a minute, I thought I was dealing with a celebrity. But even the "callouts" struggle to hit 20 notes :/

And to everyone sending me positivity during this time, thank you very much! But I wanted to show you this to assure you I'm doing just fine. People can act as weird as they want behind a gray face, but after seeing the kinds of whiny little brats they are in reality, it's pretty hard to take it seriously. "I got my plane ticket" my ass, that would require you to leave your decaying, trash-filled apartment.

#tw sa mention #anti kataang #zutara discourse #atla #avatar the last airbender #avatar fandom problems #ask #anon

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furinana · 21 days ago

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During the scene where Fujiwara and co. confront Nanashi on Anarchy, I noticed Flynn has more to say in Japanese. In English, he basically says Nanashi is his lord and god and he'll kill anyone who stands in his way, but in Japanese (from the machine translation I used), he mocks the crowd for "clinging to a cage." What do you think? (also, super cool how smt4 has optional alignment convos like that. I didn't notice. Thank you for sharing!)

"Come, you weaklings that hang onto the cage that must be destroyed! You are at the presence of a god, clear the path!"

Some Japanese fans bring this scene for the argument that Flynn having unsolved feelings regarding humanity's helplessness could convince him to work under Krishna (or Dagda). So...

Let's remind ourselves of a key element of the duology.

The process of "influencing one's mind" is a recurring theme in SMTIV&A, and comes from both deities and humans. -> The fragile and elusive Goddess of Tokyo that is the result of Tokyo's hopeless state (to which Masakado pushes back through Flynn) -> Flynn impacting the Tokyoites to such a great extent that he becomes their Messiah (and the Divine Powers take advantage of) -> The monastery controlling Mikado, Lilith (and later, Maitreya) controlling the Ring of Gaea, Tayama (and later, Samyaza) controlling the Ashura-kai etc.

Even Nanashi himself is acting differently than how he would prior to his death.

However, contrary to what many fans think, the power of influence addressed in SMTIVA isn't found only in extreme cases (where you may call it brainwashing) but also in situations where one must 'read the air' and think in collectivist terms (which is inherently linked to respecting hierarchy and rules) rather than focus on yourself individually.

When you're in a vulnerable position, you will agree with who has the most power in order to avoid social stigma and, depending on the seriousness of the situation, even out of survival.

In SMTIVA's dialogue options, you either "respect harmony" through Nanashi considering other people's feelings or "disregard everyone but yourself" through Nanashi acting in ruthless manner.

As I also mentioned before, these dialogue options shouldn't necessarily be seen as Nanashi's "personalities". There's a margin of interpretation where the player can infer as those being ways in how he wants to be perceived. Nanashi can still be apathetic in Bonds while also being able to act kind in Massacre.

Nanashi can act in a deceitful manner, in however way you, the player, interpret him to be.

Therefore, if Nanashi can hide his displeasures with harmony and the cycle of suffering in order to have everyone alive OR put on a sociopathic pretense so he won't feel heartbroken anymore...

Why the same couldn't be true for Flynn?

"The real thrill of Megaten is being able to make the main character fall into darkness. [...] Dagda respected the person's wishes, so I think that Flynn's words and actions are all from his true intentions. (Although it cannot be denied that once you die, your personality becomes different.) He was tired of being treated as a savior while being ignored as an individual."

But what is Flynn as an individual? Rather, what is a genuine Flynn?

Reflecting on the parallels between the childhood friends is intrinsic for measuring why Flynn and Nanashi would "fall into darkness".

Just like Nanashi with Asahi, Flynn can't mask his true nature from Issachar. They are the first character introduced to the player in each game, which conveys the fact they are who the protagonist has the most familiarity with.

Of course, there's not a single way of interpreting what Issachar and Asahi mean to the player. Many might see them in a despicable manner.

"I think it's a relief that [in the Massacre Route] Flynn's memory disappears and he's left wondering what a fishing hook is. Fishhook Mount Man was a piece of scum who pretended to be Flynn's best friend, got jealous, turned into a devil [...] and attacked him. And because of this guy, Flynn's parents..."

What's relevant however, specially in Issachar's case, is that he consistently stays as part of how Flynn sees himself as a person at the same time of also reflecting on Flynn's view on humanity.

To which gives the opening for Krishna to act on (and later, Dagda).

Now let's analyze what points Krishna brings that would, in his opinion, "reach and save Flynn":

Krishna talks of Flynn in a familiar tone as if he's in the know of what was happening inside the Samurai's mind. To which is later confirmed by Flynn himself, in Bonds:

Talking about the long-lasting and complex dynamic between Krishna and Flynn's soul is where things start getting.... tangled.

While the direct cause behind the tragedies that befell onto Flynn's Sengoku period's incarnation (which was only addressed in the side-story published in the SMTIVA Artbook), Krishna is also a victim of YHVH's meddling and the humans' observation.

As I mentioned earlier, SMTIVA addresses the power of influence with observation being the one that directly affects myths.

Due to the religious syncretism, Krishna became fused with Buddhist and Shinto deities (Mahakala and Okuninushi respectively) and turned into the deity Kokuten, an unrelenting deadly force whose bloodthirsty nature turned him into the culprit behind the 26 Martyrs of Japan in the fictional world of SMTIV.

What happened with Krishna's past self is the best example of how disastrous "influence" can be.

On another note, Kokuten was also responsible for the death of Gamo Ujisato, an IRL feudal lord that also happened to be the master Sengoku-Flynn served under, to which made Sengoku-Flynn go on a journey of vengeance and self-sacrifice that lasted over two decades.

Ironically, Sengoku-Flynn's obsession in avenging his master and trading his life away to succeed in defeating Kokuten made him die free of regrets and even more, feeling "saved" by Krishna's return to himself.

Thus we must finally connect to how Krishna is in the myth.

1) Are Flynn and Krishna compatible?

"One has the right to perform their expected duty, But not to the right to the fruits of action; One should not consider oneself as the doer of the action, Nor should one attach oneself to inaction." - Bhagavad Gita 2 : 47

In the context of SMTIV, we can see Flynn in a similar place as the morally troubled Arjuna, the warrior to whom Krishna advises in the battlefield.

In Bhagavad Gita, Krishna teaches Arjuna about the eternal nature of the soul and the temporary nature of the body, advising him to perform his warrior duty with detachment and without grief. Krishna emphasizes in the scripture that this is the key to attaining inner peace and spiritual growth.

The entire scope of what we see Flynn's undying soul going through fits into Krishna's ideal concept of a stoic warrior that fulfills his duties selflessly while renouncing the rewards of his achievements by constantly throwing away his body in the process.

2) How did Sengoku!Flynn change Kokuten back to Krishna?

"And whoever, leaving their body, goes forth remembering Me alone at the time of death, they will attain My Being; there is no doubt about this." - Bhagavad Gita 8 : 5

Krishna reveals the importance of the last thought before death. If you remember Krishna at the time of death, you will certainly attain him.

3) What is the great singularity?

3.1) Why would it be the solution for humanity's cycle of suffering?

"Having attained Me, the great souls are no more subject to rebirth in this world, which is transient and full of misery, because they have attained the highest perfection. In all the worlds of this material creation, up to the highest abode of Brahma, you will be subject to rebirth [...] But on attaining My Abode, [...] there is no further rebirth. [...] At the advent of Brahma’s day, all living beings emanate from the unmanifest source. And at the fall of his night, all embodied beings again merge into their unmanifest source. Multitudes of beings repeatedly take birth with the advent of Brahma’s day, and are reabsorbed on the arrival of the cosmic night, to manifest again automatically on the advent of the next cosmic day. Transcendental to this manifest and unmanifest creation, there is yet another unmanifest eternal dimension. That realm does not cease even when all others do. That unmanifest dimension is the supreme goal, and upon reaching it, one never returns to this mortal world. That is My Supreme Abode. The Supreme Divine Personality is greater than all that exists. Although He is all-pervading and all living beings are situated in Him, yet He can be known only through devotion." - Bhagavad Gita 8:15-8:22

Krishna talks about the various abodes in the material realm and the cycle of creation. He further explains how the multitudes of beings manifest on these abodes, and at the time of dissolution, everything absorbs back into Him.

However, the divine Abode of God is untouched by this cycle of creation and dissolution. Those who progress on the path of light finally reach the divine abode and never return to the material world. Whereas those fallen souls who tread the path of darkness endlessly keep transmigrating in the cycle of birth, old age, sickness, and death.

Krishna emphasizes that every being has an impermanent body and an eternal Self, and that "Krishna as Lord" lives within every creature. Everything is in Krishna and Krishna is in everything. However, only through devotion, when our mind is perfectly absorbed in Krishna, we will elevate from the material dimension to the spiritual realm.

3.2) How are worshippers divided through it?

The majority of Hindus believe in one supreme god (The Brahman). Everything is a part of and a manifestation of Brahman, the ultimate reality; however, Brahman’s qualities and powers may be represented by a great diversity of gods/deities all of which emanate from The Brahman.

Rather than being a single doctrinal religion, Hinduism encompasses a broad range of perspectives on the nature of god including polytheism, pantheism, monism and monotheism. Which might be a possible reason for the Polytheistic Alliance being renamed as Divine Powers in the localization.

This one ultimate reality can be perceived in and through an infinite number of names and forms. The Hindu concept of god and deity varies from supreme god to a personal god to even hundreds of deities. For Hindus, god is one, but also many.

In conclusion, Krishna is worshipped as one of the many reincarnated forms of Brahman.

When SMT4 Krishna states that those that side with him will each get their own slice of followers, he means that his allies will all become manifestations of the same supreme god.

4) What does Krishna mean by "love"?

"For those whose minds are attached to the unmanifest, the path of realization is full of tribulations. Worship of the unmanifest is exceedingly difficult for embodied beings. But those who dedicate all their actions to Me, regarding Me as the Supreme goal, worshiping Me and meditating on Me with exclusive devotion, O Parth, I swiftly deliver them from the ocean of birth and death, for their consciousness is united with Me." - Bhagavad Gita 12:5 – 12:7

In the 12th chapter, Arjuna asks Krishna about the two types of yogis (yoga practitioner) and among them whom does he consider perfect, those who worship the formless Brahman or those who are devoted to the personal-form of God.

Krishna declares that devotees can attain Him by both paths. However, he considers those who worship His personal-form as the best yogis with Krishna stating that when God is loved in a personal aspect, the way is vastly easier.

Hindus believe that god permeates all things—animate or inanimate—and, as they enhance our well-being, intellect, and spirituality, one worships them. For example, the sun provides us with warmth and life, so they respect the Sun god; our parents protect us, feed us, guide us, and look after our well-being, so they respect our parents as gods.

Krishna can be projected as "a merciful father, a divine mother, a wise friend, a passionate beloved, or even a mischievous child".

The text states that combining "action with inner renunciation" with the love of Krishna as a personal God leads to peace. In the last eight verses of this chapter, Krishna states that he loves those who have compassion for all living beings, are content with whatever comes their way, and live a detached life that is impartial and selfless, neither craving for praise nor depressed by criticism and unaffected by fleeting pleasure or pain.

Flynn's soul shared most of the qualities Krishna desired in a warrior. Strong devotion towards those he serves and incredible endurance towards his own pain.

However...

Vishnu-Flynn ultimately lost in both routes.

In Bonds, Flynn couldn't detach himself from you and your allies so he struggled the most against Krishna in this route.

In Massacre, with all of your companions dead, there seemed to be no signals of Flynn coming out. Thus Nanashi's own will prevailed over Flynn's broken will.

WHAT I THINK:

-> Yes, the duology had plenty of buildup for a dark Flynn to come out regardless of alignment. Flynn's PTSD regarding Issachar was the leading cause towards him being mentally scarred and constantly unsure of himself. -> No, I don't believe Flynn would worship Krishna by his own will (at least from what we were presented). Being "manipulated" or "coerced into it" are the ways I can see Flynn consciously working under Krishna, similarly to how Dagda put Nanashi in an unfair situation when reviving the young Hunter.

But even for those what-ifs to take place, Krishna would've needed to give a choice to Flynn, which didn't happen due to his Supreme God ego. As friendly and compassionate as he may appear on the surface, at the end of the day Krishna is a deity that demands complete exclusionary devotion from his worshipper.

And as Krishna himself states in the Gita, it won't flow smoothily if the devotee isn't doing it with love. It's a two-way street.

On a personal level, I consider Flynn and Krishna's dynamic interesting regarding their long history of clashing but not in a sense where there would be genuine reciprocity.

AND NOW...

Dissecting the Massacre route

In contrast to Krishna's depiction being an obvious reference to the Gita, Dagda's is more of an implicitly clever "subverted take".

I discussed it in depth in this post and strongly recommend to read it before proceeding in order to understand the full scope of Dagda's character and associated themes I'll be using here.

......

Read it? Okay, let's move on to the original point of your ask.

1) Flynn's personality change

"I'lll always be by his side, no matter what. This body* exists only for my master..." *(身 means body in a philosophical sense to which can be translated as one’s self, mind or social position. For this context, "body and soul" could fit as well)

The thing about Massacre Flynn is that, rather than only taking what he says at face value, one should delve into the WHOLE context of the alignment this Flynn is working under.

To try seeing through the lenses of another fan once again, I asked a friend what was their opinion on Flynn's behavior in the Massacre route and they gave me 3 possibilities of what happened.

1) Dagda brainwashed Flynn after pulling his soul out of the underworld

My response: This contradicts SMTIVA Dagda's philosophy of maintaining a human's will thus the least likely on the perspective that Dagda isn't being hypocritical. ❌

2) Dagda only revived Flynn's body, and since his soul is strongly devoted to those he serves, he was born ready and willing to serve.

My response: We can put this one together from what we see. First evidence: yes, Flynn is only stated in-game to "have his wounds healed" by Dagda. Second evidence: S E V E R A L instances of Flynn's soul acting self-sacrificial in 3 different lifetimes. => Previously I've also thought of a similar explanation but with Krishna being the one that broke Flynn's original self instead, thus when Nanashi defeated his previous master Krishna, Nanashi filled the seat for who Flynn "worships" <=

However, in either case, it's not a very... conclusive outcome. The margin of interpretations is too wide and there's still a feeling of contradiction regarding Dagda's philosophy.

While it's the most possible one within the boundaries of evidence, it still would lead to the player interpreting that Dagda might be using Flynn without a sense of respect contrasting his own pact with Nanashi. △

And here's the final possibility:

3) Dagda had a conversation off-screen with Flynn in the underworld, and Flynn is back out of his own free will. Maybe his change in personality reflects his conviction to the new cause.

My response: While we don't have scenes where this specific instance is conveyed verbally to the player, an attentive player will recognize that:

-> Flynn talks to Charon before deciding between being revived or not. Just like, guess. Nanashi with Dagda.

-> It'd explain much deeper why Dagda and Nanashi's agreement works, why Flynn couldn't work with Krishna and THUS why Flynn can work with Dagda.

Dagda would act respecting Flynn's will, therefore staying genuine to his ideals. ⭕

If Flynn is acting on his senses, what does it mean?

Sidetracking for a bit, the Japanese script is more clarifying for why Dagda had to revive Flynn.

After killing Vishnu-Flynn, Nanashi snatches the Cosmic Egg's throne and ascends to a higher level of existence. While not the full-fledged God (as he needs to defeat YHVH for that), by this point Nanashi is no longer considered in the limits of a human.

"To destroy YHVH, the god who rules the current universe, a <<Godslayer>> will be necessary..." "[Player], make use of Flynn as a Godslayer to defeat YHVH"

As powerful as Nanashi became, just like Dagda and any other deity, he can't actually do an one-on-one fight with YHVH. He needs to take advantage of Flynn's status as a human to observe YHVH.

The last screenshot is the most important in this subject:

"This is why the gods goad humans to their side, and make them observe things which are beneficial to them."

Deities can't escape influence from humans. Stephen himself is indirectly pushing Nanashi to "influence" Flynn in order to have a chance at defeating YHVH.

Dagda chooses Nanashi on the perspective that their "new world" together will be from humans to humans while all the other phenomena (including Dagda) goes back to being nature — the "original" or, you could say, scientific versions of themselves.

Since we're at it, let's finally talk about...

2) Death of belief as a philosophy

2.1) When SMTIVA was first revealed in the Famitsu magazine, the main keyword of the game was "Deicide."

2.2) Stephen Hawking

Real-life Stephen Hawking was well-known for rejecting the conventional notion of God and had its fair share of quotes on the matter:

“God is the name people give to the reason we are here” “Spontaneous creation is the reason there is something rather than nothing, why the universe exists, why we exist” “It is not necessary to invoke God to light the blue touch paper and set the universe going.” "In my opinion, there is no aspect of reality beyond the reach of the human mind"

2.3) Parallels to Nietzsche's Übermensch

In Thus Spoke Zarathustra (1883), the character Zarathustra posit the Übermensch as a goal for humanity to set for itself. Über can have connotations of superiority, transcendence, excessiveness, or intensity, depending on the words to which it is attached. Mensch refers to a human being. A way to translate would be "Superhuman".

2.3.1) The Übermensch represents a shift from otherworldly Christian values and manifests the grounded human ideal. The Übermensch is someone who has "crossed over" the bridge, from the comfortable "house on the lake" (the comfortable, easy, mindless acceptance of what a person has been taught, and what everyone else believes) to the mountains of unrest and solitude;

2.3.2) Zarathustra declares that the Christian escape from this world also required the invention of an immortal soul separate from the earthly body. He further links the Übermensch to the body and to interpreting the soul as simply an aspect of the body;

2.3.3) The Übermensch is tied to the death of God. "God is dead" means that the idea of God can no longer provide values. Nietzsche refers to this crucial paradigm shift as a reevaluation of values.

Sidenote: throughout SMTIV&A, one can see other concepts explored by Nietzsche such as the “eternal return”, which frames existence in terms of endlessly repeating cycles and the "will to power", which involves a ceaseless struggle for survival and mastery.

2.4) Parallels to Sartre's Being and Nothingness

The central notion of this book is that "existence precedes essence". It also introduces of the concept of bad faith, a psychological phenomenon whereby individuals act inauthentically, by yielding to the external pressures of society to adopt false values and disown their innate freedom as sentient human beings.

Sartre said that human beings have no essence before their existence because there is no Creator. This forms the basis for his assertion that because one cannot explain one's own actions and behavior by referring to any specific human nature, they are necessarily fully responsible for those actions. "We can act without being determined by our past which is always separated from us."

Sartre maintained that the concepts of authenticity and individuality have to be earned but not learned. We need to experience "death consciousness" so as to wake up ourselves as to what is really important; the authentic in our lives which is life experience, not knowledge. Death draws the final point when we as beings cease to live for ourselves and permanently become objects that exist only for the outside world. In this way death emphasizes the burden of our free, individual existence.

"We can oppose authenticity to an inauthentic way of being. Authenticity consists in experiencing the indeterminate character of existence in anguish. It is also to know how to face it by giving meaning to our actions and by recognizing ourselves as the author of this meaning. On the other hand, an inauthentic way of being consists in running away, in lying to oneself in order to escape this anguish and the responsibility for one's own existence."

Would you look at that! Both 2.3.3 and 2.4 covered my friend's theory that Flynn's change in personality would reflect his conviction to the new cause.

-> Nanashi "becomes a god" -> Stephen states in-game he "transcended humanity as well".

In Christian context, an ordinary human being is still accountable and responsible to (capital 'G') God. In existential atheism, each individual is considered fully responsible for the entire world they live in.

Nanashi isn't "setting himself to be a second YHVH". He becomes "godlike" in his self-determination, thus having command over his own destiny.

->->-> So when Flynn says, in the original script:

"Come, you weaklings that hang onto the cage that must be destroyed! You are at the presence of a god, clear the path!"

He means that Nanashi is "a human that is above faith itself"<-<-<-

Sounds edgy? It might sound edgy. And yet....

3) Rejecting God doesn't make you nihilistic

3.1) Despite his lack of faith, Stephen Hawking believed that the universe and life have meaning:

“Remember to look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the universe exist”

3.2) Nietzsche's Zarathustra proclaims the will of the Übermensch to give purpose to life on earth, and admonishes his audience to ignore those who promise otherworldly fulfillment to draw them away from the earth.

3.3) Karl Marx famously stated:

"The foundation of irreligious criticism is: Man makes religion, religion does not make man. Religion is, indeed, the self-consciousness and self-esteem of man who has either not yet won through to himself, or has already lost himself again. But man is no abstract being squatting outside the world. Man is the world of man – state, society. This state and this society produce religion, which is an inverted consciousness of the world, because they are an inverted world. Religion is the general theory of this world, its encyclopaedic compendium, its logic in popular form, its spiritual point d’honneur, its enthusiasm, its moral sanction, its solemn complement, and its universal basis of consolation and justification. It is the fantastic realization of the human essence since the human essence has not acquired any true reality. The struggle against religion is, therefore, indirectly the struggle against that world whose spiritual aroma is religion. Religious suffering is, at one and the same time, the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people. The abolition of religion as the illusory happiness of the people is the demand for their real happiness. To call on them to give up their illusions about their condition is to call on them to give up a condition that requires illusions. The criticism of religion is, therefore, in embryo, the criticism of that vale of tears of which religion is the halo. Criticism has plucked the imaginary flowers on the chain not in order that man shall continue to bear that chain without fantasy or consolation, but so that he shall throw off the chain and pluck the living flower. The criticism of religion disillusions man, so that he will think, act, and fashion his reality like a man who has discarded his illusions and regained his senses, so that he will move around himself as his own true Sun. Religion is only the illusory Sun which revolves around man as long as he does not revolve around himself." Critique of Hegel's Philosophy of Right of 1843

Remember what Flynn blurts out after being saved in Bonds:

And yet, realize how similar the Law ending is to the Bonds ending:

Was any of this really what Flynn truly wanted? For humans to stay dependent on him in this illusionary happiness instead of being able to save themselves?

The concept of Nanashi being a "god that retains his humanity" might not be only based on he being a human originally; as shown above, there's a strong margin of interpretation that Nanashi could have hid behind a cold-blooded front all along in order to release the cycle of pain that has blighted his peers and loved ones among humanity. Once and for all.

WHAT I THINK:

-> Flynn isn't 'worshipping' Nanashi as he being a traditional god.

He either...

a) follows Nanashi paralleled to the way he followed his late master Ujisato (in other words, like a leader he's debted to); or b) is equating worshipping Nanashi as worshipping the concept of 'humanity free of its chains' itself.

Flynn's servant's nature may or may not have been part of Dagda's contract; as I discussed earlier, Flynn's soul acting self-sacrificial and subservient happened even in situations where he supposedly had full autonomy. And again, Dagda would occasionally "coerce" Nanashi into thinking he was his puppet, but Dagda wasn't defacto making Nanashi act involuntarily.

-> Nanashi, his Goddess of choice and Flynn all "change personalities" in their consequent revivals, as a reevaluation of values adapted their cores to a new purpose in life.

Alternatively, if deities can get syncretized by the humans that follow them, humans can become "influenced" by the deities they follow. Remember the power of influence I discussed at the beginning of this post? Flynn used honorifics for Masakado, so it's expected that he would call Dagda and Nanashi by titles as well.

Which is why Nanashi and Flynn can disregard their childhood friends and allies alike for the purpose of "throwing away" what made them their old selves, but still acknowledge Walter and Jonathan that explicitly were chained to the reincarnation cycle alongside the protagonist duo and also "threw away" their past in order to become Law and Chaos pieces (and by twist of fate, the pieces turned back against their creator).

Although, at the end of the day, the degree in which this personality change occurs, be partly or fully, at once or gradual, fluctuating or immutable, is ultimately hard to evaluate due to lack of dialogue in this route; thus stays as an indefinite answer.

And my last observed point:

-> By becoming a god while Flynn stays as the last remaining humanity, Nanashi creates an 'ouroboros'. To which, ironically, makes him endlessly depend on Flynn's power of observation.

In other words, Nanashi's character from then on will logically be a reflection of how his sole follower views him. Whether this was Flynn's intention all along when agreeing with Dagda, it's up to you. ¯\_(ツ)_/¯

On a playful ending note:

Stephen Hawking (both irl and in-game) is afraid of no gods. That being said, you know what he said that humans should beware of?

Aliens.

There's a catch: If there are other civilizations out there, we'd better be careful not to run across the bad guys, a la "Prometheus." Hawking has previously warned against calling too much attention to ourselves, for fear of attracting the wrong sort of extraterrestrials. Such a visit might well be similar to Christopher Columbus' visit to the Americas, "which didn't turn out very well for the Native Americans," Hawking said. But how likely is it that intelligent life exists? Surely someone who's skeptical about God's existence would be skeptical about E.T.'s existence as well, right? Not really. NBC News

To complement on his opinion, evolutionary biologist (and outspoken atheist) Richard Dawkins suggested it's "most likely" that the universe has many forms of life — although those life forms may be on "islands separated by vast distances."

"The idea that we are alone in the universe seems to me completely implausible and arrogant [...] Considering the number of planets and stars that we know exist, it's extremely unlikely that we are the only form of evolved life."

What kind of messiahs does this man have in mind? I'm scared to even think about it...

#translation #smtiva #shin megami tensei iv apocalypse #smt iva

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okkos-ferrum · 1 year ago

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Hot take maybe but like i feel the vile crew are a much more fun, dare i say, dynamic of a dynamic.

Like dont get me wrong i think zack and ivy are a fun duo that contrast carmen's badasssery with player acting as intel and shadowsan as a stoic support

But antonio, jean-paul, gray, and sheena (mime bomb too ig??) played off carmen better. (Tho to clarify not at all saying the writers shouldve had carmen hang around vile instead, they def were all bad influences on one another due to vile)

Like to me, cuz carmen is the mainly hyper-competant moral good of team red, she somewhat stands alone for it. Player is highly specialized, while idk what zack and ivy contribute specific to the team aside from extra manpower. Shadowsan may rival carmen in skill, but he has his own mistakes he's working to fix, so he's in no moral place to argue against her. As much as team red is filled with good wholesome family moments, carmen still feels kinda treated as the leader, and thus, seperate from the group. I wish sometimes there would be a conflict (no im not including the s2 conflict with the car and stuff idk that one was too inconsequential to me) between team red splitting hairs on how to approach a problem. Itd add some variety to each specific relationship carmen has with each rather than a generic friendly terms

The vile crew works as a more entertaining group cuz there are actual unique dynamics carmen has with each of the group members, as well as the group members themselves having unique relationships with each other. For the first point, cuz everyone is on the level playing field of some kind of competant thief, its not like carmen has the immediate, no-questions-asked role as the leader. Theres more of an underlying feeling she had to make a good impression aside from her skills to gain their respect, which to me is more realistic than zack and ivy suddenly attatching themselves to a then dismissive but skilled carmen during the boston caper. Like as contrived sheena just being a hater to carmen is, theres still something interesting abt her still tagging along with carmen as a reluctant friend/rival. As such, it challenges carmen to show a different side to her, like her constant need to prove herself, to the forefront, which in turn, helps also flesh carmen out more. In comparison, antonio is quite the opposite, being literally so nice to everyone regardless, which also makes him stick out (like for example, in the cs interactive game, he will readily help carmen out if u choose him to be an ally)

Each character in the vile crew have also unique groups. Unlike one blob of general friendliness like team red (aside from the over it dad energy from shadowsan lol), we see that antonio and jean-paul have a closer friendship within the group, similar to how carmen and gray also have a closer bond. Tell me the unique relationship zack has with player that is different from how anyone else treats player? Like its not much.

Theres def more banter within the vile crew as well, with sheena always being the sour one of the group. Moreover, there is the group collectively finding mime bomb to be the "weird guy in class" that is so endearing to me. They all challenge each other, like how they all judge gray's pun vile name, or how they sometimes make fun of sheena during their first mission. Yet admist all that, they still care and enjoy their company together, as seen with them still reminiscing the water balloon prank in season 4 or how antonio and jean paul are relectant to fight carmen the first time they see her again.

Idk i find it so funny how the show was able to make the vile operatives so endearing as characters, especially in comparison to tesm red whos a bit lacking

#carmen sandiego 2019 #carmen sandiego #graham calloway #le chevre #el topo #tigress

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jerktournament · 1 year ago

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ROUND ONE - Byakuya Togami (Danganronpa) VS Yesod (Lobotomy Corporation/Library of Ruina)

(The contestant image for Yesod is from Lobotomy Corporation, but this entry is for both renditions of the character.)

!!! PROPAGANDA BELOW !!!

BYAKUYA: "- His title is literally, get this, "ultimate affluent progeny" - Fucking look at him /hj - Treats everyone as inferior in every way, even when they're trying to solve a murder he goes "how did YOUUU figure this out before MEEE???? >:0" - Constantly has an "Me vs. Them" mentality about everything so he feels the need to prove himself to be superior - Messes with crime scenes because it would "make them more interesting" (purposefully incriminating someone else, who he didn't like) Actual quotes by him - "I'm only here to get breakfast. I have neither need nor desire to talk to you. Now withdraw." - "You're like a child lost in the woods, you know that? A total waste of space." - "You know, I still just can't believe it... That an uneducated, brain-dead, useless piece of garbage like you has survived this long." - "You have only yourself to blame—you came to me with your tragic little story. I didn't ask you to. This is the real world, not some romantic fantasy fairytale.""

YESOD: "AAHGH HOW DO I EVEN BEGIN TTHERE'S JUST. yesod. probably spoilers here but when you first meet him in Lobotomy Corporation I think one of the earliest things he does is make a jab at your fashion sense even though it's universally agreed by new players that his outfit is a disaster (although he dresses like that for fear of contamination and his Trauma!). He's cold to mostly everyone and is very strict, rules-following kind of guy, and people often see him as emotionless and heartless, coming up with the nickname "The Viper" for him as a result of that! BUT!!! BUT!!!! LISTEN EVEN IF HE'S MEAN. EVEN IF HE'S COLD. HE'S LIKE THIS BECAUSE HE HAS TO BE!!! He has so much unresolved trauma in his past of getting too close with am employee and befriending them and losing them because he wasn't strict enough on safety regulations and let them off with a pass because they were friends. AND NOW HE'S CLOSED AND WITHDRAWN AND OBSESSIVE OVER SAFETY PROTOCOL BECAUSE HE'S SCARED AND HE REALLY REALLY DOES CARE ABOUT HIS EMPLOYEES!!! It's hinted that he doesn't like the nickname Viper but he accepts it because it makes him out to be the respected person he wants to be!!!! He praises the real AI of the corporation, Angela, for being cold and emotionless(which is ANOTHER bag of repressed trauma worms) and wishes he could feel nothing like her because HE FEELS TOO MUCH!!! I LOVE HIM SO DEARLY MI AMOR!!! And AND in the second game he's healed a little bit and is still a little mean but the first thing he does THE VERY FIRST THING HE DOES to the protagonist is walk up to him wordlessly and reach up to fix his tie. I'm normal about him. Also he's short. Short people closer to hell or whatever. IDK he's purple ok? :3 Even if he loses IT'S A TESTAMENT TO HIS GROWTH I'M PROUD OF YOU YESOD!!!!!!"

#byakuya togami #yesod #danganronpa #lobotomy corporation #library of ruina #drthh #yesod lor #err i think that's all the tags i need? lmk #poll #i like both of these characters man

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mesaprotector · 6 months ago

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was reading recently about the "to be lawful or good" trope (follow orders/respect rule of law, or do what's right?), and it occurred to me that western values are so idealistic on the matter that "good" is almost always chosen, and a character who believes the law is the greater good is usually painted as morally dubious and hypocritical. tvtropes points out that in the parallel "to be chaotic or good" dilemmas protagonists almost always choose chaotic. i guess that makes sense from the point of view of fiction as wish fulfillment, and the ideal world for an american is one where they can do whatever they want without consequences.

psycho-pass is a really good example of media where this does not happen. anime in general tends to be more respectful of "lawful" values, sometimes to excess from my own western point of view (too many anime i've seen, workplace abuse is "dealt" with by learning to work harder). but urobuchi at least has a nice concept of what a balance can look like. (spoilers below, of course).

akane tsunemori is the most lawful good character to ever lawful good. she has constant positive intentions, cares for everyone in her society, and does so by enforcing and interpreting the law - and would not have it any other way. there's an amazing quote from her near the end of s1 (i have not seen the later seasons):

"People have always detested evil and sought out a righteous way of living. Their feelings, the accumulation of those peoples feelings are the law. They’re neither the provisions, nor the system. They’re the fragile and irreplaceable feelings that everyone carries in their hearts."

when faced with "to be lawful or good", she never once gives up on the law, no matter what. she has at least two chances to kill a dangerous villain outright and rejects both as being against orders; when the law itself tries to ensnare someone she loves, she finds a way out by following the rules instead of just breaking them like any other hero would.

dungeons and dragons kind of threw the alignment system at players and told them "you, there, interpret this". it's difficult and a lot to ask. from the little experience i have with it, most players only care about good/neutral/evil, and as for law vs. chaos they're just treated like different flavors of ice cream. it's far more compelling to treat them as equally important - a lawful good character and a chaotic good character are as far apart, morally, as a lawful good and a lawful evil one.

psycho-pass s1 doesn't have a chaotic good character. the closest it gets is kagari, who could perhaps be called chaotic neutral (though i have trouble calling any literal cop chaotic, he was essentially forced into the role). but it does have a fantastic example of a chaotic vs. lawful conflict, just on the evil side - makishima vs. sibyl.

i think where i wanted to go with this is that part of maturity is learning that two people, or groups of people, who are fighting, may very well both be righteous, and talking it out is often not a solution. i think most modern politics is like this, but that's just my feeling. there are some fairly evil people around, to be sure, but the vast majority of people are not - and recognizing that those different from you are in some ways righteous, and that you yourself are in some ways capable of evil - is really a critical sort of humility.

i might be a little too thrilled with myself for having realized this so early - i was the only kid in my class who liked "lord of the flies", and i still do like it. tumblr used to really have a thing about hating it back when the audience on this website had an average age of 16. i hope those people who insisted "but i'd never have grown up to do anything bad" have learned better since. but looking at how many older people (including apparently most writers) haven't gotten the memo, i'm not too sure.

#yet again i'm posting thoughts that i starting having a decade ago #psycho-pass #akane tsunemori #moral relativism #long post

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skull001 · 1 year ago

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Amy hot takes.

Amy's Sonic Advance gameplay is still THE superior 2-D gameplay for Amy, and the only reason it hasn't been revisited in newer games is because Sega are cowards still stuck with the "one-button" approach that only works for Sonic and Tails.

Even when games like Origins Plus and Sonic Superstars nerfed down Amy to just two moves, she is still more fun to play as than Sonic.

Amy's gameplay in Sonic Advance >> E-122 Psi Amy hacks >> Amy Mania by Troop Sushi/Codename Gamma >> Sonic Supertars >> Origins Plus.

Sonic X's Amy is the full package of how Amy should be like. Even with her flaws, she was one of the most fun characters to watch, and surprisingly got plenty of moments that humanized her and even explore a bit of how she saw her relation with Sonic, proving she isn't deluded about it like her detractors claim.

Giving Amy a toy hammer is one of the best things Sega did, and wish the full potential of what she can do with it was more explored in gameplay terms.

The tarot cards should be only a back-up weapon, never the main one. Story-wise, the can guide her in her quests, providing the player with hints that they have to interpretate.

IDW's characterization of Amy is alright. The issue if anything, is that she, like the game characters, are hardly the focus of the stories, nor are they allowed to be shown in a more personal manner. Don't care if it's because Sega is too strict, or if the writers only use them to get to the characters that THEY really want to write for. Either way, the situation sucks for the game cast.

I think Amy is better suited to be the franchise's co-protagonist alongside Sonic. She is very versatile as she isn't restricted to be by his side 24/7, and as long as she sees Sonic as her prince in shining armor, there really isn't any reason to keep her from growing into a stronger and more beautiful heroine.

I'd like to see a story where Amy tries to help a character find redemption, but is ultimately unable to, betrayed by them even. I think this would be an interesting change of pace because, even if let down by those Amy tries to help, that she still remain kind of heart would be proof of just how strong her heart is.

Superform. Of all characters not named Sonic, Amy's noble and compassionate heart should be more than worthy of awakening that miracle.

Morio Kishimoto really should go all out with exploring more of Sonic and Amy's relation. I think he is one of the few people capable of doing so and pushing the status quo to ot' limit whole keeping things fresh. After the let down of that last Tailstube where Amy's feelings were again the object of mockery from american writers ( especially HIM), I'd more than welcome the more respectful approach from Japanese writers towards the dynamic of these two characters.

Amy IS part of the main cast, and should be treated accordingly to her status as lead female character. That means, not giving away Amy's roles to less important ones. Wether it's things like her compassion (which Tyson Hesse mentions to be unique) or being the most adventure loving of the girls.

Don't make Amy be "mature" by becoming a party pooper who dislikes fun. This is a very outdated stereotype of women that honestly, doesn't apply to the real Amy. She would join the boys in doing dumb things, while still doing girly things with other girls too.

Enough of sad face Amy. Why the hell is Sega afraid to show an Amy that, no matter what, can be a beacon of hope for those who have lost their faith. Further more, why is she not expressing faith anymore on Sonic? I swear ever since Sonic Boom, only Tails is allowed to do this as an artificial means to push the bff thing, in contrast to previous games and even shows, where Amy did this. It saddens me how in Prime, she complains about Sonic not sticking to the plan, while Tails is the one who reminds that he has never let them down. Like, helloooooo? Amy also knows this, so why treat her like she doesn't?

Sonic, Tails, Amy & Knuckles >> Sonic, Tails and Amy >>>>>> Sonic, Tails & Knuckles.

Writers shouldn't be afraid to show/play out Amy's flaws. I like seeing characters make fools of themselves once in a while, as long as they are also allowed to get out of their mess by also playing out their strengths and positive traits.

#amy rose

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archivalofsins · 29 days ago

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It's kind of funny that some engage with Milgram going,

"All I want to do is help. Why isn't there a option to help?"

Because minding your business is free shutting the fuck up is free. Not listening to one's savior complex is free. Sometimes, people in life and characters in fiction do not want or need someone else's help. This could be for a myriad of reasons but usually if someone presents themselves as above another party and then tries to help them it can come of belittling, condescending, and ve completely unwanted as a result.

I bet there are many cases where someone gas told anyone in this fandom that they were saying/doing something to them for their own good. That elicited the internal response of this isn't for me it's just for yourself, how condescending did I ask for help, I don't deserve to be lectured or treated like this just shut up. It's very common response to feeling demeaned.

So a lot of the times when i see this sentiment I can't help thinking that's rough. They must not be having much fun. Can it really be a fun experience if some have convinced themselves their presence as an audience member is to correct the behavior in the characters they find unacceptable. Is that really a fun way to get to know something or someone?

It's like the, "I can fix them romantic relationship mentality." If the basis of a relationship is someone hopefully getting the person to become their best version of them than they might as well commit to being unhappy. If any relationship is built on who someone can be and not who they are now, that's kind of as unhealthy as getting in a relationship with someone and expecting them to stay the same forever. Two mentalities that Milgram explores through some of its characters.

I can't help but think that the option some are looking for is the one many present over trial two. Just.minding our business. Staying in one's own lane goes really far. Something better than being judged is having time to reflect on one's own actions in a secure environment where their needs are met. Know what Milgram was before the judgments?

A secure environment where literally all the prisoners' needs were met. This is why Yuno was upset. This is why a lot of characters here have a shut up and mind your business mentality about the verdicts. To some of them they were in a place where they could improve and were actively trying to before the guard and audience fucked it up. Even if they didn't get along with everyone there.

Either verdict would have come with a slew of issues. Because being someone being told they were right or wrong can impact how they view their situations, actions, and how likely they are to do the same thing in the future.

I understand how me viewing it this way may come off as wishful thinking but I really believe it isn't. Because this is something Yamanaka explored within Caligula Effect as well. Where the player can be punished for maxing out a relationship with a character because they just didn't mind their business. Then within Caligula Effect 2 if the player chooses polite or sympathetic options things can go poorly.

They can fail that interaction. When it came to one character episodes because I went ya know I understand how you feel even though that was the fucking truth the interaction failed the character was like oh okay so there's nothing more to talk about we both get it I will continue on like this goodbye. Eliciting the telltale response of yo hold on that's not what the fuck I meant let me finish sit back down a second.

Social interaction failed. What the fuck- oh if this wasn't a case of like meeting like I'd kill you. But I'll just do this over and say I don't get it, which leads to what I was trying to say anyway- Why is it like this. I could be like I'm gonna respect your boundaries and let you know I'll be here whenever you feel ready to talk and it will be like social engagement failed. Then go to someone and be as rude as you can be making them leave mad and it will go social link up.

Because the premise of Califula Effect 2 incentivises being forward and facing issues head on. Not backing off when things get complicated. To showcase yes people are complicated sometimes they'll say shit they want to be challenged on and conflict is a natural part of life that allows people to get to know each other better.

Except with Eiji Biwasaka. The lesson there was sometimes no matter how kind you are to a person or the chances you extend to them they are not going to change for you. People are not going to change for anyone other than themselves. Plus, someone's consistently badgering or inserting themselves into issues that do not concern them, and they only have one side of may annoy a person so much they try to kill you.

Does that mentality sound familiar to anyone else? Because it should.

The simple truth is if anyone here really wanted to help instead of convince the prisoners that their interpretation of them is the correct one then this situation wouldn't have been escalated through attempts at negative and positive reenforcement to begin with. It was always going to be difficult after certain people got accepted and others denied trialed one. The audience was just set up by the plot at that point. But this is a guy who did write a character who from jump goes in so little words hey can you mind your business and stop trying to get to know me. If the player continues to not mind their business, the guy leaves the team, then in another ending dies.

So, at this point, I've learned with Yamanaka's characters minding one's business can go a long safe way. Like Jackalope said with Amane at the beginning of Milgram,

"I don't really care. Though, if you don't push her you'll just end up believing the assumption that she's pure, innocent, and kind-hearted. She might be a brat but don't let your guard down."

He just straight-up admits the bit. Likd, if you don't poke the bear, nothing will happen. A lot of the prisoners are the same in that regard. Not all of them will go off the handle if found innocent or lash out dramatically if guilty. It's difficult to discern how a 50/50 would be taken now but for the time being it would be more fun to keep up the good work until the end.

Though it would be funny to give one character a 50/50 at the end to just fuck with Jackalope. Since he might get mad at the crime not being judged at all.

#gunsli rambles

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phantombanquet · 2 years ago

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The Etymology of the Four Yuus in Twisted Wonderland

For a brief introduction, there are different kinds of Yuus/Player for every media of TWST: Game Yuu, Novel Yuu (Yuuya Kuroki), Heartslabyul Manga Yuu (Yuuken Enma), and the most recent one, Savanaclaw Manga Yuu (Yuuka Hirasaka).

There's a different name for each Yuu in every adaptation of the game. The origin behind each names is quite interesting, so I wanted to share my thoughts on it.

I'm coincidentally a bit knowledgeable about the meaning behind each of their names, however, I am NOT Japanese (I'm SE Asian), so there might be wrong information, and if you find any, please feel free to correct me!

Game Yuu (ユウ)

Unlike the other Yuus whose names are written in Kanji, Game Yuu has their name written in Katakana as ユウ. Katakana is primarily used for transcription of words from foreign languages, but they can also be used as an emphasis on other Japanese words; in this case, Game Yuu's name is used in Katakana to signify them being from another world.

However, it's noted that Game Yuu's name is used as a play on the word “You” as seen in the end of Scarabia Book 4 where they reply with “I am Yuu” (if you have your name set as ユウ) when Mickey Mouse asked for their name.

Game Yuu's name doesn't need That much of deeper analysis explanation since it's meant to be a placeholder of the name us players decide.

Tldr; Yuu's name is written in Katakana (ユウ) instead of Kanji because it's supposed to signify how they're from another world, or simply, a foreigner.

Heartslabyul Manga Yuuken Enma (円満雄剣)

If you aren't updated with the Heartslabyul Manga, Yuuken was a second year student and the vice captain of his school's kendo club before he was transported to Twisted Wonderland.

He has a very determined, righteous, and open-minded personality. Yuuken treats everyone with respect, as seen in the manga where he defends Riddle from getting hit by eggs even after Riddle just defeated Ace and Deuce in a duel. Yuuken is also strong in terms of physical strength, which is something that Game Yuu doesn't have (lol).

Starting off with his given name Yuuken, it contains the kanji 雄 which means “male or hero”, and the kanji 剣 which means “sword”. For me, this is like a reference to Yuuken's strong personality and determination for justice.

Meanwhile, his surname Enma 円満 comes from the Japanese name of Yama, who is the master of Hell, according to Buddhism and Hinduism. He's considered as a deity who has the authority to judge the crimes committed by those who once lived, and is commonly associated with righteousness. This one is a bit more tricky, so I'll start my in-depth explanation:

The references above are from Shintō or Shintoism, an ancient religion in Japan that is still practiced by more than millions until this date. Shintō is prevalent in Japanese culture, and you can see it referenced in several films, novels, animes, and games, like Twisted Wonderland. It's common in Japanese folklore that every demonic figure has a honji, or “true form”, and as for the Great King Enma, his honji is Jizō Bosatsu, who is the protector of children, travelers, and guards of the underworld.

Although the Great King Enma might seem terrifying and intimidating, he is compassionate, and genuinely wishes to save the souls from punishment, which is why there are several tests given to the souls of the dead to help them avoid going to hell.

((You might have noticed how Yuuken's personality is a bit similar to the Great King Enma..))

And now if we try to analyze the meaning of Yuuken's name, he is more or less like a powerful protector. Both of his names are similar to each other in terms of their meaning: righteousness (because of the word “sword” and with the Great King Enma being associated with “righteousness”).

Tldr; Yuuken's name is a reference to Shintō, which is why he always has the courage to do or stand up for the right thing during the entirety of the Heartslabyul Manga.

Savanaclaw Manga Yuuka Hirasaka (比良坂悠河)

Savanaclaw Manga just recently started, so the only information we Know about Yuuka is that she's 17 years old, and was a judo master before she got isekai-ed. However, she is currently shown to have an easy-going, caring, and responsible personality.

Her given name Yuuka is a combination of the kanji 悠 which means “to help someone” and the kanji 河 which is “river”. I'd like to think that her given name symbolizes how she could be a bridge to help others.

Moving on to her surname, we are greeted with yet another reference to Shintō. 比良坂 is a reference to the Yomotsu Hirasaka which is, in Japanese mythology, a slope or boundary between the living world and the world where the dead live (Yomi); basically, the pathway to the underworld. There's a whole story to this, so another in-depth explanation is on your way:

The goddess Izanami died after giving birth to the god of fire (Kagutsuchi). The male god Izanagi is devastated by the loss of his wife, so he decides to travel to the Underworld (Yomi) in order to bring her back, which is where he travels through the Yomotsu Hirasaka to reach the Underworld. ((The story goes on, but it's not related about this anymore, however, you can just search “Yomotsu Hirasaka” online to find several stories about the whole story!))

And the use of Hirasaka as a name for the MC is quite headache inducing if we took it into a lore perspective where Game Yuu is connected to Mickey Mouse, who is presumably from another world, through the mirror.

((also can i just add how i Love the references to Shintō.... it's such a neat detail especially if u know that ancient Japanese used to believe that mirrors would suck the spirits of humans and connect our world to the spiritual world which is very fitting in terms of mickey mouse lore. it's like the dreams that Game Yuu sees through the mirrors is a reference to thsi))

Anyway, there's a common pattern for both of the names of the Manga Yuus to be similar to each other. If we take the “river” 河 in Yuuka's name as a symbolism, then it would be something like “path/flow of life” which is similar to the meaning of her surname, the path to the underworld.

Tldr; Yuuka's name is another reference to Shintō, or Japanese mythology. Her name could mean something like “a path to help others”, but we have yet to explore than in Savanaclaw manga.

Novel Yuuya Kuroki (黒木優也)

From what I've seen so far, Yuuya has an extremely different personality from the rest of the Yuus (and honestly the most realistic one imo LMAO).

Contrary to how the other Yuus reacted after being isekai-ed, Yuuya immediately had a breakdown due to the change in environment. He's not too confident and is frequently anxious due to his past. He also dislikes confrontation. More information about Yuuya is found here.

We've finally arrived at our last Yuu, Yuuya Kuroki. No, there are no references to Shintō this time lol. Maybe a just bit I guess.

His given name consists of the kanji 優 which means “gentleness” and the kanji 也 which is used as “to be”, so Yuuya's name basically means “to be gentle”, which he is.

Kuroki is just a combination of the kanji 黒 which is “black” and 木 which means “tree”, but it could also mean “unbarked lumber”. I'm sure they're trying to reference something after all the Shintō references to the past Yuus, but I am Not sure what they are trying to reference. Lol.

However, trees are symbolic in Shintō as they are said that spirits inhabit trees that are of hundred years. They also connect the world of gods (kami) to the earth, and people.

Meanwhile, I'm not too sure what “black” 黒 could be a reference to. I've only thought of how tattoos painted in black where used as a protection from evil during ancient Japanese times, however, it's rarely seen like that as of today.

Tldr; We have yet to know more about Yuuya, but currently, he is seen to embody gentleness.

I think. that is all for today. I'd love to hear everyone's thoughts about this, please feel free to tell me!!!! And pls tell me if i ever said something incorrect because i do not want to spread misinformation ;;

I enjoy how every Yuu is somewhat related to the world building lore of twst so i could not resist talking about this.

#twisted wonderland #twst analysis #twst yuu #twst yuuken #twst yuuka #twst yuuya

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lizzybeth1986 · 2 years ago

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Why I gave HLAW a "Hana's Perfect Wedding" Theme

Tbr I like thinking up weddings for all my pairings and fave characters. But with Hana there is an added significance that makes me want it to be extra special for her specifically.

The first two chapters of Hana's playthrough in TRR3, touches on a very interesting and rather painful aspect of Hana's upbringing - that she has been robbed of choice in so many things, especially in the kind of wedding she wanted. We see this both in the safe house, where Hana and MC decide to marry, and at their engagement photoshoot where Hana plans a couple poses.

In both scenes, she dives into the task with incredible enthusiasm, before stopping herself and asking the MC if in doing so she is ignoring the MC's desires for their wedding. The MC can reassure her, but in both scenes Hana is nervous about becoming like her parents, in leaving behind her partner in her desire to fulfill her own dreams for her wedding.

Unfortunately, this story thread is dropped completely after Ch 2 of TRR3, and the wedding itself is so focused on the MC that PB often forgets that Hana is a bride at that wedding too! She is made to wear dull colours like the rest at her own bachelorette (and two white ladies of the court are allowed to break this rule), and is treated like a bridesmaid more than a bride at her own reception! Especially in the Savannah proposal diamond scene.

Despite being the bride, the MC makes her run errands and she is made to stand in the line of bridesmaids for the bouquet toss in her wedding gown! Honestly...not a dream wedding at all.

So it's always been important to me, to imagine a perfect wedding for Hana. One that centers her. That keeps her dreams - the ones that Hana assumed would never come true - in mind. One that respects her journey and where she came from, combines all the things she loves.

So to me...and I think to many Hana stans... Hana's dream wedding isn't just a typical dream of someone who can't wait to marry the one they love. It's also an opportunity for Hana to live out fantasies and dreams and wishes that she thought she'd never have the chance to fulfill.

Because I'm not sure how many TRR players know about this...I thought I'd talk about it and why it personally mattered so much to me, a bit today. ☺️☺️

Can't wait to see all your HLAW entries!!

#hana lee #hanaleeappreciationweek #HLAW #HLAW Day 5

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repo-net · 2 years ago

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Hi friend! As fun as Monaca was, it is good to see Nagisa is back! 💙 After “Monaca” ranked her friends, I’ve been wondering how you would rank the WOH in terms of your personal favorites? I’m assuming Nagisa is your favorite, but out of the others do you have a 2nd favorite, 3rd, 4th, 5th ect. or is it just Nagisa’s the best and the rest are kind of equal to you? (with the exception of perhaps Monaca?) Just curious but you don’t have to answer. Have a great day! 💕

Hello hello, thank you again for another ask! It was quite a fun week, I appreciated the small change in theme I took for a bit, but it's nice to finally have a refreshed and updated look again now that we're back to normal.

Ranking the Warriors of Hope, huh? I've been asked this question a few times before, but I'm not sure if I've done it here yet? I can't quite recall. I do have a personal ranking though that hasn't changed and likely won't ever change, but I'll skip number 1 since I think it's pretty obvious who's taking that spot.

5. Kotoko Utsugi

Kotoko's cute. I think she's entertaining and a lot of her lines hit the mark when she's actually allowed to have depth (something that DR tends to fail on), and she probably has my favorite design when it comes to the Warriors of Hope. Her personality is funny and I just wanna give her a hug because of the horrible messes she's been through.

But in the grand scheme of things and appreciating her overall character, I just can't overlook the clutter of mishandling of the themes in her writing. The game didn't treat it with nearly enough respect as they should've, from the weird as hell shots of her underwear, to the whole motivation machine... thing. I have an obvious issue with that entire segment, but I at least see why Kotoko would act in such a way. But the fact they turned it into a minigame...? With the instructions for it ending off by basically telling the player to not enjoy themselves too much? Leaves such a sour taste in my mouth.

For the same reason characters like Mikan are low on my tier lists (though I don't actually dislike or hate any character, the lowest grade I give is just a 'god, I really don't care at all'.), Kotoko gets the same grade. Fun character, horrible handling and presentation.

4. Jataro Kemuri

Y'know, there's a bit of a gap between Kotoko and this one. Not that big, but enough that I can decisively say every time someone asks me who my least favorite Warrior of Hope is, I would say the former. Anyways, moving on to Jataro. I think one reason he's over here is because he suffers from what I call "middle character syndrome", where he doesn't 'die' early enough like Masaru to leave a first impression, or someone late like Nagisa to really set you up for the climax. He's stuck in the unfortunate spot of having to follow up from who came first.

But that doesn't mean I don't like him. I think his trauma and backstory is one of the more unique ways of portraying mental abuse. While I think they could've done a better job of actually giving us time to digest his story and see more context in what really happened, I think his attitude (and his voice actor: god bless Michelle Ruff, she does an incredible job) and how he's so ruthless because he loves being hated is intriguing.

It's not enough to get him that high, but for what it's worth, I enjoyed Jataro while he was on screen and I wish we got to see more of him and Masaru, they badly needed more screentime. Speaking of which...

3. Masaru Daimon

Ah, here's the boy. If you thought my issue with Jataro's screentime was bad, man - Masaru's issues go way bigger than that. This poor fella gets a total of two scenes to shine in - the part where the Warriors of Hope introduce themselves, and his boss fight. If you wanna be generous and make it three, then we can count his supposed funeral, but as far as I'm concerned, the only one who got any sort of character build there was Nagisa and Monaca.

So why is Masaru so up high on my list despite the fact that he, y'know. Barely even existed? It's because he left his mark and set the tone well for the rest of his members to follow up on. Establishing himself as an arrogant, noisy brat that you just wanna pummel in his intro, with making a few lines here and there that make way for light-heartedness (wieners!). And then, he shows his weak heart. Beating his arm up (that scene was and still is hard to watch btw) and making subtle references easy enough for the viewer to make inferences from. Building what's coming.

That's what Masaru does. He lays the blueprints down for the rest of the kids, and that they all have reasons for turning the way they did. Being the first example is as important as closing off the story, and Masaru despite how little time he got was able to pass that test.

2. Monaca Towa

Yep, it's pretty obvious who my second favorite Warrior of Hope is if you've been paying attention to my blog, lol. Monaca is a horrible and terrifying child. She has done plenty of things wrong. I want nothing more than for her to receive her comeuppance and get what she deserves. And that's why pickle satan is my second favorite Warrior of Hope, my favorite villain/main antagonist in the series, and one of my favorite characters in general. And it all roots back to what I believe is most important in a character - presentation.

Believe me when I say this; a character that annoys the viewer will always be worse than a character that repulses them. You want them to think 'oh screw this guy, i hope they get owned and beat eventually', absolutely not 'oh screw this guy, get them off my screen, i don't wanna see this anymore'. You want to have the audience desire their demise, not be so irritated by them that they don't even wanna continue seeing the story anymore. Monaca plays her role of the despicable villain incredibly. She is so easy to hate in the ways that you wanna see her get destroyed.

I could go for a long, long while about Monaca and make a post of her own, honestly. Her dynamic with Nagisa is a one-sided tragedy (that I honestly think is more co-dependent than most people realize.) that ends with her pulling off one of the most horrid scenes in the series by mentally destroying the psyche of another character to the point he can't even muster the will to fight her anymore.

Her whole motive - it's initially believed that Monaca wants to be the next generation of Junko Enoshima herself, but the more you look into it, the more hints the story gives, until the buildup where the plan was for it to be Komaru all along... it's an excellent build and subversion that makes sense. Her writing works. Her character works. Everything clicks with Monaca. I just wish her arc ended more satisfyingly in DR3, even if the absurdity of it was pretty funny. Monaca's great. Love her and I'll always write about her.

Thanks again for sending the ask! I apologize this took a while, I've been busy these past few days in preparation of the upcoming school week. Hope to hear from you again, and have a great day!

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adamwatchesmovies · 1 year ago

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Sky High (2005)

If you’re making a movie about a high schooler torn between his friends and the popular clique, you’re not going to beat Mean Girls - so what can you do? Add an extra element to make it different. On their own, the high school and superhero elements of Sky High would be forgettable. Together, they make this the kind of movie you’d enjoy as a kid, fondly remember for years, revisit later on and be pleased to see that it holds up.

Will Stronghold (Michael Angarano) is the non-powered son of The Commander (Kurt Russell) and Jetstream (Kelly Preston), the world’s most popular superheroes. He hopes his first day at Sky High - a school for superheroes - will unlock his potential. Although he and his friends are relegated to the “Hero Support” (sidekick) department, he catches the eye of beautiful Gwen Grayson (Mary Elizabeth Winstead). When his powers finally manifest, he begins hanging out with Gwen and the popular crowd, just as Royal Pain - his parents' nemesis presumed dead for 16 years - reemerges.

You can probably see where this story is going. At the end of the day, the “cool kids” are not the people Will can depend upon; it’s his childhood friend Layla (Danielle Panabaker) who is secretly in love with him and can manipulate plants along, with the sidekick misfits: Ethan “Popsicle” Bank (Dee Jay Daniels) who can melt into a puddle of goo, Magenta Lewis (Kelly Vitz) who can turn into a guinea pig, and Zach Braun (Nicholas Braun) who glows in the dark. If Sky High deviated from the formula more, had richer characters, or took a few more chances, it would be a better film. The movie can tell us that sidekicks and heroes should be treated equally all it wants, but Puddle Kid won’t be saving the day anytime soon and the story fails to make him cool by showing him use his ability to crawl beneath doors to spy on people or combining his skills with smarts or martial arts. Similarly, it’s not like Will confronts his father and persuades him to apologize to Royal Pain for the anguish he made them feel while they were in school together; Royal Pain is just evil and needs to be dealt with the old-fashioned way. There’s another layer of depth and intelligence that could’ve been unlocked.

With that said, the movie has a good number of jokes and when the high school and superhero genre are blended, it works well. Bruce Campbell has a small role as Coach Boomer. He provides some big laughs as he puts the new recruits through trials and comments on their potential - or lack thereof. Equally funny are the scenes in “superhero support” class. The teacher, All-American Boy (Dave Foley) is so lame he deserves no respect. The dubiously useful skills he teaches are showcased in a couple of montages that prove this movie knows the superhero genre and has fun both referencing it and poking fun at a few aspects too.

Sky High is at its best when it’s making you laugh but the teenage drama stuff works fairly well too. In the cafeteria, Will has to contest with Warren Peace (Steven Strait) who holds a grudge against the Stronghold family for imprisoning his supervillain father. The story by Paul Hernandez, Bob Schooley & Mark McCorkle makes him more than just a bad guy. Not that the one-dimensional bullies (played by Will Harris and Jake Sandvig) are bad. Actually, they’re fun in a Bulk and Skull kind of way. I just wish the film blended its two genres more consistently in the second and third acts. There is substance in the scenes of Will and his father talking. His heroic abilities are our world's equivalent of being a star football player but the further we go on, the more detached from reality the characters and the story becomes. There are some twists along the way that make the conclusion quite a lot of fun, however.

While Sky High lacks originality, it uses its tried-and-true elements well. It’s good, family-friendly entertainment with a fair number of smartly written bits and some good character moments. (January 8, 2021)

#Sky High #movies #films #movie reviews #film reviews #Mike Mitchell #Andrew Gunn #Kelly Preston #Michael Angarano #Danielle Panabaker #Mary Elizabeth Winstead #Kurt Russell #2005 movies #2005 films

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goombasa · 1 year ago

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Thoughts on the Super Mario RPG Remake

So hey, guess what I got for Christmas?

Okay, so, to give a bit of context to this, the original Legend of the Seven Stars on the Super Nintendo is one of my favorite games of all time. I played it backwards and forward and I've probably played through it start to finish more than any other game on the SNES. I love the world it created, and felt like one of the first big proper expansions to Mario's universe, rather than just being an incidental new place where the game was taking place. I love the new characters we were introduced to, particularly Geno and Mallow, and I was always disappointed that we never saw them again. I mean, I get WHY we didn't, the game was made by Squaresoft pre-Enix merger, and as such, most, if not all of the game's original characters were the property of Square and not Nintendo.

Oh, and of course I love the fact that this would be the impetus for other Mario-themed RPGs down the line, including Paper Mario, its sequel, the Thousand-Year Door, and the Mario and Luigi series… not that either of those series are in particularly good shape these days. But this was the start of it all.

So imagine my surprise when Nintendo announced during the Nintendo Direct in June of 2023 that there was a remake of this game in the works for the Switch, AND that it was going to be released later that same year, just in time for the Holidays!

I never thought it was going to happen, but it was happening. One of my most favorite games of all time, was getting remade, from the ground up, and brought properly into the third edition! Holy crap! AND GENO AND MALLOW WERE COMING BACK, BABY!

But… the more that I thought about it, the more my excitement died down. How would the gameplay hold up? Were they going to change a bunch of stuff about the game? Would they add a bunch of superfluous fluff? Who was even making it? It wasn't made by Nintendo or Square-Enix, but by a third party called ArtePiazza, a studio that up until this game came along, I hadn't actually heard of before. I was worried, and that worry was only exacerbated by how much this game meant to me personally.

Thankfully, all my worry was for nothing. This is not only a very faithful remake that makes changes only in what I personally consider the right places, but also a reminder of how much these older games tended to be better about respecting a player's time.

And now I'm gonna talk about it all.

The Developer

As it turns out, ArtePiazza has a long history of working with Square Enix, and were actually the primary developer behind a lot of the remakes of classic Dragon Quest games, as well as the CG designs and scenario designs in others, so they definitely know what they're doing when it comes to RPG remakes. It's not really surprising that I hadn't heard of them before, as they were more a background studio that offered assistance rather than main development.

This isn't the first remake they've been responsible for, like I mentioned, and I definitely think they did a great job with it, but I kind of wish I knew a bit more about the studio as a whole now, but information on them is a little bit on the sparse side, aside from the list of projects they've worked on which mostly consists of the Dragon Quest series, and a small handful of other RPGs here and there.

The Story

Hokay, so, this is a Mario game, but it's an RPG. That basically means that you have a very typical RPG setup, and at no point does it feel like the game is treating itself very seriously. I say that as a positive, because the story is paper thin here, basically an excuse to have Mario and friends go all over the place in this weird and wonderful world that has been created here.

The story itself wasn't really changed at all from the original. It is as close to the original as possible while at the same time altering some of the weird mid-90's quirks of the script. Most of the changes are minor, like removing the Bruce Lee name drop just before the Bowyer fight, and a few of the names of certain characters and enemies were changed. The only one that I kind of wish they hadn't changed was Mack, the first commandert of Smithy's forces that you fight in the game. His name was changed to Claymorton in the remake, which does make sense, it's still a pun on his weapon of choice, but in the original, he was known as Mack. You know, as in Mack the Knife? Pun on the song? Because he's a sword, but still… kind of a knife?

Okay, I get why they changed it.

Point being, if you are a fan of the original, nothing here is going to ruin any sort of memories you have of the story, simple as it is. Whatever changes they made are negligible and it retains the same flow, and most of the sillier moments are preserved perfectly here in the remake.

The Characters

Like the story, there's not a huge amount of characterization here, so if you were expecting the remake to suddenly give more depth to anything here, you're going to be disappointed.

At the same time though, none of these characters really needed much in terms of depth. Their designs and personalities are more than enough to carry the game. The villains barely get much of an introduction in this game, simply showing up at designated points to be the antagonist for that particular chapter of the story, and yet every single one of them has such a striking design and an interesting personality (for the most part; the aforementioned Claymorton is about as generic as it gets, save for his design and pogo-sword gimmick) that I don't think ‘depth’ is every really an issue. Entertaining is probably the best way to describe the characters here. Even the most minor of characters manage to leave enough of an impression that you are never going to mistake one person for another as you journey across the Mushroom Kingdom here.

This is something that carries over beyond Smithy and his gang to the one-off minor villains you run into, like the fame-hungry Punchnello, the underwater pirate Johnny, and of course the completely detached from reality Booster and his Amusement Tower.

Also, you fight a sentient wedding cake at one point, and the ending to that fight is legitimately hilarious.

And then there are the playable characters. Mario is given more of a mischevious bent in this game, and I was really surprised to see that they kept in some of the less flattering moments for our hero. There's a point where Mario's ready to just deck a child in the face for basically saying he isn't as good as Geno. And there are the many moments where Mario, rather than just recapping past events to other characters will just mime his way through what's happened, basically playing every character at once, and it's fantastic. This was one of the first times in the series where Mario had a lot of character beyond just being a heroic jump man and I think it did a very good job at conveying that character.

Also, you can make Mario say some real mean things to people in this game and just be a dick, which doesn't really have any sort of consequence, as most of the ‘yes/no’ questions, you do have to eventually agree in order to progress, so there's generally no reason NOT to make Mario talk negatively at least once or twice, just to see the other character's reactions to him just flat out refusing to be a hero for once.

Princess Peach is how she always is. She spends the first good chunk of the game in her usual role as a damsel in distress, and even after she joins the party, she doesn't really get a chance to shine on her own. Mechanically she's one of the most important party members, but in terms of personality, she really doesn't stand out much once she joins your party. I kind of feel like she had more dialogue before she was rescued than after. It's not a terrible portrayal, but you can definitely tell that this was written during a time when Peach's role was mostly to be the damsel, and the fact that she was part of the main party was enough to celebrate, whereas steps have been taken in future games to give her a bit more personality, and to make her a more active element in the story. It's especially noticeable when you compare Peach to Bowser's portrayal.

Bowser is fantastic in this game. This was the first time Bowser was shown to be anything more than just a big, evil brute in the games. Back in 1996 this was pretty unprecedented, and it really made Bowser into the more endearing, well-loved semi-villain that he is today. Like, yeah, Bowser is evil, but at the same time, he's also a bit of a dork with self-confidence issues who thinks he's way smarter than he is, and it's just… it's just so great. It's to the point where, even in RPGs where he is the main villain, Bowser is just as much comedy relief as he is an antagonist. It's the same here. After defeating him early in the story and then slowly watching his forces dwindle down to nothing as he tries in vain to defeat smithy on his own, Bowser is just a delightful curmudgeon to have on the team… even if, in terms of mechanics, he was actually the character I ended up using the least throughout my playthrough.

But then there are the newcomers, Geno and Mallow. I love them both, from an aesthetic point of view. Mallow, being a little cloud creature does fit right into the Mario world without issue. Geno's a bit more unique looking, but his role as the guardian of the Star Road fits right in with the occasional character guarding a super powerful area or relic or long lost power source that seems to crop up, even in the regular platformers now and then. And as they aren't really Mario characters, at least not in terms of the main canon, the writers did have a bit more freedom with these two, though not a huge amount was done with that freedom. Geno is about as static as Mario, Bowser, and Peach, though he's certainly a talkative character. I never really got much of a vibe for his personality though, as much as I enjoyed his design. Mallow is unique amongst the main cast of the game in that he's really the only one of the five that has something resembling a character arc. Orphaned as a child, wanting to find his real parents, and learning to be more confident as a result. It's really simple, much like most other subplots in the game, what few there are, but it does give his character more agency in the plot beyond the shared goal of wanting to stop Smithy from taking over the world.

Speaking of Smithy, can I just say how much I love the idea behind him. He's an alien blacksmith who literally forges the enemies that you fight, making sentient weapons that are completely loyal to me. It's an intriguing idea for a villain and I kinda love it. It almost makes me a bit disappointed that he just exists to be a villain. We don't know anything about him, what he does, where he comes from, whether or not he's done this to other worlds and so forth; Like I said before, we don't really need all that stuff for this to be a great game and an enjoyable story, but the fact that I'm not disappointed and yet I'm still asking these questions about the villain does tell me that I think he's at least an interesting force, especially with how much he's built up over the course of the story before you finally confront him. He might be one of my favorite Mario villains just for his concept alone, and that extends to his minions, all of whom are based around various weapons, their names a pun on the weapon they're based on. It's great stuff.

What the characters lack in depth or complexity, they more than make up for by just being absolutely off-the-wall strange, and I am here for it.

The World

Exploring the world in this game is a pretty straightforward experience. Folks tell you where to go and what to do, and then you do it. You pretty much will never find yourself wondering what you're supposed to do next, and that's without the need of a waypoint or a radar or even anything to really remind you of what you should be doing, though the remake does give you a handy journal function to remind you of recent events and any interesting information that you've gleaned from talking to people.

While the original didn't have any journal or fast travel functions in it, moving around the map was fairly snappy (actually much snappier than in the remake) and the areas and dungeons were small enough that revisiting them for whatever reason never felt like much of a chore. However, adding in modern sensitibilities and accessibility options for the convenience of the player is something that I will always welcome, especially since they slowed down traveling on the map quite a bit for the remake.

But that's about the only thing that feels like it's been made slower. Mario no longer needs a button held down in order to run on the overworld, running is just his standard mode of movement in this remake, and his speed is a very happy medium between his walk and run speeds from the original, and it works perfectly for getting around quickly enough and avoiding enemy encounters, not that you'll really want to, as combat is really fun, but I'll get into that later. Platforming also feels better in this version as well. The original wasn't bad perse, but the sprite-based isometric layout of the game combined with the strange ascent and descent speed of the jump could make platforming a bit tricky. And yes, the game does have platforming, usually in optional mini-games

While the areas themselves are small and even somewhat linear in their layout, the isometric layout of everything does make exploring worthwhile, and of course there are always hidden treasure chests and enemies to keep a lookout for. There are even invisible treasure chests scattered all over the world, with a particular NPC in the game that will even tell you how many hidden treasures in the world you haven't found yet, how nice of them! You can find a bunch of stuff just by talking to the individuals and poking around in every nook and cranny, whether it's directions to a hidden treasure room in the forest maze, a challenge to hit a certain number of consecutive bounces using your jump attacks, or hitting a button in Booster Tower that opens up a completely new screen in the previous area. And that's to say nothing about the rush that you get when you grab an invincibility star and just plow through a ton of enemies in the overworld.

And you get Experience Points for it!

The Combat

The combat is fantastic, from all angles, and is probably the part of the game that was both the most heavily altered, and the the most improved in this remake. And make no mistake, it was already pretty solid to begin with. The timed hits mechanic, where you can push a button to either increase the strength of an attack or defend yourself against an incoming attack or spell and potentially eliminate all damages if your input is timed well enough.

However, the old game, for as good as it was, could be somewhat vague about what you could and could not block, and also what the timing was for certain attacks. It also limited you to only using three out of the five characters at a time and you couldn't change characters mid-fight. Also, Mario always has to be in your party, so party composition couldn't be super varied. The remake addresses most of these issues, and in pretty decent ways.

First off, if an attack is unblockable, it will say so in the corner when the attack name is announced. Then, whenever an attack is used against you, or you use an attack, an exclamation point will apear above the character's head, letting you know when you should be hitting the A button. While decent timing will get you a small bonus to damage or defense, if you perfectly time the button press you'll either completely eliminate any damage you take (defending) or you'll dish out extra damage AND cause a small shockwave that will cause a small amount of damage to all other enemies (attacking). It's a smart system, and encourages you to learn the tells for both your enemies and allies. to maximize your offense and defense.

Oh, and that exclamation point? It doesn't stick around all the time. After you've successfully gotten a few perfect hits and blocks, the indicator will stop appearing. However, if you start missing the timing frequently on the same attacks, it will come back to help coach you into properly hitting that sweet spot. Depending on your team composition, you'll also get bonuses to certain stats if you manage to keep a combo chain going of successful attack and defense. And speaking as such a big fan of the original, I actually needed that help getting the timing down. With the new 3D models, the animations are far smoother, and also a lot quicker too, leading to the timing feeling a lot trickier. This game also has a lot more attacks that can be blocked with a button press, and I'm not sure if they could always be blocked in the original, or if the timing was just that strange. To be fair, the timing on these particular magical attacks (Diamond Saw, Bolt, Storm), they're really tricky to get down, even with that helpful little indicator.

The ability to switch in party members from idle during battle is also more of a boon than I thought it would be. In the original game, you were stuck in combat with whatever characters you had in your party, and generally I never switched out specific party members, save for some very specific fights. I'd almost always go with Mario, Bowser, and Peach, and end up leaving Geno and Mallow behind. It isn't like the game ever forces you to use them again anyway. But in the remake, you can swap out a character without wasting their turn, something that becomes very useful for characters afflicted with status ailments or knocked out, or when you just want to experiment with other characters' abilities against certain foes.

And by far, the biggest quality of life improvement to the game's battle mechanics were with its special weapons. The system itself remains unchanged, you have a pool of flower points that is shared by all your characters that they use to utilize their special attacks. In the original game, these were, by a large, kind of useless, at least in my opinion. Apart from some specific fights, all I would use special attacks for was for Peach's healing abilities (which makes her super powerful in this game, she can basically keep everyone hale and hearty all on her own so long as you don't let her get KOed). It is true that plenty of enemies in the game have weaknesses to elemental attacks that party members have in their special attacks (Mario's fireballs, Mallow's thunderbolts and snowy powers, and so forth… also Mario's jump attacks count as their own element too), but there was very little indication about whether or not using a special attack on an enemy was actually affecting them any better than your regular attacks. Add in the fact that powering up the special attacks required more involved button inputs (pressing the D-pad in a clockwise rotation, rapidly pressing the attack button, holding it down and releasing it at a certain point, etc.) and sometimes I just wasn't sure if I was even using them right.

The remake on the other hand, gives you plenty of ways to know just what would be best to use against your enemies. First, when you use Mallow's Thought Peek ability (Psychopass in the original game), you not only get the enemy's remaining HP total, but also a list of everything they're weak against, including status ailments as well, which can also encourage you to use all those items and spells that inflict statuses on your enemies rather than just having those collect dust. When you use an attack that hits an enemy's weakness, or a resistance, it will TELL you that, letting you know that, yes, you are doing something right. And those special attack inputs I mentioned before? The game gives you a visual cue that not only makes it very clear what you're supposed to do, but gives you visual feedback on how well you performed the action, so you're always sure exactly how well you're performing them.

I don't want to say that the original was terrible in this aspect, but the original never really made special attacks feel like a necessary piece of the puzzle beyond healing abilities, and some early game fights that benefited from Mallow's screen-hitting attacks. It was balanced in such a way that using your regular attacks was still perfectly optimal. In the remake, not only was I more often switching out party members to change up my strategies during fights, but I was using special attacks a heck of a lot more often because I could be sure that it was something that would be effective this time around, which in turn made both Mallow and Geno feel much more helpful overall. This is actually the reason why I ended up using Bowser much less than I did on the SNES version, as he is a useful tank, but I found Geno's status as a glass canon and Mallow's ability to cover and reveal multiple weaknesses to be a lot more useful compared to Bowser's interesting but underutilized ability to inflict a lot of status ailments. Combat just doesn't last long enough to make status ailments useful to use.

I would even go as far as to say combat overall feels much faster than the original. Not that it was slow before, but the animations just feel much snappier and more fluid and the lack of really needing to think too hard about what you're doing from turn to turn means that most regular fights are going to be over within three turns. The game's balance is just perfect in this regard, especially if you're new to RPGs. Speaking of which…

Breezy Mode

Look, the original Mario RPG was not hard. At all. And that was by design. It was built to be an RPG for people who didn't play RPGs but were familiar with Mario as a series. Combat was simple, the numbers were kept small, the level cap was very low, and the timed hit button presses kept people engaged and alert during combat, rather than just encouraging them to mash the attack button the whole time to get through the fights quicker. You're never confused on where to go, the few puzzles the game throws at you are very easy to figure out and dungeons are relatively small, quick affairs with only the occasional gimmick to spice up a boss fight here and there, such as Bowyer's ability to lock down a button.

I've gone on record in this post saying that accessibility options are a good thing, and I mean that. More options and more difficulty settings will always be a good thing, and there, it is no different. I just personally find it funny when a game that is already built to be easy and accessible goes even further and gives you an option to make the game even easier. It's a good thing, to be sure, and it's especially helpful for those struggling with the timed button presses. Heck, if that was all this mode did, it would have been a perfect accessibility option in general, but it also decreases the EXP needed to level up, and decreases the overall battle difficulty, lowers the HP for all enemies and bosses while still keeping the story the same. They took an introductory RPG and made it even easier to get into for anyone who is even remotely curious about the genre, and with how many RPG series are transitioning into more active combat systems and leaving the old turn based systems behind, I think this is a great way to introduce the concept of how these older RPGs functioned to people who just didn't grow up with this era of games.

The Post-Game

So, this is basically the biggest thing that was added to the game. As faithful as the remake is, one thing I'm very glad to see being added is a little bit of post-game content. There's not a lot of it, but it is there, and I felt compelled to talk about it.

The original game had no post-game. At all. In fact, there wasn't even anything after the credits, which was the style at the time. Games would usually just end, and stay on their THE END screen until you reset or turned off the console. Here though, after beating the main story, you unlock a brand new questline that will take you back to past locations to rebattle harder versions of bosses you fought during the main story, like Booster, Punchnello, and Johnny, and these fights do something very interesting: they really dial up the gimmicks. I mentioned before that gimmick fights weren't really all that prevalent in the main game. I mentioned Bowyer, but off the top of my head, there are also the two fights against Belome where he'll either eat one of your party members (the first fight) or clone your party members to fight alongside him (the second fight), and the second phase in Johnny's fight which turns into a one-on-one duel with Mario. However, each of these extra fights dials up the gimmickery quite a bit, to the point where they can feel somewhat like puzzle fights, as each one has to be fought in a very particular way.

You fight Booster, and if you let him finish his work, he'll drive a train into your body, dealing max damage to everyone on screen, basically guaranteeing a party wipe if you don't interrupt him and take out the snifsters, who are going to be encouraging him the whole time. You fight Jinx, who will instantly KO a party member if you fail to land a properly timed attack. You fight Punchnello, who has built up his defenses so high that the only way he can be hurt is by turning his bombs around towards him. There's even a rematch with Johnny that is once again a one-on-one with Mario, but this time you can't even use items, meaning that surviving the fight is going to be down to learning how to defend properly against all of Johnny's attacks. All of them CAN be blocked, but he has some pretty annoying timing for all of his attacks.

This all culminates in a rematch with the game's hidden superboss, a Final Fantasy inspired villain known as Culex. You fight him in his original 2D form during the story if you find the key to his door, but during the rematch, he has achieved a perfect 3D form, and man oh man, is he a challenge, well worth it if you're craving something that's actually pretty difficult in a game meant to be more welcoming to new players.

What I like about these fights is that they are essentially tests to see how well you've mastered the game's timed hit mechanics, and it makes you feel good for properly mastering them. Even if you're at or near max level (which is pretty easy to do in even a casual playthrough), these bosses will challenge you. You even get some new equipment for each of the extra bosses, usually super-powerful golden weapons for party members that didn't really have an ‘ultimate’ weapon the way that Mario and Peach did (the Lazy Shell and the Frying Pan respectively). You don't really have a reason to use these weapons since at this point you've basically done everything else in the game at this point, but the fact that there is a tengible reward for doing this post game stuff is always fun. And your ultimate reward for beating all the extra bosses and then defeating Culex? You gain the ability to fight Culex as much as you want, and see how fast you can beat them. It's not the greatest reward, but the fact that the developers went out of their way to include something to do after the credits roll in a game that initially just ended after that? I think that's really cool, especially considering just how much tougher these fights are compared to everything else in the game. It's just nice to see something that challenges you and your knowledge of the game's mechanics beyond what is usually required during a basic playthrough.

The Future

If I haven't made it clear at this point, this is a fantastic game. The original is a fantastic game, and it isn't often that I find a remake that can stand toe to toe toe to toe with the original, and while there are differences between the two, they mostly balance each other out. Both can be played and enjoyed easily, and while the remake does have a lot of very helpful quality of life improvements, the original version's more deliberate timing with its more limited animations still makes it very fun to play, it's just a different feeling.

I hope this game continues to sell well, and my biggest wish is that this means that the future for classic style RPGs will continue to be strong, or maybe we'll see some more new Mario RPGs that are quick, snappy and simple like this one, rather than these strange pseudo-RPGs that the Paper Mario series has turned into, or the drawn out, boring slogs that the Mario and Luigi games became.

But between this remake, and the upcoming remake of The Thousand Year Door that's supposed to be coming out some time this year, I have hopes that Nintendo is using these to guage interest for another original Mario RPG game.

I'm also hopeful that we might be seeing Geno and Mallow in games beyond the one they originated from. I'm not going to pretend that I know the details of whatever agreement Nintendo and Square Enix reached to make this remake a reality, but I'm hoping there was enough wiggle room for Nintendo to actually do something with the characters and concepts contained therein. At the very least, maybe Mallow and Geno will be able to appear in games outside of their origin in a form that's a bit more than just a glorified PNG, or a little background element cameo. Again, because I don't know the details of the agreement between Square and Nintendo for these characters, I can't be sure if this is just really wishful thinking on my part (game publishers are notoriously controlling over the IP that they own, with Nintendo being cited as the biggest example when it comes to their characters), but hey, I never thought we'd ever get a remake of this game, let alone one as polished and fun as this.

Thanks for reading all the way to the end of this post, it ended up a lot longer than I actually meant it to be, I just couldn't help myself and needed to gush as much as possible about a remake of a game that I have held dear to my heart since childhood, and I hope that this is a sign of more RPGs of this nature from Nintendo, or featuring Nintendo characters.

Who knows, with all of these remakes, remasters, re-releases, and smaller scope games that are coming out for the Switch as of late, this might be the year that we get some ideas about what Nintendo's next console is going to be, and what sort of games might be on it. That might be something to talk about down the line.

#Super Mario RPG #Remake #Thoughts #Lotta Thoughts #Like Too Many Thoughts #I think I went on with this for a little bit too long #Sorry about that #not really #had a lot to say #really love this game #Y'all should really play it if you can!

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