#class disparity narratives

[lurkingshan]

Hi Shan

I've been watching your commentary on Peaceful Property with regard to its mishandling of its class conflict themes and I have to admit that I'm coming to agree with you on it.

I had to basically go "Welp, I can't see how they get out of the mess they've made now - I guess I just have to give them a pass on the grounds of found family?" in order to keep enjoying the show, which did let me do that but also left a bit of an icky taste in my mouth.

So I guess I wanted to ask - do you think there's a way they could have handled the wealth disparity and classism issues more gracefully within the show's narrative? And also whether there are any QLs you would recommend that do handle the topic to your satisfaction? I could use something good to watch!

Thanks for sharing your thoughts. I feel like you always make me consider topics more deeply and reflectively, even when I don't agree with you.

Hi, thanks for dropping in! I feel you on this, and I want to be clear that my criticism of the show is not criticism of people who still like it despite these failures. If you have still been able to connect to the friendship and family themes without this getting in the way, that's great and I'm glad for you. Just because the show is doing one thing very poorly doesn't mean there's nothing of value in it.

That said, you're right, they've passed the point of no return on their missteps with the class disparity themes. Early on in the show, after several episodes in a row of ghost stories involving poor or working class folks harmed by Home's wealthy real estate developer family on top of the class disparity between Home and Peach/Pang, I said I was confident that the show had something to say about this issue. And that was true! Unfortunately, what it had to say was garbage.

To your first question, I actually think it would have been very easy for the show to handle the wealth disparity and classism issues more gracefully, and that's a big part of my frustration. They had all the ingredients--a family history of exploitation, a ghost busting team including working class folks to shed light on the family's sins, and an ignorant grandson uncovering wrongdoing case by case and learning that there was always a price for his privilege. All the show needed to do was allow Home to come to some natural realizations about his family's treatment of others, via both the ghost case work and his relationship with Peach and Pang, and then use the power and resources he has to take accountability in the form of restitution and reparations to the people and communities they harmed. My ideal story line based on what they set up in the first half of the show would have had Home setting out to right his family's wrongs and take real steps to restore the communities they harmed. Even if a full on wealth redistribution narrative was too much to hope for, at the very least Home should have been made to reckon with what his family did and set out to do better in the future, both by Peach and Pang and by his family's countless victims (including Kan).

But that's not what we got. Instead, the narrative tried to sell us on the idea that none of this is anyone's fault, and that any harm that came to people at this family's hands was the result of a "curse" or one bad apple's wrongdoing. Instead of saying anything meaningful about systemic inequality and the responsibility of the wealthy and powerful to avoid extractive and exploitative practices, they painted Home's Gramps and family corporation as benevolent, concluding that they destroyed a bunch of people's lives by accident and without intent or even knowledge. I'm sure I don't have to tell you how utterly absurd and insulting that is. On top of all that, despite Home being the one with the most power in this little friend family and making some very serious mistakes that caused harm to the others, the show consistently centered him and his feelings in all conflicts, including Peach's near death and the death of Kan's father and destruction of her community. It also ignored the very real stakes it set up for Peach and Pang's dire financial situation whenever the plot demanded. The second half of the show became all about the poor people Home and his family have harmed forgiving him without any accountability because they felt guilty he was sad, and then those same people spending their time and energy fighting to save this rich family's reputation and livelihood. That's not me offering an interpretation, that is what literally happened on our screens!

So yeah, it was bad! It was clear weeks ago that it was not going in the right direction, but I understand holding out hope that they'd pull a rabbit out of a hat or look into the camera and say sike. But that ship has sailed at this point, and Peaceful Property becomes another in a pattern of GMMTV shows that try to incorporate class disparity in their narratives and get it very very wrong.

Which brings me to your second question: are there any QLs I recommend that do this better? Yes! Here is a short list for other Thai shows that have genuinely done this better:

Moonlight Chicken: not a class disparity narrative, but the only GMMTV show to date that has depicted working class people with full dignity and empathy

Dark Blue Kiss: the only GMMTV bl to tell a romance story that involves class conflict and not completely bungle it (snaps to TayNew for having another show that did better on this)

My Ride: a slow burn romance between a doctor and a motorcycle taxi driver that gets the way their class disparity would shape their relationship right

Love Sea: this one isn't perfect (I think the working class character in the pair gets too little narrative attention relative to his rich counterpart) but it does take the class disparity seriously and ensures it informs the relationship the whole way through

Laws of Attraction: don't laugh at me, I'm serious! This show is mostly absurd but the core narrative is all about class conflict, and it informs the romance quite thoroughly, too

The Loyal Pin: including this one on the word of @twig-tea because I haven't watched yet, but I understand it's dealing with class very directly in its core relationship (with the disclaimer that it still has two episodes to go so something could go sideways)

I'd also throw in some shows that aren't really about class disparity but do include it as part of the narrative background to inform characterization and plot like I Told Sunset About You, Love By Chance, Khun Chai, and 3 Will Be Free

Outside of Thailand, South Korea is always a safe bet for strong class disparity narratives, and in QL you'll find the best examples in Hwang Da Seul's works (Where Your Eyes Linger, Blueming, To My Star 2, and currently Let Free the Curse of Taekwondo). Japan and Taiwan actually don't do much of this, because most of their shows are about middle class and working people as a rule. Miseinen, a Japanese BL that just started airing, looks to be tackling a class disparity narrative, though, and doing it well so far (not a coincidence that the source material is from Korea). And We Best Love is a classic Taiwanese BL with a significant class disparity informing the romance conflict. Blue Canvas of Youthful Days is a currently airing Chinese BL that is doing a class disparity romance and has been killing it so far.

So there is my incredibly long answer to your questions! Thank you again for sending me this kind note; I'm so appreciative that we can chat about this stuff and still maintain our love for these shows. I hope you find some things you like on the rec list, as well. :)

[blueheartbooks]

"Unveiling the Depths of the Soul: A Profound Exploration of 'Jane Eyre: An Autobiography' by Charlotte Brontë"

Charlotte Brontë's "Jane Eyre: An Autobiography" is an enduring literary masterpiece that transcends the boundaries of time and genre. As I immersed myself in the hauntingly beautiful narrative, I was captivated by Brontë's ability to craft a compelling story that delves into the complexities of love, identity, and societal expectations.

The title itself, "Jane Eyre: An Autobiography," sets the stage for a deeply personal and introspective journey. The novel unfolds as a first-person narrative, allowing readers a direct glimpse into the innermost thoughts and emotions of the protagonist, Jane Eyre. Brontë's decision to frame the story as an autobiography adds an intimate layer to the narrative, creating a profound connection between the reader and the resilient, independent, and fiercely intelligent Jane.

The novel begins with Jane's tumultuous childhood, marked by abuse and neglect at the hands of her aunt and cousins. Brontë paints a vivid picture of Jane's resilience and thirst for knowledge, setting the stage for a character who defies societal expectations and challenges the limitations placed upon her by her gender and social class. Jane's journey from the oppressive Lowood School to her position as a governess at Thornfield Hall is a testament to her indomitable spirit.

One of the most compelling aspects of "Jane Eyre" is the complex and evolving relationship between Jane and Mr. Rochester. Their connection is not a conventional fairy tale romance; rather, it is a nuanced exploration of love that transcends physical appearances and societal norms. Mr. Rochester, a brooding and enigmatic figure, becomes a symbol of Jane's struggle for autonomy and equality in a society that seeks to confine her to predetermined roles.

Brontë's prose is both eloquent and evocative, creating a rich tapestry of emotions and imagery. The novel's atmospheric descriptions contribute to the Gothic undertones, particularly as Jane navigates the mysterious corridors of Thornfield Hall and confronts the secrets concealed within its walls. The vivid landscapes and settings mirror the emotional landscapes of the characters, adding depth and resonance to the narrative.

Beyond the central love story, "Jane Eyre" grapples with profound themes of morality, religion, and the search for identity. Jane's moral compass is unwavering, and her internal conflicts with societal expectations and her own sense of right and wrong provide thought-provoking reflections on the human condition. The novel also addresses issues of class disparity, gender roles, and the constraints imposed on women in the 19th century.

In conclusion, "Jane Eyre: An Autobiography" is a literary tour de force that continues to captivate readers with its timeless themes and complex characters. Brontë's exploration of love, independence, and societal critique is as relevant today as it was in the Victorian era. As I closed the final pages, I marveled at the enduring power of Jane Eyre's story and the indelible mark it has left on the landscape of classic literature.

Charlotte Brontë's "Jane Eyre: An Autobiography" is available in Amazon in paperback 17.99$ and hardcover 25.99$ editions.

Number of pages: 476

Language: English

Rating: 8/10                                           

Link of the book!

Review By: King's Cat

[blueheartbookclub]

"Unveiling the Depths of the Soul: A Profound Exploration of 'Jane Eyre: An Autobiography' by Charlotte Brontë"

Charlotte Brontë's "Jane Eyre: An Autobiography" is an enduring literary masterpiece that transcends the boundaries of time and genre. As I immersed myself in the hauntingly beautiful narrative, I was captivated by Brontë's ability to craft a compelling story that delves into the complexities of love, identity, and societal expectations.

The title itself, "Jane Eyre: An Autobiography," sets the stage for a deeply personal and introspective journey. The novel unfolds as a first-person narrative, allowing readers a direct glimpse into the innermost thoughts and emotions of the protagonist, Jane Eyre. Brontë's decision to frame the story as an autobiography adds an intimate layer to the narrative, creating a profound connection between the reader and the resilient, independent, and fiercely intelligent Jane.

The novel begins with Jane's tumultuous childhood, marked by abuse and neglect at the hands of her aunt and cousins. Brontë paints a vivid picture of Jane's resilience and thirst for knowledge, setting the stage for a character who defies societal expectations and challenges the limitations placed upon her by her gender and social class. Jane's journey from the oppressive Lowood School to her position as a governess at Thornfield Hall is a testament to her indomitable spirit.

One of the most compelling aspects of "Jane Eyre" is the complex and evolving relationship between Jane and Mr. Rochester. Their connection is not a conventional fairy tale romance; rather, it is a nuanced exploration of love that transcends physical appearances and societal norms. Mr. Rochester, a brooding and enigmatic figure, becomes a symbol of Jane's struggle for autonomy and equality in a society that seeks to confine her to predetermined roles.

Brontë's prose is both eloquent and evocative, creating a rich tapestry of emotions and imagery. The novel's atmospheric descriptions contribute to the Gothic undertones, particularly as Jane navigates the mysterious corridors of Thornfield Hall and confronts the secrets concealed within its walls. The vivid landscapes and settings mirror the emotional landscapes of the characters, adding depth and resonance to the narrative.

Beyond the central love story, "Jane Eyre" grapples with profound themes of morality, religion, and the search for identity. Jane's moral compass is unwavering, and her internal conflicts with societal expectations and her own sense of right and wrong provide thought-provoking reflections on the human condition. The novel also addresses issues of class disparity, gender roles, and the constraints imposed on women in the 19th century.

In conclusion, "Jane Eyre: An Autobiography" is a literary tour de force that continues to captivate readers with its timeless themes and complex characters. Brontë's exploration of love, independence, and societal critique is as relevant today as it was in the Victorian era. As I closed the final pages, I marveled at the enduring power of Jane Eyre's story and the indelible mark it has left on the landscape of classic literature.

Charlotte Brontë's "Jane Eyre: An Autobiography" is available in Amazon in paperback 17.99$ and hardcover 25.99$ editions.

Number of pages: 476

Language: English

Rating: 8/10                                           

Link of the book!

Review By: King's Cat

[captaingimpy]

Parasite: Who Is the Real Parasite?

This review was intended for Release in 2019, shortly after we saw the film. We contemplated deleting it and letting this mistake pass after so long siting in the drafts folder, but in light of the recent passing of Lee Sun-kyun on December 27 of last year, we decided this review would serve as an informal trubute. Rest in peace, and thank you for bearing your soul to the world so that we could…

[itsabouttimex2]

I hope this isn't an odd question

But, do you think Wukong or Macaque would act or treat different their "cub" if they genders were swapped or being a female version? This is also for a Yan behavior

I don't know too much about how is the raising of a monkey from the father and mother so I was curious with this since they're both mystical demons

I was thinking about this when I saw some fanarts from the artist @/car_nimbus on Twitter, they made a neat versions of the characters with another gender

Monkey Mama

(Hmm okay let me build a hypothetical OG “Female Monkey King” to work off of here and then I’ll try to translate that into LMK’s SWK. Also, I’ll probably make a second variation of this afterwards with other characters, haha. This got a little long to do both SWK and Mac!)

Sun Wukong as a character is already heavily defined by rebellion and personal choice, so I think that making him a girl only really compounds that layer of his character.

In many older narratives, female characters are often expected to be more obedient or modest than men, and very frequently only exist as prizes or, more rarely, villains. A female Sun Wukong; assuming she plays the same role as her original incarnation, defies the expectations of how “traditional” women should behave, shirking the demure and passive “ideal” and adding another layer of rebellion to her character.

(JTTW is actually pretty great in terms of female representation, with characters ranging from the perpetually good Quanyin, the eventually repentant Princess Iron Fan, and the straight up evil White Bone Spirit. I’m a big fan of how the women aren’t slid into any one “role” throughout the story.)

I think: in story, she’d likely be viewed as a sort of “anomaly”—a woman too strong, too outspoken, and too unwilling to conform to typical feminine ideals. Her defiance and arrogance might be viewed as even more scandalous by the Celestial Realm.

Instead of being made a “stable-keeper”, I think probably she’s sent to whatever Heavenly Scullery exists in that divine realm, and put to work very quickly. She would treat this “job” with indifference or even amusement at first-after all, physical labor or menial tasks don't diminish her self-worth or confidence! She’s had a life of hard work, leading an army of Yaoguai, cultivating Flower Fruit Mountain,

So she’s fine with this… at first. Then it turns out that the food she makes with her fellow low-class workers isn’t distributed amongst the people making it, but plated up nice and pretty for a bunch of “stuffy old gods” who didn’t lift a finger! Bullshit!

So obviously, the prideful Monkey Queen goes on a destructive rampage in regards to the unfair disparity of treatment, then storms back down to Earth to throw a “feel-better” party with her fellow Yaogaui.

(Which isn’t just a party, but a symbolic reclaiming of joy and community, with her monkey tribe representing the freedom she craves and the earthly bonds she prefers over heavenly authority. It's not just an escape, but a statement of independence.)

After an extensive set of repairs, the Court sends down someone to drag her back, because, you know, the local super-powered monkey is back on the loose, and that’s not exactly great for them. This time, they offer her a “better” role- she gets to become an official Peach Maiden, lucky her!

Of course, it’s just another form of entrapment, but within a prettier cage. Even though she's given a cushier position, it's a veneer- she's still being silenced, controlled, and stripped of her freedom. The role played by a Peach Maiden is an inversion of Wukong's essence, as these women are happily serving the role of passive caretakers, nurturing with gentle smiles—a direct contrast to the free-willed, brash nature of the Monkey Queen.

(And while there’s nothing wrong with being demure, passive, and feminine, having people try to force her into that role is where Sun Wukong draws her line.)

Here, she is expected to watch in silence as others revel in the freedom and power denied to her. It's a different kind of prison, one that quietly erodes her spirit. When the Celestial Court tries to reintegrate her as a Peach Maiden, they are once again attempting to place her into a docile, decorative role, one that strips away her power and independence. Those immortal peach orchards, a symbol of immortality and divine favor, becomes a prison for her.

Surrounded by "ideal" women who embody the quiet, submissive role she despises, the Monkey Queen finds herself chafing under the pressure of conformity. Her energy, once boundless and chaotic, is now caged, and the simmering resentment builds.

The buildup to her inevitable rebellion after being made a Peach Maiden, then, becomes a very sympathetic moment because it's not just a rejection of the role forced on her, but a rejection of the very system that tries to diminish who she is at her core. Her rebellion isn’t about anger and shame- it’s about reclaiming her true self after having been suffocated by the expectations of the Celestial Court. Her rampage becomes an assertion of her identity as something that can't be confined by heavenly rules or social mores.

The Court, in its attempt to “contain" her, only fuels her defiance further, leading her once again to rebel.

It was never going to end well. But it ends all the same, and punishment is to be levied to the Queen, just the same as any other rebellious rule-breaker... actually, probably harsher.

There’s “you broke our rules and tried to lead a coup”, then there’s “you did all that, and we also find your very person to be wrong on a fundamental level”, and then she gets the book thrown at her twice over.

But! Then she meets Tang Sanzang, who sees something in her that neither the Celestial Realm nor her own band of Sworn Brothers saw. Not a heretic simian savaging a holy realm. Not a Queen to rally behind for their own gain.

But a lost soul in need of guidance.

And from there the Great Monk works on building Sun Wukong up as a person instead of leading her astray or trying to cut massive chunks of her personality out? And talks to her about the things she cares about? And teaches her about all the things she missed after spending five hundred years under a rock?

And then she meets Zhu Baije, who starts out a little too happy and carefree about having a beautiful woman around, but eventually comes to smash open heads when Wukong is disrespected, because that’s not just a hot woman, that’s his sister?

Or Sha Wujing, who helps her with even the smallest things, from trimming her claws to cutting her wild hair to preparing meals for the monk? And lets her perch on his shoulders and head so the queen can get some skinship in?

Then Ao Lie, who is every bit the “disappointment to the world at large” that she was considered? And they take turns braiding each other’s hair and wiping the mess from the other’s face, and sleeping in the same tent and same bedroom because it’s less effort?

She gets a dad and three little brothers?

She gets a family.

And then loses it and is alone again for several hundred years more.

So if we go with this theoretical “My natural existence has been rejected for being seen as ‘improper’ by a court of stuffy traditional assholes” and then “I dearly love/miss my dead found family” angle, I think she’d be portrayed as a very different sort of character in LMK.

She’s quicker to lash out and defend herself, and much less willing to sit around and let the world pass her by- because that’s what was demanded of her by the Celestial Realm.

Be good. Be quiet. Be demure. Be obedient. Be anything except you.

I don’t think she’d be as willing to “rest on her laurels” as her canon counterpart, given that a “quiet boring life” was what she had fought so very hard to escape in the first place, so instead of isolating herself from the world in the first place, she probably sets up a little “souvenir shop” at the foot of Flower Fruit Mountain, taking a human form to sell little knick-knacks that herald to the journey she undertook with her old friends.

In part, this is how Wukong works to honor them. To spread their legacy. To ensure that they aren’t forgotten, left as a footnote in the annals of history. To remember them.

In part, it’s how she justifies all the mistakes she’s made and the suffering she’s been through. Settling in to a pointlessly relaxed life is exactly what she fought against, after all. She’s heavily fallen into the “sunk-cost fallacy”, where giving up and settling in, to her, means “losing”. It means “everything I went through was all for nothing”. So she keeps at this little store instead of just retiring and isolating herself from the world, even though she’d be happier to ditch it and lounge about.

So when MK and his eccentric bunch of friends comes around with their boundless energy and mischief, she immediately goes, “Oh, okay! This is what I wanted!”

(It’s not. All she’s ever wanted is her friends back. How could there be anything else?)

The Monkie Kids are vibrant, eccentric, and full of qualities that immediately resonate with Wukong. They remind her of the energy, camaraderie, and sense of adventure that she once shared with her old companions. She sees MK's arrival not just as a chance to teach someone a few of her old tricks, but as an echo of her own life—a life she hasn't been able to truly let go of.

So she starts projecting- on the surface, MK is very much like her. He's spirited, good-natured, and curious- and reckless. Just like she was. Wukong latches onto this quickly, sort of using the kid as a proxy for herself. After all, if she can't go back to her old life, why not embrace a new one that feels close enough? In some ways, this marks her refusal to accept the passage of time, a desperate clinging to the hope that, through MK, she can rekindle the connections she once cherished.

However, underneath that initial enthusiasm is the repressed understanding that MK, despite his similarities to her younger self, cannot truly replace what she lost. The friends she fought beside, the battles they waged together, and the lessons they learned are unique, irreplaceable moments in her life. No matter how much MK’s gang reminds her of the past, he and his friends a stand-in for the companions she still longs for. But her deep desire to reconnect with her old friends clouds her ability to see MK for who he truly is: his own person, on his own journey.

It takes her a while to get to that point, though. So she’s more doting and affectionate, in a way that somewhat stifles her student’s training because she wants to be both her old carefree self and also a good mentor, and the two just get jumbled.

Sidenote: I think with the difference in actions and behavior, MK would be more open to viewing Fem!Wukong as a parental figure than the OG, especially since he doesn’t really have someone to fulfill that “mom” role.

For their dynamic, I think something like this would be the outcome:

———————————————————————-

The afternoon sun hangs low in the sky, painting the landscape in hues of varied orange and blue. With a tired hand, MK wipes the sweat from his brow.

He’s perched on one of the rocky spires dotting Flower Fruit Mountain, gazing at the view with a small smile of accomplishment. Training had been intense lately… if only because he had been doubling down on the time he spent practicing, without giving as much care to rest or aftercare.

After all, even though his powers were blooming steadily… his enemies also were growing in power and quantity, leading to the ever-creeping edge of fear that anything less than a constant one-hundred percent just wouldn’t be “enough”.

And right as he reaches back to grab the golden staff he has inherited from the Monkey Queen-

“MK! I told you to take a break, not run off to do more training!”

Her voice, uncharacteristically sharp, cuts through the formerly tranquil air, causing MK to jump. He turns just in time to see Sun Wukong strolling toward him, her hands on her hips and a look of mock annoyance on her face.

MK grinned sheepishly, shifting his grass-stained boots against the dirt. “I was just, you know… checking out the view.”

She raised an eyebrow, the corner of her mouth twitching in amusement as her eyes narrowed in annoyance. This kid... “Uh-huh. Checking out the view or sneaking in some practice when I wasn’t looking?”

Caught fast in his lie, MK rubbed the back of his neck, face scrunching up in embarrassment. “Maybe a little of both?”

In spite of herself, Sun Wukong quietly laughs, the sound echoing like a chiming bell through the mountain. Her long, golden hair flowed behind her in the wind, each strand catching the light like molten fire. Despite her legendary status- the rebellious warrior who’d fought the heavens and nearly won!- there was a warmth to her that MK had come to cherish.

“All work and no play, MK,” she said, sitting beside him on the rock and ruffling his hair with a fondness that always made him feel like a little kid again. “You’ll burn out before you get anywhere.”

He looked at her, eyes shining with admiration. “But you never stop training. You’ve been at this for centuries! I just…”

A pause, as his chest turns over, unsettled by the notion of opening up. But… it’s the Monkey Queen. So it.. should be okay, right?

“I want to make you proud.”

Sun Wukong’s expression softens, and she wraps an arm around his shoulders, pulling the boy close in a tight embrace. “You already make me proud, kid. You don’t have to prove anything.”

MK leaned into the touch, feeling a wave of comfort wash over him. Even from the start she’d been like this with him- protective, nurturing… and maybe a bit overbearing at times. But he didn’t mind. It made him feel safe, like no matter what challenges lay ahead, he wasn’t alone.

MK chuckled, turning his face up to meet his idol’s eyes.” I’ll keep up,” he triumphantly declares, pumping a fist.” I promise.”

“Good.” Wukong shifted, her clawed hand lightly missing his spiked locks. “Now, how about we head back to the shop and grab something to eat? You’ve earned it.”

MK’s stomach growled at the mention of food, and he nodded so eagerly that she wondered if his head wouldn’t ache from the motion. “You know, I won’t say no to a good meal.”

The Monkey Queen stood up, dusting off her mentee’s clothes before offering him a hand. “Of course you won’t. C’mon, my treat.”

———————————————————————-

Now, to answer your question about how she acts in regards to her own cub… in general I think she’s much more doting than the OG, willing to express herself through constant displays of physical affection, in ways that are far more varied.

Constant forehead smooching, cuddles, grooming sessions, all of it! Mama Wukong never wants to let go of her baby! Sit down and let her paint your nails! Let her comb and braid your hair! Let her make you a nice lunch (loaded with mystical drugs to keep you nice and sleepy for extra cuddles), or at least a filling snack! Let her pepper your face with kisses as she spins you in her powerful arms!

Lots and lots of indulgent fluffy days of binging unhealthy foods and watching cozy reruns of old shows, your head in her lap as she hums and does up your hair with her lazy hands.

Lots of reminiscing about old suitors as she considers the quietest and quickest ways to kill anyone who makes the futile attempt to pursue you in the same way.

Despite her obsessive behavior, Wukong struggles with conflicting feelings about wanting her child to be strong and independent, just like her! She pushes you to train hard and become powerful, but when you inevitably seek their own freedom or autonomy, she’d experience a mix of pride and heartbreak, pushing her deeper into possessive tendencies.

If you ever tried to leave or even just start to break away, Wukong’s worst traits would bubble up like hellfire. Just as she fought against an entire realm’s authority, she would absolutely wage a war to keep her child close, all while justifying her actions as love.

The Monkey Queen is also more willing to take routes outside of brute force if it means securing extra protection for Y/N. If Macaque or maybe Azure (or someone else like Erlang Shen) wants to try and play “suitor”, well, she’s not too interested… until the thought arises that having him around makes you extra safe! And then she’s willing to think on it.

(That’s assuming that you aren’t one of their biological kids to begin with, in which case there might be a sort of “yandere triangle”. Azure/Macaque/Erlang Shen doing his damndest to reclaim his wife, before he learns that she’s had a child while he was gone... or maybe Pigsy and Tang decided that MK needs his mentor in a more ‘accessible’ position, and plot to drag her to Megapolis…)

Lots of potential monkey mama shenanigans, basically!

[blanc-ci]

Started brainstorming about designing a Pre-Surak Spock and it somehow turned into me writing a deep dive into what the technology, infrastructure, class disparity, and sexism of a ~2000 year younger/rudimentary space-faring/nuclearly apocalyptic Vulcan would look like

I’ll post my ramblings some day, but it DID make me come to the realization (which I’m sure is news to No One) that pre-Surak society is entirely based on our 1960’s and what the writers thought the development of Nuclear Power might look like for the future of civilization. They made Vulcans as a sort of narrative “what if humanity, when faced with the worst of what we’re capable of, decided to reject our emotions/humanity all together” but in a way more hyperbolic and sci-fi way

[criticalcrusherbot]

Fizzmodeus and Stolitz: Foils Through the Lens of Social Justice and Class Consciousness in Helluva Boss

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

Helluva Boss transcends its chaotic and emotionally charged exterior to serve as a nuanced exploration of social justice and class consciousness, particularly through its central relationships. Two of the most compelling dynamics, Fizzmodeus (Fizzarolli and Asmodeus) and Stolitz (Stolas and Blitzø), operate as narrative foils, offering contrasting perspectives on power, class, and love within the Hellaverse. Examined through the lens of social justice, these relationships reveal broader themes of privilege, exploitation, and the intricate struggle for authentic connection in a deeply stratified societal framework.

Fizzmodeus: Equality and Agency in a Hierarchical World

Fizzarolli and Asmodeus represent a rare depiction of a loving and mutually respectful relationship within the Hellaverse. Despite their significant power disparity—Asmodeus being one of the Seven Deadly Sins and Fizzarolli, an imp entertainer from one of Hell’s lowest social classes—their dynamic is built on equality, agency, and mutual care. This subversion of Hell’s rigid hierarchical norms, where relationships are often dictated by status and power imbalances, stands out as both refreshing and deeply meaningful.

Asmodeus, as the embodiment of Lust, occupies a position of immense power and could easily exploit those beneath him, particularly within Hell’s rigidly hierarchical system. However, his affection for Fizzarolli is both genuine and free of coercion, subverting expectations of dominance often tied to his station. Fizzarolli, despite his physical disabilities and marginalized status as an imp, is treated as an equal, his agency fully intact. By refusing to wield his power in exploitative ways, Asmodeus challenges traditional dynamics of dominance and submission, aligning their relationship with feminist principles of mutual respect and equitable partnership. Their bond offers a radical reimagining of love and respect within a system explicitly designed to reinforce inequality, demonstrating that true connection transcends structures of oppression.

Fizzmodeus also challenges the Hellaverse’s pervasive commodification of relationships. In a world where lust is largely transactional and objectifying, their bond defies these societal expectations by embodying genuine connection and mutual care. Asmodeus does not treat Fizzarolli as a commodity but values him as an equal partner. This subtle yet profound rejection of Hell’s norms positions their relationship as a vision of what love could aspire to be in a more just and equitable society.

Stolitz: Exploitation and the Burden of Class Consciousness

In stark contrast, Stolas and Blitzø’s relationship is defined by power imbalances, miscommunication, and the baggage of their respective class positions. Stolas, a Goetia prince, occupies one of the highest rungs of Hell’s rigid hierarchy. Blitzø, an imp, exists at the very bottom. Their dynamic is steeped in the systemic inequalities that plague Hell: Stolas holds financial, magical, and social power, while Blitzø relies on him for access to the grimoire, his livelihood as an assassin, and a sense of validation.

Stolitz reflects the complexities of relationships shaped by class disparities. While Stolas harbors genuine feelings for Blitzø, his initial proposal of a transactional arrangement—offering Blitzø the grimoire in exchange for sex—casts a long shadow over their bond. Blitzø’s struggle with self-worth and fear of intimacy further complicates their relationship, making it difficult for him to see Stolas’s love as anything other than another form of exploitation. Where Fizzmodeus represents an ideal of equality, Stolitz is steeped in the messy, painful reality of navigating a world where love is often tainted by power dynamics.

Foils in Action: Love as Resistance vs. Love as Struggle

From a class-conscious perspective, Stolitz critiques the idea that love alone can transcend systemic inequality. Stolas’s privilege often blinds him to how his actions unintentionally reinforce the power dynamics that oppress Blitzø, while Blitzø’s trauma and lower social status make it nearly impossible for him to fully trust Stolas’s intentions. Blitzø also struggles to separate the oppressive system from Stolas as an individual, interpreting even well-meaning gestures through the lens of microaggressions tied to their class disparity.

However, recent developments—particularly following Mastermind—have shown Stolitz growing more emotionally warm and supportive, with Blitzø beginning to extend genuine care toward Stolas. Although the systemic power imbalance between Stolitz remains largely unexamined, Vivziepop and her team have demonstrated a willingness to tackle these themes over time.

Nevertheless, this progress in their personal dynamic contrasts sharply with the depiction of Asmodeus in the same episode, who failed to take meaningful action during Blitzø’s sham trial for using the grimoire, despite Fizzarolli’s desperate attempts to text him for help. This moment underscores a gap in Asmodeus’s willingness—or ability—to intervene in systemic injustices, even when the stakes are high for someone Fizz deeply cares about.

Potentially, if these roles were to subtly reverse, with Stolitz becoming increasingly nurturing while Fizzmodeus grows more complex, it could deepen the show’s exploration of class dynamics. Such a shift would highlight how power imbalances, even in loving relationships, require active engagement to address. While it’s unlikely that Fizzmodeus will become toxic or dissolve, introducing these challenges could serve as a poignant counterpoint to Stolitz’s gradual growth, further examining the broader societal forces shaping both pairs’ journeys.

The contrasting trajectories of these relationships suggest a deliberate effort to explore privilege, agency, and love within Hell’s oppressive structures, leaving room for richer narrative developments as the story unfolds.

Social Justice, Class, and the Bigger Picture

Through Fizzmodeus and Stolitz, Helluva Boss delves into the intersections of love, power, and class within a deeply stratified society. The show avoids easy answers or reductive moral lessons, instead embracing the complexities and contradictions of navigating connection in an unjust world. Fizzmodeus illustrates what love can achieve when systemic barriers are actively resisted, showcasing a relationship rooted in mutual respect and agency despite significant power disparities. Meanwhile, Stolitz highlights the challenges of addressing those same barriers, reminding us that dismantling inequality requires continuous effort and introspection.

Both relationships are essential to the Hellaverse’s narrative, offering contrasting perspectives on love in a system designed to enforce division. They compel viewers to critically examine how power dynamics influence relationships, emphasizing that love, like justice, demands reflection, accountability, and a willingness to confront uncomfortable truths. Whether through the heartwarming equality of Fizzmodeus or the fraught but evolving struggles of Stolitz, Helluva Boss invites us to consider how we might navigate love and connection in a world that often seems determined to keep us apart.

[q--uee--n]

It doesn't quite sit well with me when parts of the fandom act as though they don't understand why, exactly, people become so hyper-defensive/are so hyper-sensitive when people bring up Mel being manipulative. It's because this trait has been weaponized to demean and disparage her at the expense of acknowledging any other nuance/facet about her character, and this also often goes hand-in-hand with ignoring the faults of other characters as to emphasize hers. The fact that Mel is a Black woman can not be put aside as a definitive factor as to why and how she's perceived the way she is—by both the fandom and the writers of the show. I would even argue that one of the show's original sins is a lack of understanding of the real-world intersections between race, class, and colonialism.

In regards to both Mel and Ambessa, this lack of understanding is evident in the writing. Writing that ignores the real-world implications of the Medardas and their social position relative to whiteness, which is one informed by socioeconomic and sociocultural disparities as a result of racism and misogyny. Yes, I understand it's a high fantasy show where things like racism don't exist, so to speak, but Arcane, like all media, is informed by the state of affairs of the world we live in. With classism—classism, which Black people are disproportionately victims of—being a core theme of the show (ostensibly), it's disingenuous to disregard the, from a Doylist perspective, haphazard nature of Mel's function in the narrative as a wealthy Black woman in a classist society juxtaposed against poor, oppressed white main characters (this also applies to Ambessa as a warmonger).

With that said, and harkening back to the beginning of this post, even if you're not bringing attention to Mel's flaws and complexities to demonize her, you have to acknowledge them in the context of her as a Black female character being written with little understanding of intersectionality and how they've been weaponized against her, which are the reasons people—specifically Black woman fans such as myself—are compelled to defend her (or even pretend these flaws don't exist. After all, it's never been a problem in fandom when non-black and male characters' flaws are erased/diminished. It can't suddenly become one now). It's easy to say Mel is a multi-faceted, three-dimensional character, thus, that's why downplaying her flaws is a disservice to her charcter, and this isn't an unreasonable point. However, it's harder to admit that the reason people point out these flaws is not always in the service of acknowledging her complexities but instead in the service of demonizing her due to internalized/unknown biases against Black women. In the end, no one has to like a character. No one even has to defend a character they don't like on principle. No one has to not be annoyed at the sanitization of a multidimensional character. But if those things are being done without an acknowledgement of how the perception of that character is mired by racism and misogyny—knowing or unknowing, from the writers on down—then maybe it's time to address some oversights or unpack some internalized biases before wondering why people feel the need to defend that character.

[my-rose-tinted-glasses]

Peaceful property is a bl even if it's not. It's also about so many other things although not really delivering on a consistent message.

I thought about adding my thoughts to this thread but it was getting long and I started to get sidetracked so I decided to just make my own post about it and share my thoughts on it. @lurkingshan @bengiyo and @twig-tea all made good point about why this show is faltering with its own themes, and @respectthepetty made a compelling argument that the show knows what its doing.

I think no one is wrong and I land somewhere in the middle with it. As in, depending on what I choose to care about. Much like @respectthepetty, I am bias about this show. For different reasons tho. I like Tay and New a lot so I lead with that instead of my critical thinking. just as a personal aside, I tend to do this when my brain and heart don't align. I ignore when my brain tells me that the show is doing something wrong so that I can enjoy the rest. This works particularly well with QL for some reason. I am after all a person who liked Dangerous Romance even when my brain kept trying to damper my enjoyment with logic. And also sometimes I'm a hypocrite and there's no reason for why I like a show and not another. Ok, there's usually a reason but it's most often not a good one, or a rational one at least. That's just how it is.

Anyway. Because of all the excellent points made by that post I decided to fully engage my brain and I've been thinking about what this show is trying to say and I agree that unfinished business is the main thing in the ghost stories but I would have to shut off my brain completely to not see how class factors into all of it as well.

The ghosts up until now, except the chef, were all lower class and one can argue that it played a part in how they died or what happened after. I'm not including episode 7 for reasons that I will explain in a bit. Even if Ride's unfinished business was about love, the fact that he was the only rider doing deliveries in the rain, at least to me, read as he was driven by the need to make money in the first place. Even in the chef's case, the customer that Peach basically poisoned was rich and it was a part of the headlines about it and the reason for the restaurant getting shut down. Also most of the individual stories didn't get deep into these issues, case of the week usual issues, but it was always an underlying theme. Also as @twig-tea said all the parallels work even better because this disparity also exists between Home and Peach.

All this gets me to how I started this post. This is a bl even if it isn't. The choice to include the tragic bl storyline in the middle of this, in my own brain, can only be explained if I believe this is a bl. (The tragic bit was thematically consistent with this show.) Specifically a gmmtv bl. Cause ultimately they have a tendency to forsake narrative consistency if it stops serving the main romance. It's also the only way I can explain having a bl pair mirroring the other bl pair on screen. So in that way it's consistent with gmmtv. Just brush aside anything that can get in the way of the couple not having a happy ending. This is also how I explain my biggest issue with it. Pangpang. She's the shipper. She's been the shipper from basically the start.

Home basically killed her brother, why would she be the driving force in getting him forgiven? Because of my previously admitted bias, I forgave Home almost immediately. It's New and he didn't mean it, it was an accident and he wanted to call for help and do the right thing but his family interfered and.... I could come up with a lot of reasons because I want to forgive him. So everything else can be ignored. But all this obviously doesn't apply to Pang. So it can only be the bl in the not a bl show.

Now, on full brainy mode, this last episode makes no sense with everything else this show has been saying until now. They used a branded pair to ignore any class disparity between our mains, since the last ghost story didn't really parallel that, and over the forgiveness part, and jump straight into Peach has forgiven Home and will probably now become his saviour. Don't even get me started on the fact that Peach is still broke but saving the rich dude that turned his life to crap will be the most important thing right now. I wonder if gmmtv has ever ignored class disparity between a main couple and instead focused on the richer dude's drama while ignoring the struggle of the other one, all in favour of the main romance and lovey dovey moments 🤔. But I guess I'll reserve full judgement on that until the next episode.

yeah, so basically this is where I am at with this show. My two sides are fighting but come next wednesday my brain will take the back seat for 45 minutes so I can enjoy Tay and New and after that maybe I'll think about it some more.

[lionheartapothecaryx]

A Historical Deep Dive into the Founders of Black Womanism & Modern Feminism

Six African American Suffragettes Mainstream History Tried to Forget

These amazing Black American women each advanced the principles of modern feminism and Black womanism by insisting on an intersectional approach to activism. They understood that the struggles of race and gender were intertwined, and that the liberation of Black women was essential. Their writings, speeches, and actions have continued to inspire movements addressing systemic inequities, while affirming the voices of marginalized women who have shaped society. Through their amazing work, they have expanded the scope of womanism and intersectional feminism to include racial justice, making it more inclusive and transformative.

Anna Julia Cooper (1858–1964)

Quote: “The cause of freedom is not the cause of a race or a sect, a party or a class—it is the cause of humankind, the very birthright of humanity.”

Contribution: Anna Julia Cooper was an educator, scholar, and advocate for Black women’s empowerment. Her book A Voice from the South by a Black Woman of the South (1892) is one of the earliest articulations of Black feminist thought. She emphasized the intellectual and cultural contributions of Black women and argued that their liberation was essential to societal progress. Cooper believed education was the key to uplifting African Americans and worked tirelessly to improve opportunities for women and girls, including founding organizations for Black women’s higher education. Her work challenged both racism and sexism, laying the intellectual foundation for modern Black womanism.

Frances Ellen Watkins Harper (1825–1911)

Quote: “We are all bound together in one great bundle of humanity, and society cannot trample on the weakest and feeblest of its members without receiving the curse in its own soul.”

Contribution: Frances Ellen Watkins Harper was a poet, author, and orator whose work intertwined abolitionism, suffrage, and temperance advocacy. A prominent member of the American Equal Rights Association, she fought for universal suffrage, arguing that Black women’s voices were crucial in shaping a just society. Her 1866 speech at the National Woman’s Rights Convention emphasized the need for solidarity among marginalized groups, highlighting the racial disparities within the feminist movement. Harper’s writings, including her novel Iola Leroy, offered early depictions of Black womanhood and resilience, paving the way for Black feminist literature and thought.

Ida B. Wells (1862–1931)

Quote: “The way to right wrongs is to turn the light of truth upon them.”

Contribution: Ida B. Wells was a fearless journalist, educator, and anti-lynching activist who co-founded the National Association for the Advancement of Colored People (NAACP). Her investigative reporting exposed the widespread violence and racism faced by African Americans, particularly lynchings. As a suffragette, Wells insisted on addressing the intersection of race and gender in the fight for women’s voting rights. At the 1913 Women’s Suffrage Parade in Washington, D.C., she famously defied instructions to march in a segregated section and joined the Illinois delegation at the front, demanding recognition for Black women in the feminist movement. Her activism laid the groundwork for modern feminisms inclusion of intersectionality, emphasizing the dual oppressions faced by Black women.

Sojourner Truth (1797–1883)

Quote: “Ain’t I a Woman?”

Contribution: Born into slavery, Sojourner Truth became a powerful voice for abolition, women's rights, and racial justice after gaining her freedom. Her famous 1851 speech, "Ain’t I a Woman?" delivered at a women's rights convention in Akron, Ohio, directly challenged the exclusion of Black women from the feminist narrative. She highlighted the unique struggles of Black women, who faced both racism and sexism, calling out the hypocrisy of a movement that often-centered white women’s experiences. Truth’s legacy lies in her insistence on equality for all, inspiring future generations to confront the intersecting oppressions of race and gender in their advocacy.

Nanny Helen Burroughs (1879–1961)

Quote: “We specialize in the wholly impossible.”

Contribution: Nanny Helen Burroughs was an educator, activist, and founder of the National Training School for Women and Girls in Washington, D.C., which emphasized self-sufficiency and vocational training for African American women. She championed the "Three B's" of her educational philosophy: Bible, bath, and broom, advocating for spiritual, personal, and professional discipline. Burroughs was also a leader in the Women's Convention Auxiliary of the National Baptist Convention, where she pushed for the inclusion of women's voices in church leadership. Her dedication to empowering Black women as agents of social change influenced both the feminist and civil rights movements, promoting a vision of racial and gender equality.

Elizabeth Piper Ensley (1847–1919)

Quote: “The ballot in the hands of a woman means power added to influence.”

Contribution: Elizabeth Piper Ensley was a suffragist and civil rights activist who played a pivotal role in securing women’s suffrage in Colorado in 1893, making it one of the first states to grant women the vote. As a Black woman operating in the predominantly white suffrage movement, Ensley worked to bridge racial and class divides, emphasizing the importance of political power for marginalized groups. She was an active member of the Colorado Non-Partisan Equal Suffrage Association and focused on voter education to ensure that women, especially women of color, could fully participate in the democratic process. Ensley’s legacy highlights the importance of coalition-building in achieving systemic change.

To honor these pioneers, we must continue to amplify Black women's voices, prioritizing intersectionality, and combat systemic inequalities in race, gender, and class.

Modern black womanism and feminist activism can expand upon these little-known founders of woman's rights by continuously working on an addressing the disparities in education, healthcare, and economic opportunities for marginalized communities. Supporting Black Woman-led organizations, fostering inclusive black femme leadership, and embracing allyship will always be vital.

Additionally, when we continuously elevate their contributions in social media or multi-media art through various platforms, and academic curriculum we ensure their legacies continuously inspire future generations. By integrating their principles into feminism and advocating for collective liberation, women and feminine allies can continue their fight for justice, equity, and feminine empowerment, hand forging a society, by blood, sweat, bones and tears where all women can thrive, free from oppression.

[lesb0]

It's hard to explain this to financial illiterates but you and me are much, much financially closer to "poor" millionaires than the poorest rich. You need to rewire your brain to understand that the black square and green square are THE SAME CLASS. these people all serve the same ruling class of billionaires and ultra high millionaires.

this is the best visual reference I've ever seen to explain it

billionaires thrive on selling the narrative that everyone else needs to define their wealth into faux micro factions delineating middle from upper, when the difference between $1 and $100,000 is like a penny to them. I know MANY millionaires who have become evicted and hotel homeless multiple times. they are quite literally the working class, and have been forcibly made aware that they aren't so far away from the baristas they used to look down on. But the real rich can buy and sell a home just because they casually needed a place to vacation in for a few months. Billionaires are absolutely terrified that we could ever gain class solidarity, because this thin illusion of "wealth disparity" between thousands and never framing our thinking in millions is exactly what's keeping them in power

(The blue cube goes on for 2 more pages, Bezos' goes for over 100 pages).

Black women who save up for a telfar or get treated to fancy dates on the weekends aren't the ruling class, you are just racist and extremely ignorant about wealth.

We are all literally a giant servant class for 5% of people because that is the ideal function of end stage capitalism. the sooner we can accept this fact, the better.

[carlyraejepsans]

havent watched utena and all i really know is theres something about duels and a revolution in it? what exactly should someone go in expecting? is this an anime thats like going to leave a viewer wanting to like really think about everything and take it slow is it going to be emotional ? what kind of headspace is it going to inspire ?

absurdist, surrealist, deeply symbolic and allegorical, meta as shit and progressively 4th wall breaking the further in you go. 90% of the time the show refuses to explain itself or its symbols, it just uses them and lets the audience scout for connections and meaning on its own. if you were the sort of kid that loved highschool literature class this is THEE anime for you. singlehandedly changed the vocabulary i use to discuss themes around eternity, patriarchal subjugation, grief, cycles of violence, growing up and nostalgia.

if you want a more standard plot description, it's about this goofy, fire-willed tomboy getting caught in a mysterious sword dueling tournament while protecting one of her schoolmates from her shitty boyfriend. turns out the classmate she saved is the "Rose Bride", a mysterious girl capable of "revolutionizing the world"... and also the prize for winning the tournament! whoever wins her in duel has a right to her hand AND agency AND personhood and has complete power over her. the series follows utena (and thus anthy, ie the rose bride) as she initially refuses to be involved in Any Of That Freak Shit, You People Are Insane but is dragged in further and further out of her growing sympathy and attachment to anthy and the fact that, if she just washes her hands of the matter, it won't stop anthy from continuing to be the rose bride and treated as a tool by the other duelists. and of course, the moral complications and power disparities of complying with such a horrible system, even as you try to fight against it from within.

yes that is a very obvious allegory for patriarchal systems of violence. even if the plot sounds a bit insane, it's that way for a reason. rgu is just the type of story that forfeits logical narrative writing in favor of visual symbolism and allegorical storytelling. it's a story about violence and the societal systems that are upheld by it. it's about the glorification of youth and stasis. it's about eternity. it's about compassion and the willingness to reach out to one another all the same, even when it's easier to succumb to how the world wants things to stay and dismantling the cruelty around you. it's about princes and it's about witches and how very very easy it is so hurt each other, and how compassion is both the hardest and easiest thing in the world, and how it drove a little girl to break the world in two.

also the entire series is free on youtube if you're american. if you're not get a vpn/use a YouTube mirror like newpipe and it should work

[rottenshotgungames]

Alright, let’s start with discourse, shall we?

Gatekeeping Combat

Three days ago, the Gorgon Bones blog made this post about fighters in TTRPGs (particularly the OSR): https://gorgonbones.blogspot.com/2024/02/choosing-fighter-means-choosing-violence.html?m=1

I recommend reading the post, it’s fun (and the comments are hilarious). But, for those who don’t have the time or attention span (trust me, I’m lacking in spoons right now too), this is a relatively short joke that suggests protecting the Fighter class’ niche by making it the only class able to participate in combat. This, on its face, seems like an inherently silly idea—because it is—but people have been interacting with it as a serious suggestion. This comedic concept has spawned a legitimately interesting design discussion. So, let’s engage with it as a thought experiment. How would one make this function in a fun and reasonable way? The simple answer is that you have to start with conflict.

Conflict in RPGs, particularly in Dragon Game derivatives (such as the OSR), is often violent in nature. This presents the first hurdle: How do we centralize combat to 1 class when it’s a major source of conflict, conflict that people inherently want to engage in? As I see it, there are two approaches:

Decentralize Combat.

Redefine “Engaging in Combat.”

Decentralizing combat is kinda just what it says on the tin; make combat a less important source of conflict and means of resolving it. The two biggest examples of this—to me—are Investigative Horror Games and Stealth Games, both of which rely on central conceits that CAN involve violence but don’t necessarily rely upon it. A non-OSR example would be John Harper’s Blades in The Dark, in which combat is resolved the exact same way as every other conflict: through a series of dice rolls that result in ticking and unticking a clock (with possible complications).

Redefining what it means to “engage” requires a bit more definition than the prior approach. “Redefining” can be subcategorized into two somewhat disparate techniques: Redefining goals and redefining interactions.

In any TTRPG combat, the party tends to have a list of goals that exist in a hierarchy of priority. For example, in a traditional D&D or Lancer combat the hierarchy of party goals might look like this:

The Contest (express martial superiority, wipe out the opposition, or otherwise win the combat)

The End State (survive the combat and prevent as much harm to yourself or other party members as possible)

The Barrier (achieve the exploration or narrative goal that’s being hindered or prevented by the combat)

“Redefining” these goals is more accurately described as a re-ordering of their hierarchy based upon whether you are or aren’t the Fighter, usually through gameplay incentives. An incredible example exists in the form of Mike Pondsmith’s Cyberpunk 2020, in which the Solo role (through virtue of acting first and being generally able to specialize heavily into combat) can almost singlehandedly decide the outcome of any fight in which they are present. If there is one Solo on the field, their side is probably going to receive a swift victory; your job, as the non-Solo, is simply to not die and accomplish what you actually came here to do. If there are two Solos on opposing sides of the combat, their goals change to winning their private fight; your job, as the non-Solo, is to survive the surrounding combat until the Solo is free again (or to run if they lose). In almost every combat, the Solo will prioritize the Contest while the rest of the party will prioritize either the End State or the Barrier, something aided by Cyberpunk’s lethality and its nature as a heist game.

“Redefining combat interaction” is . . . actually found everywhere. This is your basic class differentiation taken to a greater extreme than you may find in most tactical RPGs. For example, let’s look at the Combat relevant difference between the Thief/Rogue/Mercenary and the Fighter in a majority of games that use such classes:

The Fighter - Deals a lot of damage with consistently accurate attacks (sometimes also makes multiple attacks on their turn). Has high health.

The Thief - Deals a lot of damage with one really powerful attack made from stealth, sneaky (sometimes good at dodging). Has low health.

The differentiation is there, but it’s not really significant (for the purposes of this thought experiment). Both classes focus on damage output, but one makes multiple attacks and one makes a strong attack that requires setup. Let’s try to take this difference and expand it (with a little help from our dear friend Tolkien), particularly by focusing on what makes the Thief unique in comparison to the Fighter:

The Fighter - Deals a lot of damage with consistently accurate attacks (sometimes also makes multiple attacks on their turn). Has high health.

The Thief - Subverts direct combat through the use of trickery and cunning, plays support for the Fighter (sometimes good at dodging). Has low health.

“Subversion,” in this context, simply means fighting dirty. The Thief shouldn’t be engaging in a head-on fight, they’re a Thief. Their interaction with hostile entities should always be tinged by deceit, their goal should always be to throw their enemy off balance, to create openings for others and themselves to use. If your Thief isn’t constantly throwing pocket sand and disarming opponents and knocking chandeliers on top of them and pulling cloaks over their eyes and poisoning them and . . . are they really living out the Thief fantasy? By strengthening the Thief’s core identity, leaning fully into the trickster aspect, we have redefined how both classes interact with Combat in such a way that has made direct, head-on-head violence the apparent specialty of the Fighter.

Conclusion

As much as the original Gorgon Bones blog post is a joke, Jenx does point out a real issue that’s plagued class-based games for a while: a weak niche makes a weak class. Not necessarily mechanically weak (although that can also happen, looking at you CP2020 Cop), but weak in the sense of fundamental design. Strong niches, even if every class has the ability to participate in combat, are born of purposefully and carefully built interactions with the conflicts presented by a game’s rules and environment. If combat is too great of a focus, everyone is going to want to be able to play the guy who’s good at combat; if winning combat is the sole goal of any given encounter, everyone’s going to play the guy that’s good at winning combats; if every class gets good tools for dealing damage . . . well, I don’t really have to spell that one out, do I?

If you’re designing a tactical, class based game: don’t make the Fighter the only class able to engage in combats. It’s lazy, it’s silly, and it won’t be fun for very long. You may notice that, while the two games mentioned here have classes that EXCEL at direct combat, neither of them fully limit it. Instead, the proper lesson of this thought experiment is a far more common one in our field: keep in mind the incentives you’re building into both your game and your classes, and be aware of how all these moving parts interact with and affect each other. After all, the Solo wouldn’t be nearly as good if Cyberpunk wasn’t so lethal, and the Cutter would be far more ubiquitous if Blades in The Dark had a dedicated combat chapter.

Self Promo

Hey! Thanks for reading. Sorry to leave ya with Baby’s First Game Design Lesson, but I hope ya enjoyed the journey there. If you’d like to see my recent attempt at a class based fantasy game, you can click here to check out Hollow Halls. Otherwise, I hope y’all have a great night and a great day!

[lurkingshan]

Japanese QL Corner

One show wraps up its run and another continues to stumble toward its end. We have two new shows starting next week, and I'm looking forward to it! In the meantime, these two are streaming on Gaga.

Our Youth

I have to call it at this point: this show is not ending strong, and I'm pretty bummed about it. The first six episodes were some of the strongest work from Japan this year, but the narrative fizzled and we're left with this muddled mess of a story that is bound to end on an unsatisfying note next week. I feel thoroughly unmoored in this narrative, the new college version of these characters don't connect back well to where we left them in high school, and the show has failed to make a compelling case for why these two should get back together. And for me personally, the total abandonment of the class disparity themes from the earlier part of the show is a real letdown. @my-rose-tinted-glasses made a great point in her own thoughts about the show that the creators seem to be prioritizing visual metaphors at the expense of logical character behavior, and I'm really feeling that. We'll see where the story takes us in the finale, but I'm officially marking this one down as an end of year disappointment.

Love in the Air Koi

And in more fun news, LITA Koi ended its run today with a funny, sweet, and just a little bit weird special finale that felt fitting for this show. The plot of this special is very silly--in the original Thai version and here--so I loved that they leaned into that by amping up the comedy, adding some spirit shenanigans to give us even more smut, and bringing Fort and Boss over for an extended cameo. It all felt very loving toward the original show while finding small ways to add to the canon, on par with this entire project. From beginning to end it has paid tribute to the original in everything from its costuming to its scene blocking, while still bringing a distinctively Japanese style. As the show wraps, I'm happy we got both versions of this story, to have Fuma and Kai as my new favorite version of their characters, and to see what other Thai/Japan collaborations we might get in the future.

[alexanderwales]

Do you have any posts where you elaborate on this?

"My thesis is that to understand storytelling, you want to understand root issues and classes of solutions ... There are a lot of writing problems that are parallel to each other, and there are a lot of structural elements that are mirrors of each other, so why not try to put it all together that way?"

I don't think I do, so I'll do that briefly here.

Here's the thesis: I have a strong suspicion that there are only a handful of elemental aspects of storytelling that all have their root in human psychology. The easiest ones to name are "engagement", "investment", and "surprise", but once we start looking at these things, I think we can start to understand how "different" writing problems are actually the same writing problem in disguise. Knowing this, we can start listing out solutions to those problems, and solutions that work on one type of problem can also work on a different type.

The brain is good at pattern-recognition and pattern-completion. When we read fiction, we're always trying to complete the patterns, consciously or otherwise. This isn't some LLM-style "predict next token", it's a matter of having an internal model of the characters, the setting, the narrative, etc. But humans don't like the ability to perfectly predict things, at least usually, they like there to be some measure of surprise.

So this is one fundamental aspects of fiction: the tension between predictability and surprise. There's a lot of writing advice that flows from this, and a lot of tools of writing come from here: foreshadowing, plot twists, punchlines, the effective use of tropes. When something isn't working, it's often on the predictability-surprise axis, and a lot of the tools there boil down to "make this more predictable" or "make this more surprising". And this extends from the micro (individual sentences) to the macro (the whole plot). It's why we write cliffhangers, it's how we manage suspense, it's how we structure a paragraph for maximum impact. This is, in part, where the fundamental concept of "tension" from from.

And I think there are a few things like that, relatively atomic concepts that we want to look at, that a good book on writing would interrogate and give advice for, with the understanding that these things overlap with each other.

I don't have time to write a whole book (or 4-5 longish blog posts), and wouldn't trust myself to actually nail it, but here are some of the things that I think ought to be in there:

Conflict and cognitive dissonance, jarring the brain with opposing statements that grind together like mismatched gears, includes juxtaposition

Unfoldingness and picture-painting, forcing the reader to use cognitive load to render the world through words, character actions, descriptions, etc. Includes most of "show, don't tell" and also explains why that's sometimes not good advice.

Emotional resonance, how to create and maintain empathy with a character and activate mirror neurons. Includes both empathy cultivation and empathy discharge.

Pacing and rhythm, and making sure you don't hit the same note too many times, allow the brain to rest, use all parts of the brain, etc.

Meaning and connection-building, how to weave a theme, how to say something, how to have disparate elements come together, because people love when disparate elements come together and the parts become a whole

And so my problem with a book like Save the Cat!, where I think this ask comes from, is that it gives a bunch of very narrow advice, and you walk away with an understanding that yeah, you need a moment early on that establishes this character as someone to root for, and then gives a bunch of weird contradictory examples of what that means, and some of those examples are actually tying in other bits of fundamentals, like surprise, having something unfold in the reader's head, empathy, etc.

I'm actually going to give one example of what I mean, directly from the book, though I had packed it away on my shelf never to be seen again:

Save the what? I call it the "Save the Cat" scene. They don't put it into movies anymore. And it's basic. It's the scene where we meet the hero and the hero does something — like saving a cat — that defines who he is and makes us, the audience, like him. In the thriller, Sea of Love, Al Pacino is a cop. Scene One finds him in the middle of a sting operation. Parole violators have been lured by the promise of meeting the N.Y. Yankees, but when they arrive it's Al and his cop buddies waiting to bust them. So Al's "cool." (He's got a cool idea for a sting anyway.) But on his way out he also does something nice. Al spots another lawbreaker, who's brought his son, coming late to the sting. Seeing the Dad with his kid, Al flashes his badge at the man who nods in understanding and exits quick. Al lets this guy off the hook because he has his young son with him. And just so you know Al hasn't gone totally soft, he also gets to say a cool line to the crook: "Catch you later..." Well, I don't know about you, but I like Al. I'll go anywhere he takes me now and you know what else? I'll be rooting to see him win. All based on a two second interaction between Al and a Dad with his baseball-fan kid.

And this, to me, is only half a diagnosis of what that scene is doing. It's a good scene, but there's a setup and payoff within it, an inherent tension to whether Al Pacino is going to cuff this guy, it's prediction-surprise stuff, it's "show, don't tell". There's a lot going on with it, and if you don't come at it like that, if you just say to people "oh, you need to give us someone to root for" they're going to do boring things like having the hero literally save a cat.

And then this also doesn't help them later on when they have to write other scenes!

I hope this answers your question, possibly I will find the will to write an essay series later on, but this is at least some fraction of my (current) view on craft.

[lunchtimebedamned1997]

Arcane S2 thoughts

(spoilers, obviously)

Most of this was sent to my friend Penn @pennedinblood in discord first, but I wanted to share it + some more on here too.

Okay, I now that its been a couple days and I've had time to think properly, have some thoughts about Arcane. This isn't going to be as specific and nuanced as I'd like, but I'll need more time for something like that.

Here's the thing... What we did get was good and I liked it a lot - for the most part anyway - but like - it wasn't a very good finale imo...

Like -

In season one they had this just fucking masterful foundation for such a nuanced discussion of class and oppression, of the cycle of violence, of how desperate acts may seem evil to some but are not always as simple as they seem and that one person's actions may influence the narrative but that it is the systems in place - and the willingness to follow systems that harm a disproportionate amount of the population for personal gain - that are the real issue. There were no real villains in s1 imo. It was just people making good, bad, or neutral choices, and they all interconnected and effected not only the plot, but the audiences' understanding of the corrupt system in place.

It forced you (if you're paying attention) to understand with visceral understanding both those of the oppressed and the oppressors; and in the midst of all of that we had magic and science interplaying beautifully against the good and greed of mankind.

AND just vast, resonant, deep interpersonal connections and development that you could feel in your bones.

and then in season two... we just kind of went - 'fuck that here's jesus and a witch ~~~ Magic war tiiime' Like?????

It touched on a few themes for sure, and what Jayce had to say to Viktor about disability and the purpose of people, or the value in imperfection and the point of life - as someone who's struggled with their health and other personal things I don't want to get into on the internet, that hit so hard. I hated Jayce in S1, and he won me over in act one of this season and just - didn't let me down. His arc was beautiful and I really really appreciate it. His connection with Viktor means so much to me. screeches into the void

But lets be so fucking real - they kind of (majorly) chickened out of their mass commentary on the opposing classes and working towards a better system that doesn't harm its people. and instead like - Vi's arc got completely fucked?

Like - oh okay so you ditched everything you were going to say and just made her a strong war pawn who can hit good and is gay coolcoolcool (sobs). Like, act one was so promising it really felt like it was following up on everything they had been working towards, and i loved seeing Vi having to make hard choices; watching her become an enforcer as the only way she could think of to deal with two disparate parts of herself - one that needed to put an end to the monster she feels like she created (Jinx, obvi), and one that desperately needed to hold onto the only person she had left (Caitlyn).

And Cait's devolvement into fascism was so intriguing and dark and I hated it in a good way, yk? Like I was like "oh fuck they made Cupcake unrecognizable in a fucking believable way wtf that's rad bro"

And then in act two they were just like 'HAHA lets not show you anything but the highlights of Vi's inner tumoil, then - wow look Jinx is here to tell her about Vander! - let's just never actually take a hard look into Vi's issues or personal arc ever again teehee - oh! And Cait's on our side again yay!' Like EXCUSE ME???

Vi had stood as one of the most important characters in the entire show. She is the linchpin between Piltover and Zaun - one of only two hinges that connects the two cites (the other being Viktor to a far lesser degree bc his roots are never explored, Singed is the only undercity person we see him go back to interact with, etc etc leaving Vi to be the only 'real one') And they completely sidestepped that - especially how she's also so connected to Ekko and the Firelights - which was just - never touched again - Ekko didn't even get to fix his tree! I get it, bigger fish but ffs - it's not a blaming character thing, it's a writing issue. I understand why Ekko had to focus on smth besides his tree lmao - it's that the writers just dropped this thing that stood so strongly for Ekko's fucking roots man (pun intended). Like - He's representing what Vander wanted to do. What Zuan could be. He is literally making a part of Zaun beautiful and supportive, and standing resolute against the system and saying "both of you are wrong, back tf up and lets talk" and they just got rid of that. I think it says a lot that that in particular was punted into the void.

I'm just not over that we never got to see him and Vi interact again dude wth - and I feel like that really speaks to how much they removed Vi from her point and purpose in S1. It would make sense if she needed more time to reconnect -esp after how Cait betrayed her - but to never actually talk again? Just glimpsing each other in the finale?

Don't get me wrong, I loved some of the time-suckers this season. Mel for one (who I also wasn't a huge fan of in S1 (I didn't trust her lol)). Everything with Mel, Vik, and Jayce was sooo interesting, and Ambessa was a great villain. She was imposing and horrible and yet there were very small parts of her that you could understand - but there wasn't enough time. Not with everything else we were also touching. Not without loosing so much of what we had been working towards. And even with the large focus, The Black Rose was this jumbled mess of ideas that didn't really amount to much besides giving Mel a powerup and probably leading us into the spinoff :(

I've been having trouble processing all of this because I'm shocked and upset because narratively, I didn't like it.

And I HATE that I didn't like it. I liked the individual scenes. I liked the concepts at play. But none of it was fleshed out!

That impeccable no-crumbs-left writing was suddenly nothing but crumbs. A whole feast of them. Nothing was really held together and it left each arc feeling like a separate vaguely-connected vignette rather than a whole story - let alone a satisfying conclusion to the previous season.

I'm genuinely angry because I wanted so badly to love this season but I just don't; not as a whole, not as an ending. Again, the individual moments were largely great, but good moments don't make a good story.

I just feel like they were trying too hard to serve LoL lore. Originally Arcane wasn't cannon-compliant with the messy lore of the game, and then a few months ago they came out and said that it was now considered canon - and I was excited bc I thought that meant that whatever they did would influence League - but I was wrong. I think it's very clear that Canonizing Arcane had the opposite effect. I think it's why they chickened out of their societal commentary - I think it's why the Champion deaths were so 'no body, no proof'. I think that it undercut all the stakes for the writers and made them forced to bend to the will of a lot more oversight from the higher-ups at Riot.

I don't know guys, how are you feeling? I'm really glad we got CaitVi cannonized (but I have things I wanna say about that too, esp. how their sex scene played into the sidestepping of Vi's arc (not that it happened, but the way it did - I can talk more about this another time lmao)) and I loved getting a timebomb kiss (again more Vi arc things I wanna say *sobbing and gnawing on my cage bars*) but yeah - anyway I gotta stop typing before I get too into-the-weeds of my thoughts. I'll probably make a big post about the specifics of how I feel they fucked up Vi's story in another post bc I clearly can't let it go XD

But fr tell me ur thoughts too pls I want to know what you thing even if - maybe even especially if - you disagree with me :3

Idk I've got to rewatch it.

It wasn't bad TV, it's still better than most things coming out right now... I hate that I can't just love it entirely rn raaaaaaahhh auhfalwoiha (help D':)