#essay-ish

[rancid-zinnia-onthepatio]

MCU's Mysterio was lackluster.

DISCLAIMER: if you like MCU Mysterio THAT IS FINE. I probably love a character you dislike! This is my opinion, it’s not fact.

I become very passionate about characterization, so it’s likely this can be seen as an overreaction to other people. But this is what I like to do so :DDD (I love over-analyzing characters)

So, I’ve obviously been in a Mysterio phase the past little while. I watched Far From Home because I had only heard from people around me about the MCU version of the character. I never watched any MCU movies (besides NWH when it came out), so I didn't know what to expect. At this point, I have watched all of TSSM, read Mysterio’s first issue and a couple others from that era, watched his episodes in the ‘94 cartoon, read Webspinners, and Amazing Mary Jane. I say I have some understanding of what/who Mysterio essentially is.

MCU’s Mysterio, in my opinion, isn’t a good representation of who Mysterio is as a character. The movie seems to only understand him at a surface level. What similarities does MCU’s version have with the common comic consensus? He’s good with technology (and some acting), he’s a liar and a manipulator, and was underappreciated by the people around him. They both also mention illusions, as that is Mysterio’s ENTIRE shtick.

However, I’d argue MCU’s version doesn’t really delve as much into that aspect as it could. Yes, at the time of Mysterio’s debut in the comics, CGI wasn’t really a thing. Perhaps the MCU decided to “modernize” him. But instead, it felt to me, like someone painting an old Victorian house beige to modernize it. Changing his practical effects/magician knowledge to an understanding of holograms feels cheap. Comic Mysterio would absolutely HATE exclusively using CGI. Do other variants use holograms? Yes, TSSM used them a few times. But he also included practical props and magic tricks. Mysterio is a multi-media creative, not just a technician. (To me, anyway.)

The last scene of the movie that features Beck had the perfect opportunity for him to use a robotic clone instead of ANOTHER hologram to trick Peter while he was dying. The smoke surrounding him could've been emitted by the drones, but it was holographic too.

But, holograms are all MCU Beck knows. The other members of his crew had all of the creative or technical traits that the multi-talented stuntman of the comics would have. His character, Quentin, wasn’t even his idea. (Quentin isn’t even his real name, apparently. But we never find out his real name, we just know him as Beck.)

He’s a liar and a manipulator, sure, but that's the most he has that's really in line with who Mysterio is.

He doesn’t have that signature ego the traditional Mysterio is solely reliant on. (To the point where most jabs about him made by Spidey are about said pride. Even in an old PS2 game he called a large robot version of Mysterio “almost as big as [his] ego.”)

When he saves the city from the water elemental, he simply salutes and leaves while the crowd cheers. Mysterio would encourage the cheering, revel in it, as that’s who he is. Hell, even while fighting every elemental in the movie, he does not even try to make a snarky remark or make himself seem cool. (He never even speaks! Only when Peter joins him in fighting does he speak during fights, but it's only to Peter.) Webspinners gave us the idea that Beck knows he’s not the coolest guy ever, but as Mysterio, he can be greater. There is no separation between Beck and Mysterio in the movie, there’s hardly a mask he is putting on (or rather fishbowl). Sure, he tells Spider-Man that “Mysterio is the truth!” seemingly to make Mysterio a symbol, but it falls flat for me.

Usually, Beck and Mysterio are almost two distinct people. Mysterio in the movie has no signature voice or way of speech that makes him grander than the average joe Beck is.

MCU Beck’s given backstory can be interesting, if it weren’t for how it is framed. Note: I do not care about Tony Stark or any of his friends, everything I know about him is surface level. Beck expresses that his holographic technology was taken by Stark and insulted. Supposedly, Beck was fired for being, as he put it, “unstable.” We do not see what this really means. How this scene read to me is that a rich man took advantage of an employee, and thus framed him as mentally unwell to discredit him should he speak up. It could be from my knowledge of Disney’s employee treatment that gives me this icky feeling seeing this scene being framed as “unreasonable” in a way. How dare Beck, a man who’s life's work was stolen and insulted by someone much more powerful than him, get angry at the MCU’s golden boy?

Could Beck be an unreliable narrator here? Absolutely, but from what I heard this is not the first time something like this happens in regards to Stark.

Beck, to me, didn’t read like a loser who puts on a fishbowl to take on a much bigger personality. He feels like a man who you could replace with anyone, and it wouldn’t make that much of a change.

It is such a difference watching that movie, then watching any of his variants in cartoons or reading them in the comics. It’s not even an interesting difference. It’s not a twist on his character that makes me go “Oh, that’s cool.” I'm just left disappointed.

If Beck wasn’t framed as an irrational, short-tempered monster after his “twist reveal,” there could be something to say about his character. He has a legitimate reason to be upset, but it sucks that that is the only motivation he has (and that this motivation drives him so up the wall that he’s willing to kill Peter and mass amounts of people. Mysterio is rarely framed as a killer, from what I’ve seen.).

Yes, Beck is traditionally a very petty man. But my issue is that the backstory also just HAS to include Tony for the sake of Disney's meatriding of him and for Peter's grief the whole movie.

If we use this backstory for him, it could be a representation of lower wage employees being treated as disposable. It could give him some much needed depth. This depth is lost when he gets the “angry killer” characterization after his reveal. It no longer feels like a backstory that makes the audience sympathetic towards him, it feels like we’re just supposed to see that story as the supporting evidence for him being “unstable.” (Because Disney doesn’t want us to side with the lower wage employees that they regularly take advantage of. Look guys! He’s the villain for a reason!)

I could be wrong. This could be a show of how a grudge can turn you into a shell of your former self and lead you down a bad path. Perhaps Beck did have some mental health issues that enhanced his irrationality and anger, but I don’t think that was the intent at all. The framing doesn't feel like we're supposed to feel bad for him. But I do to an extent.

MCU “Quentin” Beck does not feel like Mysterio. He just feels like a guy who knows how to make holograms and maybe says the word "illusion" five or so times.

The illusion Peter is stuck in before he gets hit by a train is actually the only scene I like. There are creative visuals and trippy imagery. But that's one scene, and it's not even that long. Disney, you made the pink elephants on parade segment, do that more.

I simply wished we got the pathetic theater major we ("we" as in Mysterio likers) know and love.

tagged: @mango-water, @cronchyy2, @bluebutterflytears

[sillybillylance]

i dont think some of yall understand the point of scott pilgrim- scott is a crappy person, and some of the fandom doesnt acknowledge that. HOWEVER, those who do think he is this horrible disgusting mean predator who hates knives and just used her and he hates wallace and he doesnt care about ramona. its not white and black. he sucks, but its due to ignorance, not malice. does that make dating a high schooler and being a jerk okay? no! but people dont acknowledge that he has character development. i think the reason so many people hate him is because hes a realistic character. they see themselves or there friends in him. unlike most fictional characters, he has realistic adult flaws. we all make mistakes. the entire point of the book is character development.

also, hardcore scott defenders: HES WRITTEN TO SUCK. HES NOT SUPPOSED TO BE LIKEABLE.

and to those who call him a predator or groomer, please acknowledge

the time the story was written

where the story was written

and what grooming actually is (i explained it here)

[dootznbootz]

Do you think Telemachus visits that salted field and thinks of his father?

Penelope tells him how much his father loved him. How he saved him. Kissing his cheek as her own tears fall.

They go together and she tells him how it went, voice trembling, remembering the fear and anger she felt then as it bubbled within her once more.

He's told how his father lunged to save him, thundering hooves nearly crushing his head. How the king trembled as he cooed to his baby. Comforting his son as much as himself, fearing what may have happened if he was not quick enough.

Does Telemachus know that Odysseus would do anything to be able to soothe him again? To kiss those dampened cheeks and pull him into his chest once more?

Does the young prince dig his hands into the dirt? Trying to find anything left from his father?

Does he feel like he also cannot grow just like that field? As though he is partially stunted?

[tovaicas]

not me thinking abt how estinien is consistently one of the most emotionally intelligent characters (at least when it comes to other people) we have yet this is constantly forgotten or minimized

[inkdemonapologist]

My BatDR Take That Used To Be Hot But I Left It Out On The Windowsill To Cool So You Should Be Able to Eat It Now Without Burning Your Tongue

its not actually that hot, is what im saying

Anyway my BatDR hot take is that BatDR's story is not fundamentally worse than BatIM with one exception; an exception that, for BatIM, covers a multitude of sins:

BatIM has a theme.

I can't presume the intentions of the creators, but if I had to write an essay on the themes in BatIM, it wouldn't be hard to pick one out: the cost of obsession, or even just, the ruin Joey brought on the studio. In the very first chapter, Henry asks "Joey, what were you doing?" and every single thing in the rest of the game revolves around that central question: what WAS Joey doing? Each audiolog is a snippet of the studio's path to this messed up state; each character you meet is someone ruined by Joey. The major antagonists echo Joey's flaws -- obsession with Bendy as more than a cartoon, obsession with perfection, obsession with fame and greatness and legacy -- but even without that, they're also each a picture of how the lives of people caught in the path of Joey's dream were ruined by it. Bertrum, for example, doesn't match the concept of rubberhose cartoons, but as yet another person screwed over by Joey, he fits the central question of the story, so he feels like he belongs here. Ultimately, in a narrative sense, the Ink Demon isn't the story's monster -- Joey is; the Ink Demon is just the consequence of his reckless ambition.

But what's the theme or central question of BatDR?

You can... try to pick out a theme. There's some promising options, because it feels like the story WANTED a theme, stating its emotional intentions more overtly -- "there's always a choice" to leave the darkness and chose hope; family and the struggle of living in a heavy legacy's shadow; or even just good old mewtwo-brand The Circumstance's Of One's Birth Are Irrelevant, It Is What You Do With The Gift Of Life That Determines Who You Are.

I think, even WITH the clumsy execution of Joey's "arc" and Audrey's lack of real choices, any of those could work about as well as BatIM. But unlike BatIM, the majority of the game doesn't tie in. Joey's tour can be considered relevant -- a picture of the family legacy and the "darkness" that Audrey doesn't yet know she's inheriting -- but like, the audiologs and hints and environment of BatDR are mostly teasing the question of What Is Gent Up To, and the takeover of Gent is detached from Audrey's choices, her family, her legacy, and Gent never really becomes a relevant threat to those things in this game. The Cult of Amok and the Ghost Train have nothing to do with any of these ideas. It might've been neat if Audrey had ever considered, "Did my father really drive all these people insane?", a hint of actually having to wonder about the darkness in her past. Even Wilson only barely brushes against these concepts; he doesn't like Joey and he also is trying to escape his family's heavy legacy, but it doesn't really reflect on his actions and we don't find that last part out until he's about to be dead.

There's also the question Wilson poses of "real" people versus ink creations, and what counts as valid "life." It would be an interesting theme with a lot to build off of in this setting, it ties into Wilson more as Wilson seems to represent the opinion that Inky Things Aren't Really Alive, which could've tied to Audrey (as an ink-person who has yet to accept that part of herself) and maybe given Wilson a reason to think it's fine to sacrifice her, it could've even tied to Gent (who don't even seem to value human life) -- but after Wilson asks the question, it doesn't tie into the direction things go. He smooshes a little Bendy, we see hints of his disregard for Betty, and then everyone continues with their plan to destroy the Ink Demon without any further moral quandaries about inky life.

The thing is, when you compare an element like, say, audiologs, there's a lot of differences you can point to -- but I don't actually think Lacie Benton's audiolog is notably better, taken on its own, than Grace Conway's or Kitty Thompson's, and yet tons of people were intrigued enough to flesh out Lacie. None of them are big plot points or compelling characters on their own; Lacie and Grace both give us a little note on what it's like working in the Studio, and Kitty shares a little bit on how Gent's expansion is affecting people. But when Lacie talks about Bertrum trying to make a creepy animatronic, that ties back into Joey's ill-fated schemes that are the point of the whole story. The question we're asking through the whole game is "what happened here?" so the fandom is interested in who Lacie is and what her life was like and extrapolates a whole person out of a couple sentences. But that's not the question in BatDR -- what has Wilson done to the Cycle and the Demon? Why? Who is Audrey really, and why is she here? Telling us new things about the Studio's fate seems strangely irrelevant to those questions, just an attempt to create a Mystery To Speculate On like the previous game did... but what question you're asking and how it fits into your story's main theme, like, matters. I absolutely believe that one clock animator guy would've been in EVERYONE'S crew if he'd been introduced in BatIM, but the context makes a difference; fleshing him out feels less relevant here.

The explanations of how and why Wilson did everything he did are baffling and handwavey, but in and of itself that's not a worse problem than anything else in the franchise -- I STILL don't understand why the Ink Machine needs pipes in the walls or even how it works, there's no good reason for Sammy to believe the Ink Demon will "set him free," most of Alice's motives don't make sense, etc etc etc. But the thing is that in BatDR, the wibbly bit is the closest thing to a central question we have! Wilson, what were you doing? The theme doesn't really explore or connect to that question, so the explanations that are finally tossed our way feel lacking in a way that BatIM's handwaved elements don't. There's a lot about Joey's motivation in BatIM that we can't know, but the heart of it resonates -- Joey wanted something, he was willing to exploit people to get it, and he became obsessed and prioritised that dream at any cost. We'll weather a thousand logistical inconsistencies if it's got heart.

But all of that said.... to be honest, I don't think Lacie overtly fits that theme anyway. Even, like, Sammy is iffy -- we don't really know what happened to him, only that he didn't used to be made of ink and worship Bendy, and now he does. We assume Joey's nonsense had something to do with what happened to him (though the books later assert his influence was indirect at best), because when there's a pattern, we can fill in the blank. So many fan creators found a place for Lacie, Grant, and Shawn in the cycle as butcher clones or lost ones, so many people imagined that Wally must be the Boris we meet, because that would've fit the pattern, the idea that the point of what we're seeing is the downfall of the studio. It's not actually that BatIM did a great job tying everything together -- it's that BatIM gave us a compelling idea and that was all it took to make everything else SEEM like it could find a place to fit. This is what I mean when I say BatIM's theme covers a multitude of sins. There's a LOT of characters in BatIM that don't make sense. There's a lot of inconsistencies and things that just sort of happen without any real reason. Characters don't really have "arcs" so much as different states they happen to be in at different times. But because there's a central question and the story doesn't wander away from it, our pattern-loving human brains will slot in all the pieces and do all the work to make the story feel at least somewhat coherent.

The things that happened in BatDR aren't a whole lot less coherent than BatIM imo, they just don't tie into a bigger theme or any of the questions the story's asking, making "how do they fit into all this" feel irrelevant, making it easier to forget entire sections and harder to get invested in audiolog characters. I think a lot of the other criticisms people have for BatDR's story are very valid, but I also suspect that if BatDR had a more successful theme/central question, then a lot of its flaws would be easier to overlook -- just like BatIM.

[serenedash]

ok so as a khux Understander do you have any idea how long the span of time between the beginning of the mobile games (foretellers era, daybreak town) and the mainline kingdom hearts games (1,2,3, the "10 years after bbs" stuff) is? i'm halfway through watching the khux story cutscenes comp and the uncertainty is driving me nuts.

First, I'm honored to be known as a khux understander thank you. Second, sorry but there's no concrete reason as of now. If you squint there's some evidence at a time frame but literally shit has been retconned already which is crazy. So I'll just tell you what I DO know!

I can tell you with certainty that all of khux takes place over the course of about 4-5 years because in the later part of union cross there's a cutscene that literally says "4 years ago." iirc khx/chi takes place over the course of one year while unchained chi/union cross takes place over 4 years.

Besides that though, it's an undetermined amount of time between khux and the start of missing link. Here's a piece of dialogue from the finale of dark road:

This is a great indicator of time between khux and khdr but unfortunately this was literally like immediately taken out with an update so it's unclear whether or not this is canon, which would probably make the span of time between khux and khdr about 100-ish years I guess? (if you want to read more about this script change go look at Kat's post, but maybe after you finish khux/dr since you said you're in the middle of it)

And on top of this, Xehanort and Eraqus are about 15 in dark road and during BBS it's been confirmed they're both in their 80s. With certainty I can 100% say that dark road is about 70 years before bbs but that's the only concrete mobile game answer I have. But you could estimate with the original screenshot and this that there's about 170 years between khux and bbs. Again just an estimate, nothing canon, and I'm sure that one edit must've been made due to the development of missing link. Hopefully khml will give us a better answer on time frames!

Hope this helps (as unsatisfying and unconfirmed this is) and feel free to come back with any more questions I love talking about khux :]

[samble-moved]

reminder that homura is a middle schooler. she is 13 or 14 years old, depending on source. she is not old enough to drive or have a permit. she is not old enough to live on her own (it's implied her parents are out of the picture in some way — in the US she'd need to be in adoptive or foster care, or at least have a guardian or social worker, but this appears to be handwaved in the series and none are ever shown). she cannot vote. she is not old enough to get a job (earliest i've seen is 14 in the US, and that's usually in not great environments, in summer, and for low pay and short hours). she is only "independent" in the sense that it's forced upon her by lack of any adult support — nobody helps her fill out school transfer forms, she lives alone, she has no shown family or even mentions of relatives, nobody visits her in the hospital, etc.

i say this because a lot of "anti homura" arguments act as if this information doesn't exist, and that homura is "actually an adult" or at the same level as one due to looping. she canonically is not. her brain and physical body are not developing, she is only learning walpurgis tactics and memorizing test answers. her brain is not developing so she's not "mentally 26", like is often claimed by "homura is a predator" truthers. i'm not even going to touch on how weird and borderline creepy it is to say "she's a child but so mature for her age (from extreme, repeated, potentially pre-series trauma), so she must be an adult and can be treated like one".

there is a reason that children are typically tried differently in the US. unless "tried as an adult" for very serious crimes, it is widely accepted that children (and even young adults) are more impulsive, think less rationally, and are generally "less responsible" for their actions due to not having the experiences of a full grown adult. children are less mature, more prone to "overreaction" and panic, and are immature — because they are kids.

homura is a child. she also has extreme trauma, potentially from before the series even began (where are her parents? are they just neglectful? dead? why isn't there even a single adult helping her?) that is never helped or addressed. homura doesn't get help for any issues she has (obvious ptsd and depression, borderline delusions over the past being "just a dream" in wraith arc). she is not some spoiled, rich, mentally stable almost-adult who's never faced a consequence. she is a young and traumatized teenager, young enough to be a middle schooler, and has experienced:

neglectful, absent, missing, or dead family/parents

watching her friends die horrifically almost a hundred times

having zero adult support at all, no caseworker or help

bullying, half being because she's disabled

having her soul ripped from her body without consent and learning if she ever loses her soul gem (or god forbid accidentally drops it somewhere), her body will basically be "dead"

learning she and all her friends turn into eldritch horrors when they die, a process shown in rebellion to be something they are aware for (aka the horror that witches aren't "just" bodies being moved, they are actively and constantly suffering and aware to some degree the whole time)

learning that the witches they fight are girls around their age who fell into despair, and not purposeless monsters

learned of the prospect that witches can potentially "regrow" via familiars, thus if their consciousness transfers, this shows the possibility of literally eternal suffering as the witch is "reborn"

realization that, the more she tries to save madoka, the worse the situation gets

having a full on breakdown with delusions in wraith arc, thinking maybe madoka was all just a hallucination or a dream she had

finding out in rebellion it wasn't a dream, but then thinking she betrayed madoka by not stopping her from contracting

becoming a witch whose whole theme is based around suicide and wanting and waiting to die, but not being able to

being a witch whose familiars are malicious towards her and belittle her

trying to "fix" her believed betrayal of madoka by making a new world, ending up hated by sayaka and isolated from her friends

is still stuck as a witch while the last event happens!!! (her soul gem is never shown purified)

all of this while she is 13-14.

homura is not some cruel adult playing god because she is bored and likes the power trip and wants the world to burn. she is a deeply traumatized and mentally ill child who never got help. she is not a predator — and i honestly don't know if that is more of a "she's a predator because she's the most openly sapphic" or "she's a predator because she's traumatized and thus 'acts weird' due to trauma" belief nowadays in most anti-homura spaces, i've seen both. she is not a murderer or rapist or whatever else i've seen (yes, "homura is a sexual predator" claims exist, despite this never once even being implied). she is not an abuser — you can argue she's cold or rude, but she is not "an abuser".

if a child like homura existed irl (and they do exist), a professional's first thought would not be "this is an evil, irredeemable, abusive predator who can be treated like an adult", it'd likely be a reaction of horror and deep concern of "what happened to this child to make her act this way?". someone being "the perfect victim" — that is, being soft, demure, sweet, docile, flawless — in response to trauma is a harmful myth for a reason. some trauma victims will react with anger. some may be overly happy in an attempt to prevent further abuse. some, like homura, end up acting "cold" to try and avoid being further hurt. it doesn't mean homura doesn't experience emotion, hates her friends and wants them to suffer, is a predator, is "a bad person", etc.

think! when you write posts about how homura is actually an evil, awful, no good, very bad person with no positive traits, remember she is a middle schooler. of course, she's not a "real" child, and thus doesn't exist to have her feelings hurt over it, but consider this: would you say these things to/about a real child? are you aware that "real children" (often victims of trauma themselves) relate to homura due to this? i was one of them at 14ish, and while "homura is evil [for acting like a traumatized child often does]" discourse never left me particularly hurt, i know it does genuinely upset several people i know. and if you had, say, a real life child relative who acted "cold" after seeing their friends die horribly, would you call them an evil and irredeemable abuser as well?

[aideneverybody]

Okay, screw it. I wrote an opinion essay for class, it’s an essay on Luka.

Disclaimer: this is my first real essay, and for whatever reason I’m putting it on this site (🫶), so don’t be mean please. also mentions of using chatgpt to summarize information, but! I only did it because my teacher said we should do so if we needed a quick summary. fuck ai on absolutely every other front. also, references are supposed to be imbedded links in the text, idk if that’ll appear or not. if it doesn’t and people wanna know what my sources are I can reblog with a list or smth.

Also, obviously spoilers for Alien Stage.

Without further ado, I suppose..

Why Luka (Alien Stage) is an Extremely Complex Case.

Do you ever have that one character that you know has done some messed up things, but you can’t help but love anyways? Yeah, I think we all do. Especially if they have reasons for it, and especially if those reasons are justifiable.

Like, for example, Luka from the webseries Alien Stage, a show about singing for your life against another person (if you’re a human, that is). Luka is a character with a terrible personality who has committed what should be unforgivable actions, from manipulating opponents with memories of their dead loved ones to allegedly killing his crush’s brother during an altercation as a teenager.

A lot of people, in the show and its fanbase, love him, and others hate him reasonably. No matter what your opinion is on him though, there’s a lot of complexities to take into account when it comes to Luka, like the environment and view he was raised in, the way humans are manufactured in the world of Alien Stage, and the ways surviving all of it can twist a character to become like Luka.

The environment we see the humans in Alien Stage raised in is hardly ideal for anybody other than maybe Truman Burbank, and the human-pets raised there. As a child, many children including Luka inhabited ANAKT Garden, a school of music created to teach human-pets how to sing.

The environment a child is raised in can affect their mental health greatly by changing brain structure and function, and that may have been the aliens’ idea, but… did they do it right, with what they were attempting to achieve?

According to a post regarding ANAKT Garden on the official Alien Stage Patreon, “The environment is modeled after Earth's nature because it is known to be the optimal setting for humans to produce the most beautiful voices. Everything in Anakt Garden is designed to keep pet humans in the best possible condition”, and according to the official artbook’s English translation, “[ANAKT Garden] was designed as an average value by synthesizing abstract visual data from human perception of 'heaven'. But it can never be said to be a perfect heaven because it was created without a complete understanding of human beings”. In simple terms: they failed, at least somewhat, to make an environment that made humans feel… well, human, or at least ever at peace. From the grass to the skyline, everything that surrounds the children at ANAKT Garden is fake, not to mention littered with cameras; and that’s not exactly good for mental health.

However, I highly doubt the aliens cared about the mental health of their pets, as long as they sang properly, so I suppose them turning into an ambitious, calculating, cold-blooded person is just an added perk.

The environment Luka was raised in wasn’t exactly “human”, which didn’t help with the growth of his humanity.

Luka’s surroundings can’t be the only thing blamed for his behaviors as an adult, however; he is a product, and products are meticulously designed and manufactured.

Though ANAKT Garden is a school of music made for children, it could also be considered a factory of sorts. Learning how to warm up your vocal cords and read music notes aren’t the only type of performance training children who attend are subjected to. Students are put through more rigorous exercises like heavily monitored, technologically advanced dance, singing and instrumental training, as well as some more “interesting” tests like “superiority tests”, “image making training”, and one specifically tailored to Luka that I’ll explain.

Luka has three documented conditions: chronic migraines, asthma, and congenital heart disease. His special training? “Heart rate variability”. This is defined as “controlling heartbeats to induce the fear of death”, and is exclusive to Luka.

However, as a child, not only was Luka faced with an inescapable threat of death due to his illness, but he was also isolated and ignored by peers due to his weaknesses. Said weaknesses were not helped by limitations he was given when it came to food. Luka was not allowed to eat much as a child, put on a strict diet by his owner, Heperu, and thus could very easily lead to something referred to as scarcity effect.

Luka is also undeniably a good example of the aftereffects of being a child star. He was marketed since he was a student at ANAKT Garden; an official Patreon post stated, “…even while attending Anakt Garden, [Luka and a classmate] kept gaining recognition for their external activities in the showbiz world”. Effects of being exposed to fame as a child, as summarized by chatGPT and paraphrased by me, include stressfully high expectations in regards to success, exploitation from parents/guardians - in this case his owner, identity issues due to constantly being in the eye of the public and being unable to separate a stage persona from your genuine self, invasion of personal space and a struggle to maintain the boundaries of a private life, failure to maintain healthy personal relationships and developing less than ideal coping mechanisms.

These could very well be applied to Luka. He grew up forever in the eye of the public and surrounded by cameras, has a very manipulative owner, and has no personal relationships to speak of.

Luka is a star because he was bent and twisted and rearranged mentally to be so, in not just ugly ways but extremely unethical ones.

Now, where does that leave Luka as an adult? Just as twisted as the ways he was produced, that’s where.

Luka was top of his class at ANAKT Garden, and won the 49th season of Alien Stage. The current canon of the show takes place in the 50th season, and he won that too. He is, no doubt, easily classified as a “winner”, and certainly a successful investment as a human-pet. Although, I wouldn’t say the word “human”, in all of its glory as one of the most wonderful adjectives that could be applied to a person, fits Luka as a character anymore.

Recall when I brought up the scarcity effect. As defined by Wikipedia, “[In the area of social psychology] Scarcity is basically how people handle satisfying themselves regarding unlimited wants and needs with resources that are limited. Humans place a higher value on an object that is scarce, and a lower value on those that are in abundance”. One of the effects of scarcity effect in humans can be a lack of empathy towards others when they believe time is short, and when your heart is constantly working against you, when isn’t it? Luka, in the artbook, is described as a man who “didn't care whether others were hurt or not because he lived only to prove his own value without giving up his side to anyone. He has no hesitation in trampling others and climbing up”. He does things like study his opponent’s weak points and actively exploit them on stage in order to win. There’s your lack of empathy. Furthermore, the conditional variations of new scarcity and competition fits Luka well. To quote the Wikipedia on scarcity effect again, “New scarcity occurs when our irrational desire for limited resources increases when we move from a state of abundance to a state of scarcity”. In regards to competition, “In situations when others are directly competing for scarce resources, the value we assign to objects is further inflated”. I believe it’s a if-the-shoe-fits-type situation, and the shoe is currently the perfect size for Luka.

He won Alien Stage. He won a show that is a matter of life and death, where the best of the best are put up against each other with not only the pressure of a metaphorical, but a literal gun to them. And not only did he win, but he did so while being in a fairly vulnerable position. For example, his migraines. Migraines are known to cause sensitivity to light, and while on stage, Luka is subjected to many of them. He pushed himself to agonizing points, through extremely unsavory training and suffocating amounts of social pressure, to win, and it’s seemed to pay off for him just fine. In the Alien Stage video “TOP 3”, during Luka’s montage, a subtitle appears that consists of the text “The Luka syndrome is sweeping the universe”. The aliens love him. The easy excuse, relying on that information and how it spurs him on, is that fame is an addiction. There are oh so many studies on social media and fame and the problems they can cause. However, I think there’s more to it than that when it comes to Luka.

In an article of the psychology of pretty privilege, it’s said that “[Research] consistently shows that attractive individuals are more likely to be hired, promoted and receive higher salaries. Their appearance-based confidence also enables them to pursue the wages and opportunities they desire and deserve”. I feel like this could be similar to Luka’s current situation. He made it, and he’s idolized, and good things happen when you’re idolized. Indulgence in things like, I don’t know, food and sugar, happen when you’re idolized, as a reward if nothing else. Proper treatment for a myriad of health issues that the aliens are clearly not below abusing and using against him happens when you’re idolized, even if it is just to keep you healthy for the stage. Even rather immature things, like rubbing your success into the faces of those who once overlooked you, happen when you’re idolized.

Why would he want to let that go? He wouldn’t, could you blame him? But, the constant threat of losing it all looms over him. He won Alien Stage Season 49 and got such a wonderful taste of privilege… and then got chucked back into the brutal competition because he was so good. But by then he knew how to play the system, and had a reason to be desperate to play it. His charm on the stage may seem indispensable, but he knows he himself is not.

He remembers the cruel training, he remembers how he got to where he is, and he’s desperate enough for that - hence scarcity effect - that he refuses to let it go, leaving him with a more alien mentality than human. He lives and exists to be entertainment, he knows that, and he knows that without it he may very well not be living at all.

Luka, and many other characters with similar narratives, have many… interesting features that go into their detestable personalities. Luka, as a specific, has had to suffer through uncanny surroundings, torturous stage training, being pushed to aggressively desire things that should be relatively common, the paranoia of being watched and the mental struggles that go hand in hand with the life of a child star, and how that evolved to turn him into a completely inhuman apparatus of a man.

But, honestly? There is so much more to him that I can’t even fit in here. So, with what I’ve presented you, call your own shots! This is just how I view the way he functions and what reasons could be behind it. You could continue or begin to despise him right now, if you wanted; just make sure to acknowledge that he is a very complex character, no matter how you slice it.

[lordofthesoups]

I can never escape Plato :((

[cadaver-callum]

Animal language

(Ramble)

More so a thought than anything else but I find it super cool that depending on biomes certian language aspects in animals is carried over cross species as a survival strategy or hunting method. How cats mimic bird chirping or butterflies have eye spots on their wings. Both are very good at taking language from one species to another. It also in some way explains what fears other animals may have or what they love the most by another species picking up on that.

Possums playing dead is fascinating to me as its just confusing enough for predators to leave them alone and it works so well they're the only marsupial im north america

I also feel domesticated animals have different tones or outright languages compared to wild animals that I find annoying sometimes cause well it reminds me of humans which i think is funny.

I think from hands on experience i relate most to raccoons, possums and chickens. Ungulates lately was something i understood language wise clearly at first but i think i had novice confidence and now i feel i know nothing. Raccoons completely confused me at first but now im beginning to understand why they act the way they do.

They are noteably extremely aggressive to animals their size and sometimes bigger if the opportunity is right. They will dominate smaller animals if they can at any chance. I find their resiliency and unyielding aggression admirable even if it means they will rip open a metal cage like a tim can to eat the heads off of baby possums (true story, thats why you need to secure enclosures SUPER WELL)

If i could hypothesize, i would suggest that this behavior is an extreme version of opportunistic behavior where they take every resource they can even if they dont need it or even if it only lowers competition slightly because they already have to deal with hawks, owls, coyotes, ect. Raccoons makes holes to ecosystems to fill them so to speak by killing as many possible competitors as possible.

They aren't the only animal that does this but what makes raccoons stand out to me is their ability to adapt to niches so quickly and readily. They can adapt to a skunks niche, possum, squirrels and other small mammals while not perfectly the same they can still find ways to compete with all of them.

Raccoons have a habit of picking an area and staying in it to use every resource if they can find a place to sleep and food to eat consistently they will wipe the floor with anything else their size that already lives there.

Tldr: raccoons are cool

[plusultraetc]

today someone stopped me to tell me I had a 'great voice' and ask if I had ever done anything on the radio and while that was such a lovely and unexpected compliment it also reminded me that Present Mic brain rot is a real & genuine problem in my life bc my first thought was 'omg that's so sweet' and my second thought was 'NO BUT I'VE OFTEN WRITTEN ABOUT THE RADIO MAN'

[carnelianwings]

Since I'm not sure if I'll ever get the chance to properly touch on this in a fic because it's more character analysis than something I can properly include in dialogue/exposition without it being very awkwardly out of place and telling not showing, I figured I'd just dump it here. It's something I think about a lot whenever I write for post-Seed Destiny Athrun in a fic, because in so many ways, this is actually something of a non-magical "Ideal (Fake) Reality" situation that Durandal very nearly succeeded in pulling off, but ultimately failed at because Durandal overplayed his hand and underestimated Athrun's loyalty to his friends Kira, who was pulling triple duty opposing Athrun because Kira himself didn't agree with what Athrun was doing, protecting Cagalli, and supporting Cagalli at a time when she was powerless.

It's a trope I very much love in magical/sci-fi settings because it says a lot about the character and the lengths they'll go to get what they want (the willingness and determination to take the longer, harder path to make the dream reality vs the instant gratification option even if it's fake), and also just gives me so much to work with when I write when it comes to character motivation/dialogue/actions.

I feel like a lot of this gets missed in all the memes that he's (somewhat deservedly) suddenly a part of after Seed Freedom, because while Seed Freedom Athrun is very self-assured and confident in his course of action, he definitely took a long hard road (with more downs than ups, in my opinion) between Seed and Seed Destiny to get there.

(Rest behind the cut because there's a reason Athrun Zala is my favorite Seed character, and not just because he's got a lovely voice - thank you Ishida-san for that - and is easy on the eyes.)

When Athrun re-enlists in ZAFT and "continues" his life again as himself, he's given a choice thanks to Durandal's string-pulling: Resume the life that was planned for him by his parents and PLANT (his "destined" life, if you will), or find his way back to the life that he's chosen for himself (with Cagalli and Orb).

If he chose his "old" life, he would've had it all - the glory of being a decorated war veteran, a post as a FAITH member (resuming the role he'd previously gotten thanks to his father), a "Lacus Clyne" for his fiance, and the honor of being the pilot of the Legend (while being something of a "legend" himself). Durandal saw to it Athrun would've seamlessly resumed that life to all external appearances, even if it would've been an absolute sham behind closed doors. Athrun might be a decorated war veteran, but that came with a lot of trauma and grief - trauma from having to fight and kill at such a young age, grief at being the one to survive when those he'd called friends die around him, plus all the unresolved emotional turmoil and grief of having never been able to properly resolve things with his father and his genocidal ideals (because Patrick Zala, too, was a man who never got over his grief at losing Lenore during the Bloody Valentine Incident, and only became the way he did because of that). He might've had a highly coveted position within FAITH, but that power would ultimately be in service to Durandal (a head of state Athrun alternates between wanting to agree with and being directly at odds against). Durandal needed more capable "Yes men" ace pilots like Shinn Asuka to spread and enforce his plans, not people capable of thinking for themselves like Athrun (at least, Athrun got there after Operation Angel Down). The "Lacus Clyne", is, of course, Meer under the best cosmetic surgery money could buy, but she is nothing like Lacus Athrun knows and cares for as a friend and whose cause he had once lent his power to (and would again at the end of the Second War).

And the Legend? It might fit Athrun in name only (in the sense that he's the "legendary pilot who helped end the first Earth-PLANT War) but the entire suit (even if it had an updated OS for the DRAGOON system) doesn't even play to Athrun's core strengths as a pilot. It's almost comedic how Durandal didn't even bother tailoring the Legend to Athrun - the Saviour is more Athrun's style both as a spiritual successor to the Aegis and weapons load out, yet it's coincidental that it would end up in Athrun's hands. There's no way Durandal could've known and planned for the Saviour to go to Athrun, but Durandal arguably had that time with the Legend. In the episode where both the Destiny and Legend are revealed, Durandal made a point of telling Shinn the Destiny was fine tuned to him, but neglects to tell Athrun much about the Legend beyond the DRAGOON system and the updated OS for it (the closest Athrun arguably ever came to a DRAGOON system was flying right past Kira and Rau's duel in front of Genesis at the end of Seed).

On the flip side of that, there's the life Athrun had chosen for himself after the first Earth-PLANT War. It's not an ideal life, not by any means - the fact he's essentially a powerless civilian with no means to reach for his ultimate goal chafes him to no end, especially when there's the ever-looming threat of Cagalli getting taken away from him due to circumstances neither of them want nor are able to deal with. Cagalli can't get out of the arranged marriage, Athrun as "Alex Dino" has no claim to power and as "Athrun Zala" would only invite larger scale international problems - even if Athrun himself has no political ties to PLANT, his family name says plenty. Athrun is patient, yes, but even his patience has a limit, and seemingly losing Cagalli to someone he doesn't respect and she doesn't love (in a reversal of Athrun's situation with Lacus and Kira) pushes him to action out of desperation. And while it puts him at odds with Kira and Cagalli (including lashing out at both of them when Cagalli finally breaks down and gives in and gets coerced into going through with the arranged marriage), it does also get him to realize that he's not the same person he was before the war - he's no longer capable of living that same life he had before, where he would fight where his country tells him because that's the fastest way to end the war. The easy (destined, if you will) option is no longer an acceptable choice for him, because it's not the one that ultimately leaves him fulfilled and truly happy with the one he loves in the end.

And it's this that ultimately brings him back to Cagalli and the (Infinite) Justice, metaphorically reclaiming his sense of justice (ha ha). He's always going to be looking for a cause to serve, and a just cause by his own terms, because he's dedicated far too much of his life serving in the military to just stop doing that and he's spent too much time around Lacus to just mindlessly follow whatever the higher ups say, anymore. So this leaves the only way forward: serve under a head of state whose ideals he can agree with, with the freedom of choice to act according to his own sense of justice, and to that end, there's only one choice for him - return to Orb and Cagalli.

[veliseraptor]

Remembering my first introduction to Xue Yang and thinking about how methodical he seemed to me vs fanon version that is basically evil Wei Wuxian on speed.

No really you're so right he's normally calm and methodical. Just sometimes the universe tells him he fucked up and he's like "would you say that if I did this? *makes an utterly insane choice*"

ohhh this is something I have Thoughts on for sure. don't get me wrong! I think xue yang does have manic periods and will get into a mode where he's not sleeping for three days because he has a project to work on and sleep is boring, a-yao, leave me alone. but I think the degree to which xue yang is - prior to xiao xingchen's death - actually as unhinged as he's sometimes painted is...it's not pretending but it is playing up an aspect of his personality to make people uncomfortable or nervous or scared, both because it's how he makes damn sure he's not going to be forgotten or ignored (have talked about that elsewhere) and because it's what people expect from him, so why not.

(it also means people underestimate him and while I think xue yang has a kind of complicated relationship with that it is useful sometimes.)

I do think a solid 30% of xue yang's behavior is looking at what people expect from him, going "oh you are like a little baby. watch this" and doing worse. i.e. if people are going to assume he's basically a wild animal then he's going to be the meanest wild animal they've ever seen. I think the fact that he settles relatively easily into playing a role where that's very much not the case, where nobody is looking at him like that (or at least nobody who is in a position to look down on him, qingqing is too short), is somewhat indicative.

he has more control over himself and his behavior than most people realize; I think the perception (both in universe and in fandom) is that he's sort of a creature of id, driven purely by impulse and almost instinctual reaction, and I don't think that's actually accurate to what we see of him most of the time. he's certainly very clever, and good enough at what he does to attract the attention of powerful people. jin guangshan finds him valuable enough to alienate and anger another sect leader about it. give Xue Yang a puzzle and if he's interested he'll sit down and pick at it until he figures it out, unless it's too easy, then it's just boring.

it's also notable to me that when xue yang is angry at someone, he doesn't actually act immediately. he's very willing to wait and plan to figure out how to really twist the knife in someone. the choice to go after song lan's temple, and song lan himself, rather than directly targeting xiao xingchen, might be a practical one, but it's also a very deliberate and targeted attack that's aimed right at xiao xingchen's stated purpose: "you say you're here to protect people? look, you can't even protect your friend and his temple, and now they've suffered because of you." that's not, like, an immediate and explosive reaction, it's a very purposeful act that has thought and planning behind it.

now, does xue yang make impulsive snap decisions, frequently involving violence? sure. but the most notable of those is, I would argue, at the two absolute nadir moments of xue yang's life. the first one being when xiao xingchen finds out who he is and vehemently rejects him - xue yang's reaction there feels like much more of an instinctive lashing out, and it's happening because for the first time in his life since he was very young, someone who actually has the ability to hurt his feelings has hurt his feelings and it feels real bad! doesn't like that! so he reacts to make it stop, and then keeps going and pushing until xiao xingchen breaks, and then after that it's pretty clear to me that he sort of shocks back to reality and spends the next eight years going "no, wait, I take it back." or, well, trying.

and then also when he dies. when wei wuxian goads him about what he did to chang ping and the implications thereof regarding xue yang's own feelings of (unnacknowledged, unrecognized) guilt, xue yang absolutely loses it, gets reckless and careless and ultimately it's that, with a-qing's help, which gets him killed.

oh, wait, one other place I think xue yang loses control of himself and acts without really thinking it through, and that's killing a-qing. I have less textual evidence for this (though I don't think it's completely absent), but it's definitely my headcanon.

outside of those moments, though - aka the ones that get really bad - I don't think xue yang is as off the chain as he sort of...gives off the air of being. I don't know that I'd call him calm, but I would say that he has the ability, most of the time, to exercise at least a modicum of self control.

at least, before xiao xingchen's death. frankly, after that I think he does very much lose his mind a little, but, you know. I think that's understandable, under the circumstances.

[durchdenspiegel]

Got a ~2 page essay to write and I’m already halfway through I WILL finish it today I‘m manifesting it I will not get frustrated and tired and stop before I‘m done 🤞

[thatswhatsushesaid]

i think you would appreciate the fact that, for all that it's generally considered to be mxtx's goofiest and wackiest work, svsss is like the only novel out of the three that has a whole ass video essay dedicated to it on youtube.

…..you’re right, this is extremely relevant to my interests. 👀 okay once i finally read it and finish it, i will be queuing up this video essay.

[prinnamon]

Anyhoo, I consider Opposing Force very… selectively canon to my reading of HL as a whole. There are a lot of lore things about it that I l genuinely do find interesting (Adrian and therefore the existence of soldiers that never received orders to kill scientists; the in-fighting between the HECU and the Black Ops; Race X), but one thing I think Gearbox fundamentally misunderstood about Half-Life while making this expansion was the G-Man, which is why it catches me so off-guard how genuinely cool of a mystery the idea of him recognising Gordon and Adrian jumping into the same Xen portal as an attempt to create a ‘temporal paradox’ was. As per my previous ask, HL protagonists encountering each-other isn’t exactly uncommon, so why would THIS be a paradox while other encounters are not?

Well, my bonkers little theory is that it’s got to do with the player. Feel free to stop reading here if you don’t like metanarrative theories surrounding HL because my interpretation is full of them.

Most other times a playable character sees another playable character in a HL game, they AREN’T actually in a playable state at the moment, or at least not in a playable state with much freedom. Barney catches Gordon at what may be the closest thing HL has to a true cutscene. Gina and Colette get into harmonic reflux with Barney, but the player technically loses control of all of them in that moment.

Gordon and Adrian on Xen on the other hand? The game (and consequently the HL universe) can’t account for what a (very playable) Gordon would do when he first reaches Xen. In order to not break canon, this moment would require two players, which isn’t possible in a singleplayer expansion like Op4. Therefore, temporal paradox, portal malfunctions as a failsafe and drops you into the void, your observation is terminated.

The game CAN however, very much account for what Gordon is doing when the Xen portal is opening (as the only way to progress the game at that point is to jump in). This is why Adrian seeing Gordon in that precise moment, it’s not a paradox, but anything beyond that would be. This is also my explanation for the Barney-tram situation: You could argue that when Barney sees Gordon on the tram he’s playable, but he’s also locked in the tram and can’t ‘paradox’ much of anything, there isn’t a great variety of things he could have been doing in your playthrough like on Xen.

TL;DR: all of your playthroughs are canon to your versions of HL and the expansion, but that means you (the player) can only make decisions for one player character at a time. If two player characters end up in a state where the player is making significant decisions for them, the universe cannot account for that and a temporal paradox occurs.

"selectively canon" is a great way of putting it. Half-Life 2 and beyond canonizes a couple things, like Calhoun being Barney's surname (though I'm not certain whether that was Gearbox's invention or whether that's what Valve told Gearbox to use), but most of the time the series' mainline games seem to me like they walk this line of neither incorporating nor contradicting anything from the expansions.

anyway. i looove metanarrative stuff. i've written about that kind of thing before on this blog. the fact that "you" and "we" and "i" and "the player" and "[protagonist's name]" are all easily-understood and correct ways of referring to the player character is one of my favorite little things about interactive media as an art form. will never be over that very natural blurring of agency and identity.

i like your ideas about the temporal paradox :] out-of-universe i figure it was probably a reference to the fact that, from the player's perspective, the events of Half-Life happened in the past. Opposing Force may be set at the same time chronologically, but the player knows they're revisiting a story that already unfolded. to us, any changes to that story which would be introduced by Adrian's involvement would be like going back in time and rewriting the past. but the existence of a satisfactory Doylian explanation doesn't make it so that working out a Watsonian explanation isn't also fun.

smiles. Dr. Cross and Dr. Green, defying the laws of spacetime by being the only player characters allowed to interact for an extended period. good for them, good for them.