#i don't think it will be hard to adapt in the anime

[zombie-bait]

As an animation student I absolutely hate live action adaptations like the ones Disney's been churning out the last few years. They strip away all the artistic intent of the original pieces of media and turn them into grey, heavily cgi-ed experiences that don't even carry a quarter of the whimsy. The purpose behind these adaptations isn't to fully utilize a new medium and find a unique way of retelling the original story, it's just to make money.

Imagine you see a painting, let's say The Mona Lisa. Now, you can put on a black wig, pose in front of the countryside and take a selfie in the same pose. Is it fun? Yeah, sure. It's the kind of thing you can send to your friends or maybe post on an account. But to argue it is superior somehow because it's "real" is an insult. You could spend thousands of dollars on makeup, cameras and lighting but still, it will not carry the same cultural impact. It can't.

And don't get me wrong, photography and cinematography are 100% an art form. You can do beautiful things with a camera that cannot be done through any other media. Cosplay is another beautiful example of artists bringing their creative interpretations of characters into the real world. People who do those should be admired and appreciated. But we know that's not what's happening here.

You might not think The Little Mermaid (1989) or Beauty and the Beast (1991) are as artistically valuable as something like The Mona Lisa. That's the thing about art, no one really gets to decide what piece of art is or isn't superior to another. But all three are definitively intentional art. It doesn't matter if you're an overworked in-betweener for a mega-corporation in the 90's or a famous renaissance painter working on a portrait. Either way, you're pouring a little bit of yourself into your creation. Every choice you make has intent behind it and years of hard work, even if you're not conscious of that.

These adaptations are an expensive selfie boasted around as a superior product. Because that's all they are, products imitating art. You end up losing those intentional choices somewhere along the way as hand-picked colours, distinct silhouettes and visual storytelling all get dulled into the same "realistic" shape. And children deserve better. Not just because exploiting families by rereleasing content is scummy, but because I whole-heartedly believe that children deserve artistically rich, complex stories. Almost every animation student and professional that I know got where they are because they were inspired by something. Maybe it was Beauty and the Beast or My Little Pony or Animaniacs or How to Train Your Dragon. But there's something immensely powerful about being a little kid and being shown a completely new, beautiful way to imagine and interpret the world. And you find yourself sketching day and night to replicate that interpretation until suddenly you're creating something new, with intention, that's never been made before.

I'm sure there are plenty of kids who like movies with realistic-looking animals. But the animals aren't realistic because these corporations thought kids would enjoy them, they're realistic because studios executives that don't actually give a shit about art or animation think they are more visually impressive and needed to come up with an excuse to recycle content instead of daring to do anything new. They don't care about artists, they care about consumers.

Since we keep getting "live action" CGI remakes of already perfectly adequate animated movies, and because people need to understand that animation is a medium and not a genre, I have prepared this primer about the importance of Visual Language for Conveying Information.

Can you tell what the personalities of these two mice are?

Can you tell now?

Which of these two tigers feels safer to be around?

Which of these three dogs is the funniest one?

If you can answer these questions, then you already have experience with the idea of visual language and stylistic choices being used to impart narrative meaning. If you can understand why these choices were made to impart meaning, then you can understand why animation is a medium for telling stories that has its own inherent value, and is not merely a "placeholder" for the eventual implementation of photorealistic presentation (aka "Live Action" CGI). Animation does not need to be "corrected" or "legitimized" by remaking it into the most representational simulation of observable reality.

[solardriftx]

Damon and Diana, Snake and Chameleon

in the context of chapter 1 i wanted to expand on some of the animal symbolism, particularly damon's symbol of a snake and diana's of a chameleon. buckle up yall!

while the biblical snake symbolism is obvious, i think lots of meaning can be derived from real world knowledge--in particular, the familiar image of a snake shedding its skin. snakes enter periods of heightened aggression when molting due to the sensitivity of their new skin, and i think this will be reflected by damon becoming much worse in the name of defending himself before he changes for the better. his initial distrustful mindset was proven right, the second he even *began* to trust someone it blew up in his face. while he was crying for a moment in the face of eva's death, this sorrow was quickly overrun by frustration and anger, particularly at diana's words.

additionally, while i'm not sure if exact genus/species of certain animals were intended or will become important to interpretation, i'd like to draw a connection between damon's snake symbol and a certain genus. from the green color and his american origins, i think he can be connected to opheodrys, a common genus of green snake from north america coming in two species of rough or smooth variety. these snakes are not commonly kept as pets due to their standoffish and defensive nature around humans, making them prone to biting. despite this, they're non-venomous and generally harmless. damon makes it clear when confronted that he does not intend to harm anyone. in fact, his monologues show he thinks much more about how he would respond if someone were to attack *him* instead, noting the physical advantage some of his classmates have (rough/smooth green snakes are very small). we can even tie these traits of non-venom back to the prologue trial, where he appeared very hostile despite genuinely thinking he was helping. and of course, a connection can also be made to damon's general personality of being outwardly cold when deep down he's just... a guy who gets easily embarrassed.

now onto diana! first off i was surprised she actually mentioned her animal and how it relates to her, i thought the motifs were going to be more of an unspoken thing. makes me wonder if any other characters will mention their animals. anyway, fun fact! chameleons don't change color to camouflage, they do it for thermoregulation and social signaling. for diana, i'm more concerned with social signaling, as chameleons can change into very bold displays of colors to communicate dominance, as paralleled by diana's bold display at the end of the first trial with the intention of rallying the others behind her. this could be a stretch, but diana's darker/bold color pallet could be a reference to the potential spectrum of colors that a chameleon would display under stress.

i find it funny though, that while diana says that she will adapt like a chameleon, keeping chameleons in captivity is notoriously hard due to their highly specific environmental requirements- be it temperature, humidity, or lighting, they're easy to accidentally kill. diana may claim with a brave face that she has the strength to fight this killing game no matter the struggle, yet someone with the stress sensitivity of a chameleon in a situation like this is doomed to buckle.

anyway...can you tell they're my two favorite characters. antag diana im so ready for you if you're real

[chiarrara]

i caught up on jjk. favorite panels in the last few chapters, plus:

thematic catharsis coming around

[haru-chi]

Now that Miharu's arc is done and I gathered my thoughts and my strength, I feel like talking now for a bit ...

-contain manga spoilers-

Firstly, what the anime has done wasn't so bad at all, in fact I think they did the best they can without changing much which's I'm kinda surprised with for this season overall, it has the least changes out of all seasons so far (?), even the production value is far better than the last two season which was something I worried about tbh yet was pleased in general despite few little things 👀

With that being said and out of the way .. what come next isn't "hate" at all, so don't mistake it so :)

I found the anime version just lacking something .... it just didn't feel the same for some reason ... maybe the perfect word I find to describe what I feel is "detachment" ?

I don't know, was it because they simplify things which made things lose its gravity? Was it because they omit certain lines which had moved me the most in the manga ? Or was it that their interpretation of certain scenes was different than the manga vibe I got ? or they put emphasize on not what I thought they should've been ?

It's like, I felt Seiji/Miharu's burden, longing, wishes didn't hit that heavily ? Even Natori's inner struggle and action ... It's like I'm detached in certain way from their emotions which I don't even know if that's the perfect word to use but can't find a better word for what I felt ...

Hmmmmm, it's like, in the anime you feel like an outsider watching those people's story and struggles while in the manga you're an insider seeing all of this firsthand because of those little details etc thus you'd feel/understand it all better >>> don't know if this is a perfect example ><

I wondered if this was because they didn't do an extended hand before it, but as a manga reader this doesn't matter much for me so that's not it ...

But then I realized that this actually an on-going anime issue I always noticed and felt ... I even experience it firsthand being an anime-only way back then in the distant past ....

I feel the anime treat Natsuyuu's stories as standalone more than they should .. like aside from big arcs (mostly exorcist) then it doesn't matter what order everything else goes to ..maybe most fans think so too .. they don't realize that there IS a seamless story-flow under it all .. not all story follows it yet most stories can rely on it for building up be it on-going issues or questions and answers around it be it indirectly or directly (take an extended hand and Miharu's stories for example)

I was under this same misconception too back then, which's why when I jumped to the manga I was shocked by its depth and way of storytelling that genteelly indirectly connect most of its stories, which's why it resulted in Natsume's growth ...

His growth wasn't because of that certain story you just noticed it in it but was a result of the small ones before it which you thought was unrelated yet in fact it was a build-up and added depth to his character (maybe I'll talk in depth about it in different post?)

What I'm trying to say is, most story's order is important than some people think, and Midorikawa pay close attention to that and it's part of her storytelling and style which I really admire and love ... how there is an unspoken rule or something that put into attention few details or add more depth to the world/characters without directly saying so and that easily to miss ....

Do you remember how Homura's arc was something she wanted to do from early on yet because Natsume wasn't ready so she withhold for a very long time ... or how she didn't reveal Seiji had a sister before revealing that Taki had a brother (Seiji's sister arc was the next vol from Taki's brother reveal if no one noticed btw which's something I love and always wanted to mention and talk about)

That's why I said the anime treat Natsuyuu's stories as standalone more than they should and alot of things can gets lost ....

Miharu's arc didn't happen until an extended hand story happened before it .... and those stories are too important to each other ...but since I talked about this in a different post, I won't go about why that is here...

But this anime mindset results in Miharu going first which even after watching it I still find it a weird decision since there was room to do an extend hand then finish the season with Miharu's arc ....

I'm here thinking how such a simple thing can change your perception of things greatly or how can omitting or putting emphases on certain thing can change your view of them... I find that interesting but in the end that's why because of this the anime can never reach that same depth, that same unspoken indirect beauty ....

I really wonder why ? I feel like they had an idea or certain view about Natsuyuu which isn't wrong per say but can be harmful or a hindrance in the long run ?

Miharu's arc in the anime had me just setting here thinking and trying to understand why I find it lacking or feel this detachment and absent of gravity or weight from it that I felt in the manga ....

I'll stop here, it just I don't get it and kinda feel disappointed ? Sad ? Tbh I really don't know what I should be feeling other than I wanted something more for one of my best arc, it wasn't the worst yet wasn't that great either :)

[sskk-manifesto]

!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[harlequinchaos]

Now that I'm older, every time some form of media is adapted in a new format (book to movie, videogame to tv series, animation to live action, etc.) I always take the criticisms of it with a grain of salt because I feel like what it means to adapt successfully means something different to everyone.

I always feel like people want an exact 1:1 adaptation but fail to realize the nuance that comes with each form of adaptation. Sure you can break every piece of media down by like, setting, character, and plot, or specific story beats or even down to specific physical details but people fail to realize how this is going to read to the consumer across different forms.

Scenes that are in a first person point of view in say, a book, are going to read different than a scene of a movie, which similar to a play or show on a stage need to be designed in a way the consumer can digest.

In a book, you can slowly be fed information as it is deemed necessary to the story. Details can be intentionally left out, leading to inaccurate judgements that can snowball into larger consequences. With movies or television, as soon as you see the scene or characters, you're seeing them as the whole bigger picture. The details are either there or they aren't, a faster judgment can be made, more meaning can be inferred by visuals, so a character's motivation becomes more of a driving point. A plot element intentionally left out in a book, can alienate the consumer if not properly handled in a movie or television setting, and part of adapting that piece of media is ensuring it's done properly, and I feel like people don't understand that. The art of adaptation is how consistent purpose can be conveyed while adhering to the rules of the established media.

It seems people just want, "the same thing" as a book, tv show, or a movie, videogame, comic, animated version, or in a live action version and it just Doesn't Work Like That.

Each form of media has their own rules of what 'works' and a good story will utilize those unique aspects of that form of media to tell the story; but the method of how that story is told has to change in order for it to be a successful adaptation.

[ishikawayukis]

if someone watches an adaptation of something else, telling them what's gonna happen is a spoiler regardless of how long the thing has been out. someone telling you hey please tag this as a spoiler and your answer being "well it's been out in the manga for a year i don't have to coddle you if you don't read it" is a fucking asshole move lmao

[minakoaiinos]

Ik in the past decade or so anime adaptations have tried to adapt mangas exactly and even gone back and done other versions of anime just to make sure to adapt the source material and that's a good thing and definitely has its place, but also I genuinely think we should let people make up 100+ filler episodes again

[the-maddened-hatter]

Alright so I pretty much said all of this verbatim on a reblog of someone else's post, but I wanted to put it here on my blog too.

As I've mentioned before, I would *very* much like to see Peri canonically having a disability that causes him to use his wand/cane and not just have it be an accessory, and so I analyzed the episodes he's in that I've been able to see so far and came up with a few observations:

As much as I'd be unopposed to seeing it portrayed, leg issues don't really seem like a major deal to fairies in general given as Cosmo misplaced his for most of an episode and a pair of sticks were a good enough replacement for him to have fun at the arcade in human form (without even drawing human attention)

And Peri can apparently use his powers as listed above without his cane since he doesn't always immediately have it on his person (especially since Dev & Hazel took his cane in Lost in Fairy World and he didn't have any power or mobility problems)

But!

I *could* easily see him having some kind of magical fatigue issue or magical equivalent of hypotonia or balance disorder, since he's shown to be

very tired after a morning spent magically creating cupcakes (a probably small but very repetitive task that leaves him running low on energy)

When his stationary float is disrupted he remains seated instead of floating back up again

3. A minor contact/startle reflex is enough to disrupt his hover and cause him to immediately fall pretty hard if not very far

4. speaking of distance, he is shown to sometimes float a bit lower than his parents, which, while not consistent and likely just an animation choice, could tie in with the other points to support the diagnosis theory

However, pain may admittedly be more of a factor than the above images suggest,

he may not just be tired from shape shifting like I'd thought since right before that he was walking (albeit in horse form) and afterwards (low) cloud float is apparently easier and faster for him than just quickly trotting past his parents

He also didn't really seem to be having too much of a problem at all before he hit the ground

Where it goes to a definitely tired and possibly more pained look.

Maybe he didn't want to tell Dev that it was painful either out of pride or because he didn't want to potentially upset him and just went with "tired" because that was what he assumed. It'd be interesting to see if it happens again in a different form.

Personally I think it'd be cool to see both and have it be a chronic condition (directly magical or otherwise) that he already had before the series began (diagnosed or not).

If he's the first fairy kid born in a long time he probably would have been monitored very closely, but it may have taken a while for doctors to notice a problem since there was little reference for comparison and may have even caused some potentially serious problems that gave Comso & Wanda a bad scare, which could tie in pretty well with their developing a high amount of over protectiveness of him, and that in turn leading him to try and behave too far in the other direction (not seeking help when he really does need it, pushing himself way too hard and suffering the fallout which he then tries to hide, ect)

If he's undiagnosed but having the problems it could be interesting to see sort of an inversion of the "character must learn to accept their disability" storyline wherein he's more connecting certain events & symptoms and we get to see him adapting to accommodations and letting himself try different approaches moreso than to having new symptoms (though we as the audience may see these symptoms more or behaviors contextualized as symptoms where they weren't necessarily before).

Idk either way I just think it would be cool (and I've probably put away more analysis into this than will ever pay off lol)

also to everyone who draws him as a disabled mobility device user: ILY please draw more of it it feeds my soul

[starvail]

top ten questions science can't answer

narumi gen / gn!spouse!reader

content : crack, fluff, gender neutral reader, spouse!reader, going to sleep in the same bed, narumi should have his own warning, relatively short, can be read as a standalone.

a/n : will forever grieve the lost potential of my glorious bbg in the anime, if they don't fix him in season two you'll see me on international news, trust.

an extra to 'a cheers to our youth'

With each passing moment, your consciousness becomes weak to the inviting arms of peace. It beckons for you to rest and let the whisper of dreams carry you into the boundless expanse of both nothing and everything.

Documents for the week have all been completed a day early, the traffic home was lenient, and the bed sheets are fresh from the dryer.

Truly, an optimal day.

And there is absolutely nothing that can ruin this.

“Hey, you awake?”

Your tranquillity is shattered.

Choosing to ignore him, you pray that your husband does a flip while he dives off a-

“Would you still love me if I was poorly adapted in an anime?”

Sigh...

Manoeuvring yourself to face him, you hope he can see the utter displeasure he's inflicted upon you despite the only lighting being the dim backdrop of moonlight that seeps through the curtains.

“This isn’t some teenager’s fanfiction series, Stupid. Go to sleep. We both have an early start tomorrow.”

"I'm serious! Would you still love me if I was being hyped up so hard before my first appearance but the animators made me ugly?"

You slap a hand over his mouth. "Go. To. Sleep."

He licks the hand to gross you out enough to let go, but two decades of his shit has made you very well immune.

Seconds pass, and thinking that he’ll heed your words, you let him go and wipe his saliva on his pyjama top, unfazed.

Unfortunately, he opens his mouth. "Answer my question, and i'll leave you alone. Please?"

Surprised at the sincerity of his plea, you decide after a moment that perhaps indulging him once in a while wouldn't hurt.

Taking his hands from under the covers, you pull them up so that they lay just over your chests, your synced beating hearts. Loosely interlacing your fingers with his own, you savour and take comfort in the cooling chill from the touch of his ring.

Looking at him in the eyes and with as much sincerity in your voice, you whisper back...

"You're going to be ugly in every universe, whether you like it or not, and there's nothing you can do to change that."

"..."

Your husband is finally silent, so you take this opportunity to peck him on the corner of his lips and burrow yourself into his warmth whilst wishing him sweet dreams, hands still intertwined.

Though, you fail to witness the way he's now withered away. With his mouth agape and a fractured heart, Narumi Gen does not sleep that night.

[rifari2037]

They talked about cultural differences?? Really??? I laughed so hard 🤣

Do they realised that air and water are different too?? That their cultural are completely opposite???

Water tribe people killed animals for food, furniture, clothes, etc. That's their culture! Air nomads don't killed animals, even a fly, for any reasons, they're vegetarian. That's their culture!!

There's nothing wrong with both cultures, but if we think about it with sense, can two people with extreme cultural differences marry and accept each other's cultures easily?

No, it won't be easy. Katara and Aang got married without any problems about cultural differences because Bryke were the writers!

Do they know that Aang/Kataang stand was aware about it and wrote this???

Do they even realise that in canon Aang doesn't really like Water Tribe culture?? Yes, that's CANON!!

Katara : Bato, it looks like home! [Bato, Katara, Sokka, and Aang file inside.] Sokka : Everything's here, even the pelts! Aang : [Sarcastically.] Yeah, nothing's cozier than dead animal skins.

Katara : [Surprised and delighted.] No way! Stewed sea prunes! Bato : Help yourself! Sokka : Dad could eat a whole barrel of these things! Aang takes a bowl of stewed sea prunes and sniffs it, but looks away in disgust and sets it to the side.

Aang : Hey everyone! Sorry I was gone so long. Katara : [Turns to face him.] Hey, Aang, I didn't notice you left. Aang : Yup, but now I'm back. [Sitting down.] Sure could go for some delicious sea prunes! Aang quickly takes some bites of sea prunes, but chokes them back up, yet he pretends to enjoy them. Katara, Bato, and Sokka look at him strangely.

Hama : I wanted to surprise you! I bought all this food today so I could fix you a big Water Tribe dinner. Of course, I can't get all the ingredients I need here, but ocean kumquats are a lot like sea prunes if you stew them long enough. Aang : [Sticking his tongue out in disgust.] Great!

Aang : [Whispering to Toph.] I'd steer clear of the sea prunes. Toph : I thought they were ocean kumquats. Aang : Close enough.

Oh, btw, An ocean kumquat is a small, round fruit often consumed in the Fire Nation. That's close enough with sea prunes, water tribe cuisine.

When Aang doesn't like water tribe cuisine, I can imagine Zuko and Katara having dinner, sharing water tribe and fire nation dishes and they enjoying it because it taste similar. 😂

Fire and water are the opposite elements, that's why they are compliment each other.

Yin and Yang shows a balance between two opposites with a portion of the opposite element in each section.

Remember what Iroh said about the elements? Let's see if fire and water don't mix together, especially for Zuko and Katara.

"Fire is the element of power..."

"...The people of the Fire Nation have desire and will, and the energy and drive to achieve what they want."

"Water is the element of change..."

"...The people of the Water Tribe are capable of adapting to many things..."

"...They have a deep sense of community and love that holds them together through anything."

Young Zuko : [Zuko is shown standing up.] You can't sacrifice an entire division like that! Those soldiers love and defend our nation! How can you betray them?

Zuko and Katara would bicker and not get along well, they said?? Really??

Every time Katara is mad, Zuko just silent and listen to her. Even when they're still enemies!!

Oh, btw, Katara not 'always' threatened Zuko to kill him if he hurt Aang. It happened once. She is still mad at him not because of Aang, but because he betrayed her.

That's personal to her, she is mad not because he hurt someone else but he hurt her. I mean, if she really mad at him because of Aang, why is she connected her anger at Zuko to her mom, not Aang (again)?

And after this moment, after Katara by her own choice, forgives Zuko, do Zuko and Katara always bickering and not get along at all??? No, they're not!!

Zuko gives Katara advice, Katara listens. Katara gives Zuko advice, Zuko listens.

They reassure each other at a very important moment.

Lastly, I don't understand how Zuko and Katara, who they said would never get along, always save each other lives, even Zuko sacrifice his life to her?

[secretmellowblog]

Jean Valjean's Canon Toxic Unhealthiness around Romantic Love

( alternate titles: “Does Jean Valjean is Gay?”, or “Does Jean Valjean is Asexual?” Or: “Why is it so difficult to slap an identity/sexuality label onto Jean Valjean?” Or “LGBTPTSD+”)

I was looking at the responses to this poll about whether people interpret Jean Valjean as gay/asexual/straight or something else….and it got me thinking again about Jean Valjean’s canonical intense, complex, awful, toxic, and overwrought emotions around identity/ romantic love. I want to talk about that for a bit because I think it often gets overlooked in fandom!

I've noticed that Les Mis fandom/analysis often tends to interpret Jean Valjean as being far more content, more "at peace with himself," and more "comfortable in his own skin" than he ever is within the novel. This is also a common change in adaptations. The musical's version of Jean Valjean is great-- but he also seems a lot more self-actualized, more like he's gotten himself completely "figured out" by the end of the story. Other, bad, Les Mis adaptations — the adaptations that generally portray Jean Valjean a worse more violent person — also usually make Jean Valjean more confident in himself, more confident in his own feelings/desires, more certain that he’s entitled to certain things, and more willing to demand or take what he wants.

But one major aspect of book Jean Valjean's personality is that he does not have a healthy relationship with anything about himself. He has a tortured broken relationship with his own identity. He repeatedly thinks about “Jean Valjean” as a person outside of himself, a person who he finds frightening, repulsive, savage, and horrible— like a wild animal he needs to sedate, or beat into submission. He is obsessed with self-denial and self-repression. He is fixated on the idea that he is subhuman, that he is not allowed to want things or to pursue having any kinds of relationships with other people-- and that the most heroic thing he can do is "grab himself by the collar” and violently force himself to stay away from the things he wants. He is desperate to be loved and fixated on being unworthy of love and on denying himself love. He is absolutely not at peace with his identity: to paraphrase Jean Valjean in one of the later chapters, he believes he can only gain inner peace by “eviscerating his own entrails.”

He is never truly content with who he is, what he wants, or what kind of love he wants— and he never learns to be. The novel ends with him cutting himself off from his only family, breaking ties with the only person who loves him, and essentially slowly killing himself out of self-loathing.

There are other characters in Les Mis who seem very content with who they are and what they want. Enjolras is self-assured in his identity, and doesn’t appear to feel like there is any kind of love that is missing from his life. Whether you interpret him as gay or ace or trans or w/e, book!Enjolras is written as someone who is extremely self-assured and has a loving support system that is enough to keep him happy. But I don’t think that’s true for Jean Valjean at all XD.

And that’s why it's hard to apply labels like “aromantic” or “ace” or gay/straight/etc to Jean Valjean, when talking about his canon characterization. Those labels imply the person has a basic level of comfort with acknowledging their own desires/lack of desire/identity. And Jean Valjean never achieves that level of comfort. What “label” do you give to someone whose relationship with their identity is “I do not belong in a family, I have no right to want things, I have no right to be happy, I am outside of life, and I will never be at peace until I eviscerate my own entrails?” Is there a “self-disembowelment" pride flag? XD I've seen a lot of interpretations that go "Jean Valjean never expresses any interest in romance, he's perfectly content just to have his relationship with his daughter" but I honestly don't think that's true. Jean Valjean tries to content himself with having only Cosette. But part of why everything explodes so catastrophically in the end of the novel is because he needs more than just a paternal relationship. He doesn’t try to have a “normal” father-daughter relationship with Cosette, he tries to force his relationship with Cosette to be literally everything and everyone to him, for her to be his entire world: and it doesn’t work.

There’s a passage in the novel that talks about how all the love Valjean is capable of ends up being suppressed/sublimated into his relationship with Cosette. The love of a brother, of a friend, of a father, of a husband, the love of everything he is capable of, gets repressed so that he can throw every part of himself into being a father. There are Bad les mis adaptations that incorrectly misinterpret that passage to mean that Jean Valjean is incestuous/grooming Cosette. But in context, that’s not what the passage means at all.

The passage specifies very explicitly that Jean Valjean “did not love Cosette otherwise than as a father,” that “no marriage was possible between them,” that his feelings for her are absolutely paternal. But the passage does show how Jean Valjean is doing a very different unhealthy thing: he’s relying on Cosette to fill every single emotional void in his life.

He’s relying on parenthood to fill the grief/emptiness left behind by all the other kinds of love that he has wanted, but never been given.

To quote a bit of that passage:

Jean Valjean did not love Cosette otherwise than as a father (…) Let the reader recall the situation of heart which we have already indicated. No marriage was possible between them; not even that of souls; and yet, it is certain that their destinies were wedded. With the exception of Cosette, that is to say, with the exception of a childhood, Jean Valjean had never, in the whole of his long life, known anything of that which may be loved. The passions and loves which succeed each other had not produced in him those successive green growths, tender green or dark green, which can be seen in foliage which passes through the winter and in men who pass fifty. In short, and we have insisted on it more than once, all this interior fusion, all this whole, of which the sum total was a lofty virtue, ended in rendering Jean Valjean a father to Cosette. A strange father, forged from the grandfather, the son, the brother, and the husband, that existed in Jean Valjean; a father in whom there was included even a mother; a father who loved Cosette and adored her, and who held that child as his light, his home, his family, his country, his paradise.

Jean Valjean reminds me of a Failmode I’ve seen in a lot of different real-life parents? There are parents who cope with their own hard lives by telling themselves that parenthood is their sole reason for being alive, and who obsess over their child’s success as their only source of purpose, meaning, love, happiness, community, and validation. But it’s a bad idea to rely on one child to provide the emotional support that should be shared by friends, parents, siblings, every possible loved one, etc etc—- One child can’t actually heal you from your trauma, be a replacement for your broken relationships, pull you out of your grief, save you from your adult loneliness, etc etc etc etc.

When I see the common interpretation that Jean Valjean is perfectly content just to be the father of Cosette, I think of this line:

Thus when he saw that the end had absolutely come, that she was escaping from him, that she was slipping from his hands, that she was gliding from him, like a cloud, like water, when he had before his eyes this crushing proof: “another is the goal of her heart, another is the wish of her life; there is a dearest one, I am no longer anything but her father, I no longer exist”; when he could no longer doubt, when he said to himself: “She is going away from me!” the grief which he felt surpassed the bounds of possibility. To have done all that he had done for the purpose of ending like this! And the very idea of being nothing!

On one hand, the terrible Les mis adaptations that portray Valjean as Incest Creep are incorrect and wrong. On the other hand, though, Jean Valjean IS unhealthy about Cosette— just in a different and actually sympathetic way.

He has made fatherhood his only purpose, to replace every other purpose he could have in life. So he can’t be “just Cosette’s father.” He can’t imagine her becoming an adult and leaving the nest, like children do. What does he have if he’s not taking care of her? What is his purpose in life if she doesn’t need him to be her parent? He's not just being her father, he's relying on her to be his entire reason to exist. He hasn't been allowing himself to have things outside of her.

And speaking of things outside of Cosette: segue time. This post was supposed to be about Jean Valjean and romance, so let's switch gears and talk about his canon 'romantic experiences' more:

We’re told that in his youth he “never had a sweetheart” because he “never had time to be in love.” There is no indication that Jean Valjean never wanted to be in love. The opposite is implied. Hugo frames it as a tragedy that Jean Valjean’s does not experience young love; it’s the horror of poverty taking yet another thing from him.

Within prison, Valjean is “gloomy” and “chaste;” when he traumadumps to Montparnasse about it, he talks about women looking on galley slaves with horror and disgust. Romance, at least “normal” heterosexual romance, is no longer something that is permitted for him. Jean Valjean knows very little about romance/love/sex and it repeatedly messes up his life. He spends 19 years in the all-male environment of prison, then about a decade in the almost-all-female environment of the convent. He has very little experience with how men and women are supposed to interact. The oppression Fantine faces as a sex worker, and Cosette's relationship with Marius, are both two big 'blind spots' that he struggles with.

At one point romantic love is described as “The only misery Jean Valjean had not yet experienced, and the only one that is sweet.”

In his massive confession to Marius, he agonizes over how he is not allowed to be part of a family, and is incapable of being part of a home. He compares himself to someone sick and diseased, that poisons good and normal people with his presence, and cannot be allowed to make himself part of their families.

So Jean Valjean doesn’t frame Romance as “a thing he doesn’t want:” it’s a thing “he is not allowed to want,” it is one of the many things he is banned from wanting. It's impossible to tell what kind of things he would want, if he were allowed to want them.

One of the most interesting things to me, however, is his general attitude towards Marius/Cosette.

Obviously his first reaction to Marius snooping around is fear and resentment— he doesn’t know to interact with romance, having never experienced it, and immediately begins catastrophizing. He views Marius as a privileged booby ruining his life for something as frivolous as a love affair: it reads to me as partially envy, envy of the fact that Marius lives the kind of safe comfortable life that allows him to experience young love.

Jean Valjean added: “What does he want? A love affair! A love affair! And I? What! I have been first, the most wretched of men, and then the most unhappy, and I have traversed sixty years of life on my knees, I have suffered everything that man can suffer, I have grown old without having been young, I have lived without a family, without relatives, without friends, without life, without children, I have left my blood on every stone, on every bramble, on every mile-post, along every wall, I have been gentle, though others have been hard to me, and kind, although others have been malicious, I have become an honest man once more, in spite of everything, I have repented of the evil that I have done and have forgiven the evil that has been done to me, and at the moment when I receive my recompense, at the moment when it is all over, at the moment when I am just touching the goal, at the moment when I have what I desire, it is well, it is good, I have paid, I have earned it, all this is to take flight, all this will vanish, and I shall lose Cosette, and I shall lose my life, my joy, my soul, because it has pleased a great booby to come and lounge at the Luxembourg.”

But, even though Jean Valjean views romance as something he isn’t allowed or have or to want, views it as a threat and catastrophizes over how it will ruin his life……he seems to also put heterosexual romance on a pedestal.

The way Jean Valjean idealizes marriage is one of his weirdest character notes for me.

He views marriage as Cosette’s “happy ending.” It’s her “happily ever after” point where she won’t need him anymore, where she won’t need anyone outside of her husband. A Man And a Woman Are Meant to Get Married, It's Fate, and It Means They Will Live Happily Together Forever. Marius is “the goal of her heart, the wish of her life; her dearest one.” Nothing outside of that matters anymore.

He treats her marriage as if romantic love is inherently always more important than any kind of platonic relationships, and always takes priority over them. He later dismisses the unconventional family structure he has with Cosette, saying that despite his love for her he was only a "passerby" and was not actually her real father, because they were not biologically related.

There's a moment where Jean Valjean is described as someone whose ideal is to be angel on the inside and a bourgeois on the outside. Jean Valjean's worship of bourgeois social norms, norms he can never truly be a part of, is one of his character flaws. He has a similar "guard dog" energy as Eponine does when she defends Rue Plumet from her parents.....Eponine and Jean Valjean both become the guard dogs of a kind of romantic relationship they believe they are banned from having. Jean Valjean believes that getting Happily Straight Married in a Middle-Class Home with a Picket Fence(tm) is the ideal path for life....but believes himself broken/incapable of ever following that path. And so he instead throws his entire life into securing that future for Marius and Cosette.

In what manner was Jean Valjean to behave in relation to the happiness of Cosette and Marius? It was he who had willed that happiness, it was he who had brought it about; he had, himself, buried it in his entrails, and at that moment, when he reflected on it, he was able to enjoy the sort of satisfaction which an armorer would experience on recognizing his factory mark on a knife, on withdrawing it, all smoking, from his own breast. Cosette had Marius, Marius possessed Cosette. They had everything, even riches. And this was his doing.

TL: DR:

Jean Valjean's gender/sexuality label is “idk but he’s super fucked up about it.”

[falmerbrook]

Ear Headcanons

So this was meant to be just my headcanon for the differences between the different mer races' ears (size, shape, if they can move on their own, etc.), but there's a tinge of just general visual differences between them in there too (because this ended up being really good face practice for me). I'll mostly talk about ears though. Obviously this is more meant to be general trends than hard and fast rules.

I'll start with the playable races.

Altmer

Tall and skinny ears that can move out and back a bit (moderate range of motion). They mostly are close to the head but can also stick out a bit.

Dunmer

They have a wide variety of how their ears can be shaped; small, tall, wide, big, straight up, curvy, etc. The typically stick out more than Altmer's and have a larger range of motion.

Bosmer

The largest variety of any of the races. Their ears can look like just about anything any other race has (except maybe Maormer) from any mer ears, to more human ears, to more animal-like ones. They have a large range of motion regardless of how they look.

Orsimer

Small, almost human-sized ears, but they stick out more from the head than humans and can be wider. The pointed end tends to stick out. They can rarely move.

Breton

Breton basically just have human ears with a little point at the top. I thought it would be fun to draw a sort of comparison to your average Nede and average Breton to highlight the subtle more merish look that I think Bretons should have too.

Ok now for non-playable races

Snow elves/Falmer

Ok so I have terminal Falmer brainrot so I have a lot of completely made up headcanons for these guys sorry lol.

Snow elves have the least variety. They are usually shorter and closer to the head than the other mer races (which evolved as an adaptation to counter frostbite in my headcanon) and can't move. Conversely, I like to headcanon that falmer are on their way to evolving rudimentary echolocation, and therefore have huge ears that stick out far from their head, and are very mobile (this is also why their faces are covered in wrinkles). They can look more traditionally merish, or some of them have real funky shapes.

Chimer

Basically a mix between how the Altmer/Aldmer and current Dunmer look (both in their general appearance and ears). Think of it like the transition between the Aldmer look and Dunmer.

Dwemer

Dwemer have relatively short ears (compared to other mer) and don't stick out much, but they can be wide along the side of the head. Their shape is usually pretty angular and have limited mobility.

Aldmer

Your standard pointy fantasy elf ears. So I technically headcanon the Aldmer as many different (although similar) groups that are referred to as one group due to the nature of retelling history and some propaganda sprinkled in there, but in general, since the other mer of Tamriel descended from them, I see them as sort of generic. Nothing particularly notable in their ears. Minimal to moderate ability to move them.

Ayleid

Curvy. They have Aldmer sized ears with twisting and curving in different directions. Limited movement, and not too much range in size (just shape). I have 0 reasons for thinking this, I just thought it would be fun and unique and maybe fit their aesthetics.

Maormer

I like that canon Maormer ears look fin-like but I want to turn it up to 11. Large variety of shape and size, but usually large and fin-shaped as a general trend. Huge range of movement.

Ohmes/Ohmes-raht

They aren't elves, but they are described as human/mer-like, so I figured I'd include the Ohmes. They usually have pointy, mer-esque ears, but less distinct than most mer. Despite being relatively small, they have a wide range of movement for their size (and move in similar ways to the way cats ears move for the rest of the Khajiit). They can be extra fuzzy or have little tufts at the end for Ohmes-raht.

[pumpkinpaix]

Chapter Spotlight 8:

"'Censorship Made It Better': Anti-Fans and Purity Culture in English-Language Chen Qing Ling Fandom" by Abby Springman

Describe your topic/chapter in one sentence/one meme/140 characters.

Rejoice! MDZS has been cancelled!

What drew you to this topic?

When I got into CQL fandom and started lurking on its outskirts on Twitter, I started getting this weird sense of déjà vu. There was this bizarre similarity between the arguments I was seeing about the aspects of CQL/MDZS and their fandoms being "problematic" from a progressive, social justice point of view and the demands for censorship in American libraries that conservative groups were (and still are) making at an alarmingly increasing rate. In an attempt to make sense of this, I fell down what ended up being a really long rabbit hole, and, well, here we are.

Was there anything you were surprised to discover while researching?

I was surprised by the wide variety of fannish backgrounds found amongst members of English-language CQL fandom! I'm not used to seeing so many different "areas" of fandom intersect over a single piece of media like this. Some folks are primarily into the live action movies and TV shows side of things, some are mostly in bandom, some (like me) are traditionally a part of the anime, manga, and gaming contingent, etc. I think that's fascinating, honestly.

Did researching/writing your chapter change how you saw the text, the fandom, or the media? How so?

I didn't use the block button on Tumblr or Twitter for anyone in the fandom while I was working on my chapter. It definitely changed how I saw fandom on those platforms—literally. It really highlighted how much power social media algorithms have over what kind of content is presented to us front and center.

If there’s one thing you hope the fandom takes away from your article, what would it be?

I'll be thrilled if it makes people think about "problematic" content in less black-and-white terms. They don't have to necessarily agree with my conclusions! But if my words make even one person stop and think more about context before posting a reactionary comment, then that would be great.

If you were isekai-ed into MDZS/CQL, what sect affiliation would you choose and why?

The Lan. My existing skills are most likely to be applicable there (see: the library), it seems easy to find some peace and quiet when you need it, there are bunnies, and Hanguang-jun is there.

Chaotic one-sentence pitch to get your friends into MDZS/CQL?

My elevator pitch for CQL has historically been, "It's the adaptation of a book about a gay necromancer, except they can't actually show the gay romance or the zombies on screen."

What is one (1) book/media you would recommend to a MDZS/CQL fan? Tell us about it.

Strange Tales from a Chinese Studio by Pu Songling. It's probably the most accessible collection of Chinese stories of the supernatural available in English. If MDZS/CQL was your first exposure to traditional Chinese cultural beliefs about ghosts, exorcisms, and the like, this is a great introduction to the less xianxia-specific aspects. If that isn't the case for you, I still highly recommend it on its own merits!

Character you keep getting in those "which MDZS/CQL character are you" quizzes?

Wen Ning

Anything to say to potential readers of the collection?

Thank you, and I'm sorry—no, that's a joke. More seriously, I really am thankful for anyone interested in the collection. It's the product of years of hard work by many people, and I'm sure there's an interesting chapter in there for everyone.

(FAQ) (all posts on Catching Chen Qing Ling)

[tainbocuailnge]

I think there is a difference between the comic as a sequence of images with text and the comic as a comic. it's a subtle difference that an untrained eye might not see but the more one as artist draws comics the clearer this difference becomes, because one who first aspires to draw comics will soon find they are merely drawing sequences of images with text.

when people say an artist is clearly inspired by anime they often use "anime" to refer to japanese pop culture in general, but if you look more closely you can often tell it really is specifically anime rather than manga that inspired them, because the paneling and camera angles in their comics will read like a series of anime screenshots rather than a manga page. similarly, when I was a teenager really popular manga that had anime adaptions would sometimes get "animanga" reprints where they replaced the panels with the equivalent anime screenshots of the scene, and they often looked like dogshit because the very premise showed blatant disregard for why the original comic worked in the first place. these two examples are both about anime because i am a weeb but it applies outside that context too. a cartoon storyboard can be read as if it were a comic, but what it really is is a sequence of images with text that has yet to be refined into its actual intended format.

there are many artists who only employ the medium of comic because what they actually want to draw is a video, or a video game cutscene, but the only tool actually at their disposal is the ability to draw a series of images and add text to them so that is what they use. there is no shame or mistake in doing this, you have to make your art with the tools that you have available, and if the sequence of images with text is enough to convey the idea then it was the right tool for the job. but these are different mediums with different visual languages, languages which have a lot of overlap and can occasionally be used in each other's stead to achieve similar results (especially when drawing a fanart comic of a video game for example), but which are still ultimately different. the comic and the video and the cutscene are all different forms that a sequence of images with text can take but they are far from completely interchangeable.

there is a key difference in approach to the comic as a series of images roughly interchangeable with other forms of series of images like the video and the cutscene, and the comic as specifically the comic. this difference in approach is not always necessary to achieve results, an artist who wants to convey a scenario they came up with needs only the sequence of images with text to achieve this. but the difference between a comic with good writing and art, and a comic that is a good comic, is in whether it was treated as a comic rather than a sequence of images with text. I say this as an artist whose nearly every comic has been simply a sequence of images, because I just don't have the patience to refine it into a comic when I merely want to convey my idea rather than draw a comic. it takes a particular skill and insight that have to be developed and practised separately from the ability to draw well and the ability to write well in order to become good at making "the comic" as synthesis of the two.

it's hard to specifically point out the essence of this difference between the sequence of images and the comic because it's kind of a vibes thing honestly, and it depends on where and how the comic was meant to be published too. comics meant to have paper print editions have different constraints and requirements and frameworks to work with than webtoons meant to be read on slim mobile screens in a continuous scrolling format. a good traditional comic will consider not just how each individual panel looks but also the way each page as a whole looks, and how the pages look next to each other in a spread, and how it feels to turn the page towards the next spread. a good webtoon will consider the movement of scrolling down and how this affects the transition from one moment to another in its composition. time is time in videos and cutscenes but space is time in comics, and the space your have available determines how you can divide time across it. when you make a webcomic on your own website you have no constraints but the ones you set for yourself, and sometimes this leads to things like homestuck, which would not work in any other format than the one it created for itself.

the best comics are good because they tell their story and present their images specifically in the form of a comic, in a way that would not be possible if it were not specifically a comic. I think this is true for basically every medium, I'm just thinking about comics specifically lately, because even though I don't really consider myself a comic artist - because I usually draw sequences of images rather than comics - the thing my clients want to pay for is often still "a comic", and they don't know or care to tell the difference. it's a difference that, as established, is often fairly moot anyway, because as long as it successfully conveys your idea it's good enough. but it's precisely because the sequence of images is often good enough that the specific skill of the comic artist is often overlooked.

[digitalagepulao]

My sincere Black Myth: Wukong review

Full disclosure! This is from a recent but earnest fan of JTTW as the original novel, as well as all the social, cultural and religious layers of it. I've seen my fair share of adaptations and derivative media, from shlocky to silly to grimdark to cutesy. I'm a bachelor in visual arts, with an interest in the field of game development since high school. I am also, white and brazillian, and have talked with other jttw fans, both Chinese and not, on this game. If any of these are for some reason motive to not read further, then fair enough. Hope you have fun and continue to enjoy the game, do not let me or my opinion stop you!

Now to the review proper <3

First things first, let the obvious not remain unsaid. This game, is supremely gorgeous. In every sense of the word, and I mean this fully, it's a work of art. The sound design, the character concepts and execution, the animations, the voice acting, the visual effects, the UI design, the cinematography, the 3D scanning of actual historical artofacts and heritage sites throughout China, and everything beyond and between, are phenomenal, full stop.

This was never a debate, I'm sure, but I don't think I can in good conscience not praise them for their work. It's no news that Asian talent, not just in China either, have been often hired to supplement projects on the West, and we can all agree it's about time they got to shine in their own AAA project. My issues with the international game industry notwithstanding, I hope this brings some much needed acknowledgment and appreciation for Chinese culture and arts, both traditional and modern!

Now, from this point on, THERE WILL BE SPOILERS, so proceed with caution!

(word count: +1.8k)

I also deeply enjoy their choices in arcs to revisit. Some like the Flaming Mountain arc are classic picks to adapt but still a very good match to the whole Six Senses throughline. I don't think you can do a JTTW 2 electric bogaloo without bringing up Niumowang and his family in some way (um, put a pin on that), but the other arcs like Yellowbrow or Black Wind Mountain aren't as explored imo, so it's nice to see them being given a bit of a spotlight.

(speaking of the Yellow Ridge arc, whoever made the executive decision of Lingji Bodhisattva being a Xaanxi singer is, genius!!)

I'm also kind of in love?? with Bajie's design and role in the story overall?? Gameplay wise he sticks around just enough to not feel lonely, but not too long to be a nuisance or overstay his welcome. He's no Atreus (GoW) or Ellie (TLoU) of course, but he doesn't need to be, and most importantly, he isn't trying to be, which I feel is admirable of the devs. Given the visible inspirations from the recent God of War games, it would have been easy to lean a bit too hard on it, but I'm glad they didn't overreach.

Him having a more complex love life is also a nice touch imo. It explores more his womanizer ways in an interesting way, and I appreciate it. I love when people complicate the pig! Also, the way he treats Xiaosheng (Destined One) like a nephew?? The scene on the Huaguoshan throne??? I'M GONNA CRY!!!

I think, I've run out of positive things to say.... time for the spicy takes.

I, kind of detest the premise by default. I'm not a big fan of "Superman is Dead" plots, cus it's usually either done for shock value, or taken so lightly that the weight is totally lost. I have such a love-hate situationship with the introduction cutscene because of this. On one hand, it's phenomenal cinema, and seeing Wukong stand up to the Heavenly armies in glorious 4K high fidelity graphics is delicious. On the other hand, the whole debate they are having has me going "?????", not because I don't get it but just, why?? Why did this have to be the premise?? (put another pin on that)

Also the set up and call to adventure is kind of blergh.

Now is as good a time as any to talk about the gameplay. It's, okay. If you enjoy trying to figure out the most stylish combos, or to mash buttons, then you'll definitely have fun. I was sorely disappointed that I pretty much have been going through the bosses rather easily. Chapter 1 it was mostly the struggle of learning the controls, but I never stuck to a boss for longer than seven tries (Whiteclad Noble, the snakeman that you are). Chapter 2 I only struggled on Tiger Vanguard, because I was sorely underleveled and had missed a pathway to explore before him. After that I second tried him. Chapter 3, I have and I'm not joking, gotten halfway through first or second trying every boss.

Mind you, this is not being some godtier gamer or whatever, I'm pretty average and only a recent player of soulslike games too (maybe playing Lies of P made too OP, but I sincerely doubt it lol). No, this is me saying that if you do explore the game and not rush through it, you won't struggle nearly as much as some people have and still are. Most of the final chapter bosses can be trivialized with the chapter's Obsession Realm gimmick artifact, which isn't in itself a bad thing, just feels like an odd choice personally.

Which leads me to, the level design. So far? Preeeeetty lame! It's very pretty and fancy, but so chockful of invisible walls that it feels stiffling and discourages exploration. I can never tell what is meant to be a path or just fancy scenery, and I never know when a jump will get walled or send me to my death by fall damage. When it's not being confusing, the level design is either a bunch of looping circles, or straight lines. And so far, besides a few interactables and loot, there is not much else to look at. That is, bad level design, plain and simple.

Also, the animations are glorious, but what is the point if I can't see the enemy?? That camera is my true nemesis, and I mean that. the fact that a boss can be beyond my field of vision at ANY POINT when I'm locked on and it strifes sideways, is dreadful. GameScience, FIX IT. It is also, very hard to tell what parts of a boss will damage me if I collide with them or not. The Kang-Jin Long fight was baffling on a design point of view, same for Captain Lotus-Vision. Some clearer hitboxes would be swell.

This is the point where I say my main issue with the game lies: it's very pretty, and adoringly crafted, but it lacks substance design wise. I feel like it needed to cook more, the level design polished more so I wouldn't get lost every five minutes, and clearer.... well, everything. Mechanic explanations, level progression, gimmicks, etc. It all needed to be less murky and convoluted to understand.

It also needed more meat in between bosses. I have yet to run into common enemies that give me actual trouble, so it ends up being just a jolly waltz from boss to boss. Boss rushes are fun and great, but not as the base game experience (for me at least). I had to stop one boss away from completing Chapter 1 cus I was just so exhausted. And I had been playing for like, an hour and a half?? That left a sour taste in my mouth, I'll be honest.

Okay, I'm gonna pick open those pins now.

#1 the Flaming Mountain Arc. I'm gonna be very real here chat, that was so cringe. What do you MEAN, Red Son wasn't Demon Bull King's biological son, and Princess Iron Fan was forced to drink from the Childbearing River??? And Red Son hates him????When I watched that cutscene, I had to pause and walk away for a moment, legitimately. This plotbeat is SO WILD to me, I got nothing to say. Just, why??Soooo bizarre. And that the Flaming Mountain Keeper has such a presence in Iron Fan's life is also, weird?? Not bad weird, just Weird, but that's like a nitpick more than an actual criticism. Ping Ping is fine though, I like that Bull has a daughter with Princess Fair Fox, that's cute and interesting. Wish she was in a better plot and adaptation but lol

And #2, the premise. Now we are getting to the meat of it all.

The underlying premise of the whole plot, including the true ending, is flawed by default. The premise runs on what is sometimes called as a "conspiracy theory plot", as in, "what if the gods were bad actually??". It's reddit movie theory content in very short terms, and while it had a place during the 00s grimdark years pre-Marvel, it's become quite a jaded and boring take nowadays. Now you may say that it comes from a genuine desire to show distrust and critique to insitutions and the powers than be, and I can see that.

There is a hiccup in that though.

In JTTW, Wukong is the Mind Monkey because of the religious text and subtext of the stories. Its interwoven in the whole thing, and makes it cohesive. It still offer critique and mockery to institutions, without entirely invalidating their foundations. Not only for genuine fear of prosecution, but because, shockingly, religion and belief is a major component of human society in general. But going back to my point, JTTW is *already* a critique of institutions and the power that be. Adding further layers into it feel like angst and edginess just for the sake of it, and that feels hollow to me.

To go further, this intent also clashes with their own plot. See, they bring up that Wukong's Mind, his Sixth Sense, died. Thus they need another Mind to guide his other senses and reform him, so that he may be reborn.

For one, that is such a convoluted way to do a reincarnation plot, it feels complicated just for novelty sake. Secondly, Wukong being the Mind Monkey, as I said, implies a tie to the underlying themes of the Journey as a person's path to enlightenment. If enlightenment itself is flawed because the gods are flawed/evil, then both themes are clashing. By making a "what if the gods were evil all along" plot while also going by the laws and order of said gods, then what are we even fighting against? What is the point of this whole rebellion between Erlang and Wukong??

my friend @ryin-silverfish said it best a while back, and I'm paraphrasing here (do pitch in or correct me if needed! <3), but the issue with these conspiracy narratives is the inherent anti-religion of them. They don't believe in anything, and thus they cannot properly retell the story of JTTW through a postmodern lense, because they refuse to engage with the religiosity that runs throughout the story.

It also leaves a sour taste in my mouth, because this game will likely be many people's first genuine experience with the JTTW mythos and story, and I tend to be concerned for how much this will "sour the pot" in the conversation. The novels are sadly innacessible enough as it is; the sheer size of them scare many people away, not even to mention the amount of underlying cultural context you'll miss out without proper footnotes and commentary. Most people will not engage with them directly, and certainly not most gamers.

While the narrative of someone embodying Wukong's spirit is not new in itself, I do find that it coexisting with such a poor premise and spin on it will be a sore first experience for new fans, and I can only hope that them meeting fans of the OG novels won't cause much friction in the fandom (we have enough as it is imo).

It also concerns me that, sadly, people and gamers in particular, get too swept up in the ooh-aah beauty of flashy sfx and highly detailed graphics, and fail to notice some of the underlying issues in game design. As I said, this game is a work of art, but it has flaws, and I don't think people are speaking of them enough. No, the issue is not "lack of diversity" or whatever the hell.

It runs deeper than that, and it's an issue I've come to see in recent movies as well. I'm aware it might just be different cultural expectations of the pacing and span of a story, and it may as well be! But I think if there was more care given to the bones of a media, it would bring much needed longevity and weight to these wonderful artworks.

All this said, I wanna see what acolades this game gets and see what the devs are cooking up with the DLCs (they said at one point the game was supposed to have 12 chapters and my god, that game would be TOO LONG. So glad it didn't get like that!), and further more see how this ripples in the eastern game dev scene. While this is a flawed game with a flawed story, it can be the first on a genuinely wonderful wave of new creations, not just by GameScience, and overall I'm hopeful for what might come next!