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redantsunderneath · 4 years ago

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DC COMICS: Incoherence as Not-a-Bug-but-a-Feature (Spoilers for Batman 89-100)

Due to the emergence of the new Batman villain character Punchline, I wound up buying the last 12 issues of Batman and reading them in a single sitting. I’ve had trouble following DC comics for a while, constantly feeling that they were in trouble since back in the mid 2000s (with a glimmer of hope here and there). The act of reading DC comics has been a frustrating experience, where individual good stories and runs were laying around in the context of a lot of things that didn’t make sense while the company’s thrust felt chaotic and ideas not well blended. Every status quo change seemed hard to figure out the rules of enough to parse the context. We’ll get into the background of this, but my reading today of this extended stretch of comics that keeps losing the plot in favor of a fever dream of what’s happening at the moment with specific characters that refuse to cohere, it became obvious that what I had been looking at as subtext or critique was actually the text. I could see the messed up trees but was missing the the forest the universe was trying to describe.

What happens in these issues (Batman current series 89-100, I missed the beginning of the first of 2 arcs) is rolling war between the major Batman villains and the heroes (plus Harley Quinn and Catwoman), which shifts into a Joker and Joker adjacent vs. all as the Joker double crosses everyone then manages to steal Bruce Wayne’s fortune. We meet 3 new baddies – Underbroker, whose schtick is putting ill-gotten gains beyond the reach of the legal system (with an explicit line to rich globalists drawn), the Designer, who back in the day offered the four A list Batman villains plans to achieve what they most wanted, and Punchline, who is your toxic ex’s new millennial GF who really has it in for you (there is also a new good guy Clownhunter, which is a whole different thing, and a new costumed detective that predates Batman). This doesn’t convey the chaotic nature of what is happening issue to issue, but there’s more than one Batman hallucinogenic spirit quest, dead characters ostensibly walking around, a plan revolving around the Bat’s origin story that tells some version of it several times, and a no-nonsense declaration that the Joker, as the Devil of the Batman spiritual system, cannot die. The whole thing has the effect of convincing you there is no definitive sequence of events, only versions.

Alan Moore’s Killing Joke is not a favorite of mine, for a number of reasons. But the ending holds up. The Joker has done terrible things there is no antecedent for, and Batman wonders aloud if this never-ending dance they do ends in anything but both of their deaths; can they uncouple from the unhealthy duality the cycle of which simply repeats. The Joker responds, well, with a joke about two lunatics trying to escape an asylum. One jumps the roof to the next building, while the other is too scared to try. The escapee offers to hold a light while the other crosses on a beam but he says no, no you’ll just cut the light while I’m half way across. This not very funny joke nonetheless has a bunch of resonances – BM and Joker as conspiring co inmates, BM wanting to break out, a commentary about their natures (almost a reversal of the frog and scorpion story where the scorpion won’t go because he knows how this ends), but mostly it implicates BM as the one who is enabling the cycle, the reason why it won’t end. They both laugh uproariously, and the ambiguous final panels can be read as the fundamental realization of his complicity causing BM to kill J. A lethal joke indeed… except, next month, we see the both of them again. In broader context, the ceaseless cycle of the diad is reaffirmed. This has been hellaciously sticky as an idea in the Batmen universe.

My realization of what DC has been doing is pretty banal in its pieces. Marvel has “ground level” heroes while DC has a mythos, a pantheon. Their archetypal makeup is strong, the seven JLA members lining up with the pantheon of Greek gods and the Chakras weirdly closely. DC has big characters that are somewhat flat which they can use tell big bold individual stories that are cool the way legends and fables are cool. But these stories require bold strokes that a bit incompatible with each other. People get attached to these iterations. Meanwhile, Marvel trucks in soap operas where the characters give you an empathetic stand in and are narratively flexible. Marvel events are usually about the writer vs. the company, asking you to sympathize or deconstruct the creative impulse amid efforts to impose control or order. DC’s events are about editorial vs. the audience, the shapers vs. the forces of the world. It may seem obvious, given this description, that DC’s focus is on an archetypal tableau though it may be less obvious that this tableau is under extreme pressure from expectations when trying to tell ongoing tales month in, month out (or semi-monthly in some cases). The stories are constantly compared against the big stories that have gone before, and the audience’s ideas of the characters exert pressure to push them in directions that capture “the” version they believe in. This circle is not possible to square.

DC and Marvel both have a multiverse of sorts. DC used to tell “Elseworlds” stories which were later tucked into pocket universes. DC invented crossing over between “realities.” DC’s continuity is heavy baggage and they began to have ��Crises” to resolve the narrative incompatibilities. These only made things worse as you can’t get rid of the past people have a relationship with – it will come back. Now you have to explain that away too. Marvel just lets it lay – forget about the iffy stories, they count, sure, just no one is ever going to talk about them unless they have an angle. Marvel continuity is all angles and amnesia. This is just easier to do with dating and rent and your ancient aunt’s medical bills than with Gods. Marvel’s multiverse is about sandboxes that you can always dump into the mainframe if they work (and never really mention the sandbox again).

There is a shift that occurred in the industry in the 2004 to 2005 era that is less remarked upon than many upheavals in comic’s history. Marvel had gone through a period of incredible new idea generation in the early 2000s after a late 90s creative cratering but had just fired the pro wrestling inflected soul of that moment (Bill Jemas). DC was coming off of a period of trying to do moderately updated versions of what they basically been doing all along. The attitude was “yeah we’re under stress from the combined history of these characters, but we got to keep telling the stories.” Geoff Johns was one voice of DC over the 99-04 period that showed potential - he seemed to get how to find the core of characters and push them into a new in sync directions if they over the years have lost a clear identity. But mostly he had internalized a basic schism between something mean that the audience wanted, and something good and wholesome about the characters themselves, and figured out how to mess around with this in a equilibrating fashion.

Interestingly, the ignition point of the main forces that were going to blow DC over the next decade and a half was a comic that had virtually nothing to do with any of those main forces. Brad Meltzer, a novelist, was hired to do a comic called Infinity Crisis, which sold extremely well and was, justifiably or not, recognized as an event. At the same time, everyone also kind of hated it because the dark desires of some DC fans were pushed forward just a bit too much for comfort and for a comic with Crisis in the name it didn’t do a whole lot other than “darken” things. Nonetheless, this lit an “event” fire at both companies. Marvel chose a shake up the status quo for a year, then do it again, pattern and was off to the races (I have written about this, and more, here) while continuing its Randian framing of beleaguered do-gooders opposed by rule making freedom haters.

As this was playing out, Dan Didio quietly took power in DC Editorial. His outlook was more Bloomian – he seemed to spark off of writers who exhibited anxiety of influence. He recognized Johns was the one person they had could be promoted into something of a universe architect, starting work on two key projects from which the rest would evolve. The first, was bringing back Hal Jordan as Green Lantern and diffracting the GL universe into its own symbolic system, with parts frisson-ing other parts, and almost a Magic the Gathering color scheme of ideas. The other was to build up to Infinite Crisis, which would become the model for most of their universe changing events until the present day.

The basic frame is this: DC heroes want to be good (in a sense of their inherent nature) but forces outside form a context that makes them fall. It’s a very gnostic universe, DC. They examine reflections of the concepts, invent scapegoats for certain tendencies (see Superboy Prime as entitled fanboy, Dr. Manhattan as editors that try and fail to mend things, etc), make characters violate principles, rehabilitate them, then show that the world if anything is more broken than before. This is kind of Johns’ thing and it fits Didio’s narrative as historicval tension fetish. But then came Scott Snyder (not to be confused with Zack) who began to work on Batman in 2011. Since then, as much as Justice League is pushed as the central title and Lex Luthor has been pimped, Batman has been the core of the universe and the Joker the core villain.

Snyder had the same continuity conflict wavelength but was significantly more meta and able to contain multitudes than Johns. He was the first to make an explicit mystery of how there could be several Jokers around at one time (who are the same but not, he posited 3 – man, Christians!) that seems prescient given the near future coexistence of filmic Jokers that are not able to be resolved. I believe he was the first to begin to tease out an idea – that different versions of things in comics are not a diffraction or filter effect, a using the set of things that work best for that story and leaving the rest, but are a matter of the archetypal system of the audience coming apart. From an in story perspective what appears to happen is that multiple versions of incompatible things exist in the collective unconscious of the continuing narrative, and this is something that the characters may become conscious of.

The run I just read is written by James Tynion IV building on the above trends. The trick seems to be going all in on the Jungian aspect (at Jung’s most religiously epiphanic). The Designer was a progenitor and adversary to Batman’s predecessor and his intellectual approach eventually defeated the detective… broke him. At some point in early Batman history, the Designer brought the top four Bat-baddies together and offered each, in turn, a plan to achieve what they most desired: the Riddler, a way to achieve an empire of the mind; the Penguin, power; and Catwoman, money. They are all elated as they await the Joker to come out. The Joker emerges with a furious Designer on his heals and promptly shoots him dead. He explains that he didn’t like his joke in the form of a fable – the devil offered four people the path to their greatest desire: the three chose earthly things, but the Joker’s wish was to be him, to become the devil. The story proceeds to suggest that the Joker just exists, he is present as a necessary component in the system. You can kill him, yet he is alive.

DC has been using physics metaphors for the nature of their reality since Flash of Two Worlds in 1963. The multiverse as a continuity concept was their idea and the holographic universe of the hypertime was a thing. It seems like since Dan Didio took over, they’ve been heading towards a concept of broad superimposition, of measurement effect being weak, of the universe being like a quantum computer with all possibilities coexisting and the story instantiating not one reality but a path through all the possible ones. By making Batman trip balls through quite a few issues and relive his origin from different angles, the story is one of its own instability and the heroic task that confronts our hero is attempting to actualize the world. The Joker is the Devil in the sense of lack of fixed meaning, of relativistic chaos, of the world not making sense because it’s unmoored nature with ultimately no knowability. Batman, in this story, functions as a postmodern knight crusading against the impossibility of epistemological grounding.

There’s more going on, sure. One plot is, literally, defund Batman. There is rioting, people brainwashed by being exposed to toxic ether, people paid to go to theaters even though they will die as a result, and questions about neoliberalism similar to that one Joker movie. Punchline has no personality yet (Tynion’s not the best at that) but she serves well as a generational foil for Harley – a rudderless ideological vacuum susceptible to Joker-as-idea-virus rather than an unfulfilled MD who felt alienated due to the structures of her life and was seeking escape into structureless possibility. The Designer stuff is both continuity play (See why they changed from goofy villains to more “realistic” ones! Look how pulp heroes informed superheroes!), a comment on the nature of a longstanding narrative (strong intentions die out as Brownian motion overwhelms momentum), and a lawful evil/chaotic evil setup of the dualism of apocalypses (overdetermined authoritarian vs. center does not hold barbarism). But the thing that ties this to the past decade and a half of DC is the sense that the reality is fluid and susceptible to change or outright s’cool incompatibility.

This is different than other flavors of meta in superhero comics. Grant Morrison believes the archetypes are stronger than the forces that seek to bend them. Alan Moore wants you to deconstruct your sacred cows and probably hates you personally. Marvel might play with self-awareness, but effortlessly resolves inconsistencies after it’s finished playing. DC, at this point, allows you to watch the waves solidfy into symbols and dissolve, and the constant confusion and lack of grounding is more of a choice then I thought this time yesterday. The conflict theory of DC reality has been in full swing but this looks to be turning towards a kind of Zen historicism, holding contradictory things in your mind at once. Warren Ellis’ JLA/Authority book is the nearest comparable text I can think of. I need to call this, but I didn’t even talk about Death Metal, DC character multiplicity as meta-psychosis event extraordinaire. Comics just keep getting weirder.

#DC comics #batman #joker #punchline

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brynfelan · 4 years ago

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PFFFFFFT WAIT REALLY?! Listen hurt/comfort is my fav trope, I CAN KEEP GOING. NO LIES. Alright then here's another one! I think KuzuKomaHina would be interesting here, but if you're not comfortable with that then just Komahina is also great! (I'm a multishipper and my pain is immense. Gotta spread the love.) This could be either Non-despair...or Pre-despair depending on how much you wanna kill people. Heehee.

Hinata and Izuru are twins and both go to Hope's Peak, Izuru in the main course and Hinata in the reserve course. Hinata meets Izuru's hell class and they all warm up to him eventually, plus they feel bad for him. Izuru's an overgrown cat and Hinata's basically his babysitter, god bless his soul. Everything's somewhat hunky dory, because that Reserve vs Main course divide creates enough tension to be a problem. Then main class 78 is assembled, and Junko's batshit crazy and ready to drum up despair.

She still decides to try and break class 77, throw suspicion off of her and Mukuro, but there aren't any obvious cracks to be exploited within the class...until she sees the bonds they've all made with Hinata, Natsumi, and Sato. So Junko starts doing her despair schtick with those three, but mainly Hinata. I mean, mentally breaking the brother of the Ultimate Hope AND the boyfriend of one or two of the Ultimate Hope's classmates AT THE SAME TIME? That's the best first round of despair you can get, so Junko goes hard and all-in from the get-go with Hinata. She also starts with Natsumi and Sato, because their past is ROUGH and a great second round of despair for class 77.

But Hinata is her main focus. And when Hinata starts acting weird, class 77 don't know what's going on. Whether they figure out and save Hinata from Junko's plan or fall to Junko's game one by one is up to you...

multishipping is where it’s AT babeeey. i ship both hajime and fuyuhiko with ANYBODY that makes them happy, that’s it that’s my thing. and i like komahina. i like kuzuhina. kuzukomahina? that sounds IDEAL.

but oh man i love hajime and izuru being brothers? like, so much? and hajime as an honorary/adopted member of class 77b? my FRIEND this is too good.

izuru is 100% the first to notice what’s up. he lives with hajime, sees him all the fucking time, and on top of everything is the ultimate Everything. he doesn’t know WHAT’S up with hajime, but he does notice that hajime’s colder and spending less time with everybody. he blows off fuyuhiko and nagito (and they both take it VERY differently. nagito’s like “ah, it seems I’m not even good enough for a reserve course student, I am a bug!” and fuyuhiko is pissed off and basically yells at izuru to get his fucking brother in check), but then when they do see him he’s all weird and shit both fuyuhiko and nagito start hatching a plan to figure out what’s going on. izuru is in on it, because that’s his brother and he hates not knowing shit.

so uh, basically they start stalking hajime. they follow him around, take notes, like if this wasn’t his boyfriends and his brother this would be creepy as shit. slowly people start to ask where hajime is, or what’s up with him because like... dude’s usually one of the nicest motherfuckers out there and he’s gotten really fucking blunt recently. hell, sometimes he even gets mean, agreeing with nagito about him being worthless, that kinda shit and that’s when everybody really notices something is UP.

it ends up essentially becoming a class-wide thing, where they all report back to either izuru, nagito or fuyuhiko after seeing hajime. izuru is kinda the brains here, taking all the information he can get and analysing it, but it’s nothing he’s seen before ever.

and then one day, everybody’s wandering around the school grounds, and finds the stairway. when the walk through there, which is hajime’s idea, he disappears. like, off the face of the earth. it basically runs the same way as in the anime when chiaki is captured by junko, but instead he’s there willingly to show everybody he loves this beautiful thing called despair. he knows he’s going to die, and he loves it.

as shown previously though, izuru can’t be kept in one place if he doesn’t want to be there. ultimate escape artist who? anyway, when he hears junko’s voice, he knows what the fuck is up, he knows some shit’s about to go down if they don’t intervene immediately. the man manages to get them out of there, and starts running. everybody’s running with him (except for teruteru who’s complaining that he’s too short to go as fast as everybody else lmao). unfortunately, this is not anime izuru and he doesn’t know the layout of the place, but he does remember exactly where hajime disappeared and uses that to help him.

when they do find hajime, he’s basically bleeding out and he’s fucking pleased about it. he starts saying a load of really mean shit to fuyuhiko and nagito, how he hates them and shit, and it’s taking everything for fuyuhiko not to just deck him. yeah he’s dying, but he’s also being a massive douche?

most of the class carry hajime to the nurse’s office, so that mikan can stabilise him. izuru, nagito and fuyuhiko absolutely have more business in this building. using some logic that i am too tired to figure out because it’s nearly 6 in the morning rn they find junko, who blames mukuro entirely for everything going wrong. it isn’t mukuro’s fault, but that’s not the point here at all. she’s got the brainwashing video ready anyway, and starts going to play it when nagito just fuckin tackles her. this scrawy twink literally throws himself at junko at full force. fuyuhiko is restraining mukuro and izuru stops the video from playing.

back with hajime, when they were transporting him back to somewhere that he can be treated properly, juzo probably saw them and went in to try and find junko because they’ve got their whole thing. he walks in to find a skinny twink and a shortass restraining the Ultimate Despairs, and the human embodiment of a cat fucking with a brainwashing video. it would be hilarious if a student didn’t nearly just die.

either way, hajime gets stabilised but he’s still Royally Fucked Up and has to be basically restrained to stop him from trying to get back to Junko. Junko and Mukuro get fucking arrested (this will later cause media uproar because everybody loves Junko, but that’s not the focus here), and Izuru has to come up with a way to fix his brother.

I’m gonna leave that here because I need fukin SLEEP and maybe come back to it when I’m less dead but i am a sucker for a happy ending after a load of angst so for now ya get a happy(ish) ending, with everybody alive! for now!

#drabble #multi-fandom-trashbin

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rumandtimes · 3 years ago

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Does Cultural Appropriation Apply to Natalie Portman?

Sean Ezersky

Assoc. Fantasy Contributor

Does appropriation apply to the worst parts of European cultures?

Today, I want to discuss cultural appropriation. Yes, the issue of the times. But what exactly is cultural appropriation? Well, nobody knows. Starting at the first word, it claims to be some kind of appropriation. And it has something to do with culture.

Firstly, it should be said that this article has nothing to actually do with cultural appropriation. That is because cultural appropriation is essentially defined by racism. The term first appears, so it goes, as a description of how racist citizens of England marginalised and exploited the peoples of the Caribbean, and attacked sections of the working class schtick, for fun. Sounds evil enough.

The term cultural appropriation cannot be used as a mild term or played around with much, because it is by definition a form of misconduct. The term cultural appropriation is defined by the words “inappropriate,” “racist,” and “commercialist.” There is no redeeming quality to cultural appropriation because cultural appropriation is used to describe exclusively irredeemable activity, markedly opposite to cultural exchange or respect.

Consider the worst perpetrator in the United Kingdom and the United States: hip-hop / rap music, curly hair, or a summer tan. Racists always attack these music genres and human characteristics un-European, placing them into the same box on the fringes of their minds, but at the same time view themselves as ‘cultured’ for dipping into the same music, view themselves as ‘interesting’ for factory curling their hair, or view themselves as ‘unique’ for getting a spray-on tan. There is a murderous and delirious sense of bad irony, that racists altogether marginalise, demonise, and lust after perfectly normal traits and human practices, which the racist calls exotic, for fear of being labelled as freaks themselves. That is cultural appropriation.

Another bad actor is the billion-dollar yoga industry in Western nations as well, which attempts at every corner to steal Indian culture then mutilate the original concept, taking the yoga gurus off the cover and planting in some body-bleaching whores, or some wavy Italian guy, to appeal to the racist American, à la youth female target audience. All the while, Hinduism, inextricable from yoga’s origins while not necessarily the same as yoga in any way, is viewed as a false and inexpiable religion by most people in the West. Yoga was not learned from the Hindu, it was looted, and replaced with a shallow, cruel, commercial, and disgraceful attempt to Europeanise and trivialise the hobby while selling it the crude sex markets. That is a form of cultural genocide and religion-sacking. That is cultural appropriation.

But this article is not about cultural appropriation, in a way. The distinction was only added to please those offended by the comparison. This article is about movies, as part of a series of Star Wars critiques, and it’s about Natalie Portman.

Long have I harboured a question about Natalie Portman’s career, as it is so vapid yet so prolific, so vain yet so ubiquitous. This is just the opportunity. Natalie Portman got her start in acting as a 16-year-old leading actress on Star Wars: The Phantom Menace. She returned three years later as a 19-year-old lead on Star Wars: Attack of the Clones, where her character dies. After moving on from the Star Wars prequels, she used that resume to enrol at Harvard University to study psychology.

She has actually commented on this, as all Harvard associates eventually do, saying she and her peers felt she was only enrolled because she was in Star Wars, and this insecurity led her to push harder than her friends in her classes and challenge herself by picking ‘harder-than-necessary’ classes. Still, psychology is the most common undergraduate degree major among women, so hardly original. Whether or not Natalie invites the assessment or feels it is correct, this is undoubtedly true; She, as most people, never would have been looked at by Harvard if she did not have some kind of bank of riches or wealth of limelight that could be mined by the admissions board. Natalie might want to be viewed as a genius of “Hebrew literature” who stood out among the crowd, but that is just impossible parlour speak. Not that she deserves to go to Harvard any less than anyone else, no one deserves to go to Harvard, as Harvard in the 20th Century existed for the sole purpose of excluding people who were not rich, famous, or connected: not academics, so Natalie’s lie to herself merely parrots Harvard’s lie to the world.

But I want to go back just a second. Yes, Natalie Portman said she studied Hebrew at Harvard, even if not intensely enough to double-major in it. That is because her name is not actually Natalie Portman. Her name is Neta-Li Herschlag, and she is Jewish. So, studying Hebrew isn’t impressive knowing she speaks fluent Hebrew at home. That is not to undermine literature, as English-speakers still study English literature, but it’s hardly extraordinary. Hershlag, as I will now be exclusively referring to her, is using her association to Harvard, Judaism, and other, lesser, things to seem smart, yet all of those were gifted to her by either birth or Star Wars.

Now comes the question of cultural appropriation. Neta-Li started her acting footprint as an understudy for the part of Elle Woods in Broadway plays. Yes, that Elle Woods, aside Britney Spears no less. It hardly seems like the right role for a good Jewish girl. But lo, there are some who might point out that Hershlag is an Ashkenazi, and therefore not actually Jewish, that is, not a Semitic person. This is a touchy subject for the Jewish community, particularly since the establishment of Israel: Who actually is Jewish, by means of ethnicity or heritage, and not just language and religion? Is there a meaningful distinction between the Semitic Jewish culture that remained in the Levant, the Sephardic Jewish culture that emigrated to Africa and Iberia, the Mizrahi Jewish culture in Iran and Arabia, the Yiddish Jewish culture that stuck around in Germany, and the Ashkenazi Jewish culture that settled Eastern Europe? Really, who knows, and that is a deeper question; a question, perhaps, for a student of Hebrew literature, wherever we should find one.

Nonetheless, Hershlag is most certainly not British. That Israeli-American nuance is fine for the world of “Naboo” in Star Wars, which ideally would defy every concept of the term “ethnicity,” but works less congruously for Elle Woods. In Star Wars, Hershlag was a doppelganger of Keira Knightly, a dyad which has persisted the entirety of Netali’s 30-year-long career. Here too, we find questions.

Netali gave an interview, which I discuss almost on a daily basis among my social circle, where she firmly wanted to establish herself as a kind of British legacy. She said, of herself, “I iron out my Jew curls” and bleaches/dyes her hair, for no particular reason other than she wants to, and thinks it will make her fit in. Netali also went on to say that no one has naturally yellow hair — which is true, they don’t — implying that a non-Jewish, European actress would not face the same questions about her hair she did. Because the concept of hair straightening and hair bleaching are Nazi holdovers in British and American culture, and as someone who personally hates Nazis, this endlessly infuriates me. All the more so because Hershlag identifies as Jewish!

If Hershlag thinks modifying her hair to make it look ‘more European,’ or, more correctly (since almost all young Europeans have brown hair), to make it look more Hitlerite, more ‘Arianised,’ is acceptable, then she must either view herself as European first and Jewish second, or just care very little about the legacy of antisemitic racism. Why else would a person who calls herself Jewish want to alter her appearance so drastically, in order to look like a posterchild for one of the Hitler Youth?

Many Jewish-Americans feel pressures of Nazi antisemitism and colonial racism in the United States, and many Ashkenazim respond to that by changing their names, Nazifying their looks, and abandoning the Jewish religion. Netali retains a veneer of her Jewishness on the inside, within her own self-perception, while turning into the Arianised version of the Elle Woods archetype on the outside, for the world to see. Is she just playing a part? Is there a real difference in the personality and values of Netali Hershlag vs. Natalie Portman?

People don’t treat her as such. Keira Knightly, for instance, is an Englishwoman. Knightly claims she is ‘British,’ not English, but she is definitely English. Intriguingly, Knightly never went to school, reportedly a dyslexic, while Hershlag, in the Jewish stereotype, went straight to Harvard College. I wouldn’t say Hershlag seems like a nice person, she seems like an ordinary person. Remember that she is part of the Star Wars pantheon of small-time actors who were lifted by George Lucas to notoriety, like Mark Hamill (despite him being my favourite Star Wars actor, I can never remember his name), Harrison Ford, and of course, Sir Alec Guinness CBE.

Jokes aside, with all the classically-trained, upper-class, heavy-hitters from Britain — Peter Cushing OBE, Sir Christopher Lee CBE, and Sir Alec — not to mention the affable nobodies from Hamill to Ford, most Star Wars people are considered likable, especially by fans of nerdom.

That is not to say anyone was struggling, as every lead character in Star Wars was already documented as rich and famous by the time they were cast, but they were “nobodies” in the sense they were not household names until after the film became one of the first Hollywood summer “blockbusters” in history.

Most of all, it is undeniable that, other than Lucas, no one defined the Star Wars films as much as Carrie Fisher, if not for a want of contrast. Fisher was the only female character in all three of the movies, and both the predecessor and counterpart to Hershlag’s character in the Star Wars prequels. Does Hershlag meet the comparison?

The two are very different, both personally and on-screen. Fisher at the age of 19 had sex with numerous middle-aged members of the cast, often the only female and only teenager in a room of dozens of men, forbidden to wear a bra or choose her own hairstyle but allowed to partake in the rumoured plethora of drugs on the set. Hershlag, part of Star Wars from 16 to 19, was entirely unremarkable, both in life and profession, not a very impressive actor or much of a hoot. Again, the good Jewish girl. Some blame Netali’s poorly role on the weakness of the prequels compared to the originals, just as some blame Carrie’s bipolar diagnosis for her eccentricity. Both of these are half-truths, as personality and talent can never be substituted for anything other than what they are. Nonetheless, Fisher and Hershlag were both made rich and famous. While Hershlag is the lesser in terms of her performance, she probably got in the end a much better long-term deal.

A boring role meant Netali would not be immediately typecast, though she went on to play exclusively the girl-next-door leading female interest for a male protagonist, much the same as in Star Wars: Episode II. Coming into acting younger meant she could largely leave acting after childhood, then return to it later as an adult experience. Moreover, we never got to see teenage Netali chained to a bed in a gold bikini.

Our good, Jewish girl.

So, if Hershlag is playing roles given mostly to British, or Hitlerite, actresses, is she not taking away from the British actor? There are too many actors in the world. They are overexposed and over paid, seen too much and given too much, as they are in the same camp as clowns, entertainers, and comedians. But, people like to be entertained, and in the world of capitalism where only money is worship in lapse of dignity, anything people like sells, and anything that sells can make people rich, and riches are a substitute for class, if only a thin one. Just as the weak-minded can be fooled by the Force, so are they easily bought and sold. The British or American actor suffers for nothing, and there are too many of them as it is.

But, does Hershlag have a place in displacing them, or moulding in to become one of them? And would it be cultural appropriation? Undeniably, Netali is conforming to something objectionable when she plays simple roles as sex objects and Hitlerite women, embracing if not embodying the racism and problematic nature of Hollywood casting. But then again, it is with her very body that she represents this trend. One could defend Hershlag, saying she is made to do these things, that she is not so much appropriating Western culture for her ends, but more so that Western culture is stifling her true self, at least if she wants to continue to have a role in acting.

An interesting counter-point, but undermined by Hershlag’s particular brand of coy self-promotion, and eagerness in taking on such roles. And are the Jewish people entirely exploited by Hollywood? In many respects, so-called Europeans are exploited by powerful Jewish moguls in media more often than the other way around, even if they are Jewish Europeans themselves. Harvey Weinstein, a Jewish millionaire who sexually assaulted non-Jewish Western women in order to get them roles, his Jewishness hardly made a ripple.

The biggest names in Hollywood: Steven Spielberg, Gwyneth Paltrow, Jerry Seinfeld, Paul Rudd, Marta Kauffman, J.J. Abrams, Scarlett Johansson, Harrison Ford, John Stewart, Louis Szekely, Mila Kunis, Daniel Radcliffe, Rachel Weisz, Gal Gadot, Roseanne Barr, Judd Apatow, Marcus Loew, Lauren Bacall, Adam Sandler, Amy Schumer, Larry David, Daniel Day-Lewis, Cassidy Freeman, Stanley Kubrick, Jennifer Connelly, Richard Dreyfuss, Samuel Goldwyn, Julia Garner, Elijah Allan-Blitz, Kirk Douglas, Ellen Barkin, Ingrid Pitt, Darren Aronofsky, Eva Green, David Geffen, Lesley Ann Warren, Paul Newman, Sarah Michelle Gellar, Ben Stiller, Louis B. Mayer, Alison Brie, Julia Louis-Dreyfus, Chuck Lorre.

As Conan O’Brien jokingly stated: “The Cash-ews run Hollywood.” Almost every major production in Hollywood has a massive Jewish section of development. The United States, for whatever reason, is a majority “Christian-identifying” country, but Judaism plays a much more massive role in the culture than Islam, Hinduism, and Buddhism combined. Even most of the agnosticism in ‘progressive’ Hollywood values comes largely from material secularism, or Jewish incredulity of Christianity, not an ideological pull towards atheism. Is this cultural reproachment why Jewish people are pulled towards media and entertainment, theatre being a known haven for outcasts and oddballs? The Judeo-Protestant alliance of the Hollywood ilk would seem to disqualify the established Jewish community — rich, interconnected, secular Jewish communities of New York, Los Angeles, and DC — from being an oppressed mass.

An important editor’s note is that the actors listed are: Jewish people who adopt non-Jewish appearances or non-Jewish values to a borderline-racist degree (i.e. Eva Green: Jewish actress who plays roles bookmarked for non-Jewish Europeans), thoroughly Jewish people who refuse to identify as Jewish (i.e. Julia Louis-Dreyfus: Jewish billionaire heiress who plays Jewish characters on TV), or regular observers of Judaism who are really, really famous (i.e. J.J. Abrams: co-director of the controversial Star Wars reboot).

More often behind the scenes than on-screen, but usually leading the show when taking a starring role, the Jewish imprint is inseparable from American movies, media production, television, the comedy scene, finance, and screenwriting. Is Jewish not the ruling order of Hollywood? And then would Europeans be the group on the margins? But why, if Jewish people write, pay for, and put on the shows, are there so few Jewish actors, and of those who are, why do they not look Jewish, or a better question would be, why do they try to avoid looking Jewish, and actively attempt to look Western European? That gives the impression that Jewish people are still marginalised in media, even if they are overrepresented in media, and generally more affluent, interconnected, and educated than those non-Jewish counterparts. Why do Jewish people go out of their way to appeal to racist audiences, and in the process erase their own Jewishness.

Maybe it is because the Hollywood Jewry isn’t actually Jewish. Nothing about their jobs or their behaviours embodies the Jewish religion. Most people in Hollywood in general consider themselves as nonreligious, yet that too, might be an influence of a markedly Jewish trait. Non-Christians in the United States are much more likely to turn to atheism and agnosticism on the one hand or fanatical extremism, likely due to being outcast by the mainstream Protestant dialogue, with liberal Jewish people often going agnostic and conservative Catholics often going supercharged while Muslims live on somewhere off in the shadows of public perception.

Yet nonreligious Jewish people still identify as Jewish, separating the religion of Judaism from the ethnic mark. Faith has nothing to do with appearance, and appearance is the base of antisemitism. Enter non-Jewish-looking Jewish people, usually women with heat-flattened hair, like Netali Hershlag and Gal Greenstein Godot. That is not to say they don’t look Jewish, as in an equal measure they all do and at the same time no one does, since what a Jewish person “looks like” is a narrow heuristic based on problematic cultural expectation. That is not to say they are or aren’t Jewish. But are Jewish people like Natalie Portman being forced to conform to racist society, or are they jumping on the bandwagon of racist society and using it to their advantage? Is there actually a difference between the two?

There is a deeper question lying beneath the surface here: The questions of “Jewish complicity in racism?,” “Jewish participation in neo-Nazism?,” and “If ‘Jew’ is a ‘race’ and ‘White’ is a ‘race’ then why are there ‘White’ and ‘non-White’ Jews?,” which other people have asked before. This article is not to address those questions, but they are acknowledged.

Certainly, there are some Jewish people who attach themselves to racist tendencies and Hitlerite habits out of personal advantage in the racist countries in which they might live. In this narrative, the notional collaborator Jewish community would blame the Europeans for racism and cast themselves as convenient survivors. That is not a uniquely Jewish trait, it is a flawed human trait, bystanderism, which defies religious teachings. Why there is such a prevalence among rich, secular Jewish people, of racism mixed with liberalism, is a concern. It could be as simple that, at a certain point, the trait “rich” might start to cancel out the trait “religious.” Old guard antisemites would be unforgiving regarding hatred towards ‘ethnic Judaism,’ and contemporary racist sentiments would reject Jewish people from the points of heritage and beliefs, but it is not immediately clear if Western neo-Nazis would target non-religious Jewish people who, quote, “pass” as Euro-Christians.

If Ashkenazim, Sephardim, and Mizrahim join Western cultures, ideals, and appearances while abandoning the Jewish religion, are they functionally Jewish at all? In the absence of different brands of generational antisemitism, what is holding back an atheist Ashkenazi from becoming a Nazi themself? The Jewish community and Israel critics have been ablaze with debate about the Eurocentric, Ashkenazim-focused account of Judaism in the West, drawing attention to the issue of inter-Jewish racism and inequality among the diaspora of the Jewish faithful. This question is debated separately for Jewish communities because unity is their faith. Followers of Christianity have always cut one another down over heresies and infidelities, but discourse and diversity have defined the post-Rabbinic tradition. The notion of one Jewish diaspora being more powerful than another, based not even on secularism such as in Christianity, but based solely on racism and adjacency to Christian empires, causes non-Ashkenazi Jewish communities to question that proximity in values and appearance Western Ashkenazi populations have with the goyish counterparts. Even the terms Ashkenazi and Mizrahi have taken fundamentally racist connotations, particularly in the advent of Zionism, to separate the ‘European Jewish’ from the ‘Arabian Jewish,’ in a kind of wartime apartheid of academia; a conflict emblematic of larger paradoxes in modern Israel.

This is not the focus of this article. Obviously, Jewish people living in Western Europe and urban America are more “Western” than people who live somewhere else. And obviously, Western nations have a serious and prolonged issue with racism. However, welding those two facts together, then conflating them with Judaism in some sense, would be a mistake.

There are some racist people in Hollywood who identify as, or are identified as, Jewish. That is not the question. The question is: How does the concept of cultural appropriation contribute to that complex dynamic, of conformity and exploitation in Hollywood, even amongst the big names?

This all comes back to the perceptual balance of power. Just as the term cultural appropriation is defined as a group being in a oppressive position and exploiting something that that group itself has made derogatory.

Is Netali Hershlag appropriating Western culture? In a way, yes. As a rich, powerful Jewish actress, she could hardly be said to be put at a disadvantage to Keira Knightly (Harvard versus dropout, remember), or the millions of aspiring brown-haired actresses who are shunned from Hollywood castings. And yet, she decides to look more like them. Obviously, as an ordinary woman herself, she has been victim to the usual sexism and obsessive demands of producers and directors concerning appearances, but that is hardly so say she is a victim. At any moment, she could deign to take a different part or produce her own movies (I would balk to call them films), rather than be typecast as the sexy and innocent girl-next-door. She lives the life of the good Jewish, girl, but never takes on those types of roles, opting instead for Princess Amidala, ballerina Nina Sayers, valley girl Elle Woods, comic book Jane Foster, or Englishwoman Anne Boleyn. Hershlag could at any moment leave acting to climb the ladder a Harvard A.B. clears the way for. How could Harvard Law School, or subsequently the California Democratic caucus, say no? Who wouldn’t pay for a doctor’s visit with the woman from V For Vendetta?

This is not to say that Jewish people are appropriating or imposing themselves upon Westerners, but it is to say that there is a distinct group of Jewish people who draw from Western or Hitlerite practices while entirely avoiding ‘Juden-haus’ or ‘Euro-trash’ rhetoric that hampers people on both sides of the racist conflict. Portman is Netali’s grandmother’s name, so she does have some kind of loose claim to it, if her cousins are still go by that name and she is close with them, while Natalie is a form of the name Neta-Li, and plenty if not most actors use stage names. Many people do racist or questionable things because they are in fashion. But altogether, one must ask the question why the self ascribed curly-haired Netali Hershlag is appearing is French wig and makeup commercials. Is it raw, unidealistic money? Is it Maybelline? Or it is fake hair, fake lashes, and a fake identity?

Natalie Portman is hardly an inspiring figure for women, playing roles subservient to men, often murdered by her lovers or terribly afflicted herself. This is true in Star Wars, Black Swan, Thor, V For Vendetta, and when she played the wife of wife-killer Henry VIII. Where is the liberty in being bedded by an uxoricidal maniac, be it a tired British period piece, or the obsessive Anakin Skywalker? Body modification of any type is not the product or respect or exchange, and can only be looked down upon as unnecessary and insecure. Acting is lying, but that does not mean the actress must change their looks or change their self to read some lines to a camera.

#Natalie Portman #Hollywood #Judaism #Cultural Appropriation #Star Wars

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crusherthedoctor · 5 years ago

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Sonic Villains: Sweet or Shite? - Part 15: DR. EGGMAN

There are some villains I like. And there are some villains I don’t like. But why do I feel about them the way I do? That’s where this comes in.

This is a mini-series of mine, in which I go into slightly more detail about my thoughts on the villains in the Sonic the Hedgehog franchise, and why I think they either work well, or fall flat (or somewhere in-between). I’ll be giving my stance on their designs, their personalities, and what they had to show for themselves in the game(s) they featured in. Keep in mind that these are just my own personal thoughts. Whether you agree or disagree, feel free to share your own thoughts and opinions! I don’t bite. :>

Anyhow, for today’s installment, it’s finally time for him. The bad doctor himself. Gather round ladies and gentleman, for the spotlight is on the arch-villain that shines above them all... Dr. Eggman.

The Gist: It's the dawn of the 90's. A little company called SEGA had an ephiphany. They wanted to make a video game juggernaut that could rival the quality and iconic appeal of the then-unmatched Super Mario Bros, and their current star, Alex Kidd, just wasn't doing it in the way that they hoped. They promptly set about starting anew, as a worldwide phenomenon wasn't going to make itself.

So a gentleman named Naoto Ohshima created a selection of design concepts for this brand new mascot. One of these concepts was President Roosevelt in his pajamas.

Seen here with his catgirl body pillow.

The response to this character was “This is good, but we think kids would prefer kicking the shit out of him”, and so he was given an antagonistic role instead. In the meantime, after juggling the rest of their ideas, they eventually settled on a rabbit hedgehog named Sonic for their main protagonist, knowing his Mickey Mouse-like aesthetic would help endear him to the audience, and the franchise as a whole would have an easier time gaining a DeviantART fanbase later on down the line.

Initially, the character of today's review was but a mere lackey among many, seemingly little more than one of numerous minions working for Sonic's originally intended main villain, the Nonspecific Goblin. He was also dressed as a bee for some reason.

Which is the least weirdest thing in this image.

At some point however, they all got together and decided that actually, the guy with the moustache was the only one worth shit, and so he was upgraded to the role of main villain himself. With a spiffy new attire of red and black, he was given the bold title of Dr. Eggman, because with a shape like that, what else are you gonna call him?

“Funny you should say that”, laughed SEGA of America, as they rebelled like an angsty teen and named him Dr. Ivo Robotnik instead. While this name does make equal sense for the character, as he is indeed a hard worker who also happens to like robots, the reason for this name's existence seems to have been mainly because they thought Eggman was too out there of a name for an egg-like man. Whatever the case, this would confuse a lot of fans for years, and remains a point of divisiveness to this day... Unless you're like me and your first game in the series was Advance 2, in which the manual clears it up right away, and you accept the idea of a character having two names and immediately carry on with your life.

He would have aimed it perfectly if it weren't for the Sonic Heroes Parrot distracting him.

And that was that, really. It didn't take long for them to come up with his characterization, which was that of a cackling fiend with an ego to end all egos. This guy was the Narcissist Alpha, more king than actual kings, no strings attached. Other villains would build statues of themselves, but only Robotnik would deface Ancient Egyptian monuments to improve them with his face. Other villains would think “Nah, refacing all four in Rushmore would look silly”, but only the Eggman, the Eggmyth, the Egglegend, would go “Well fuck you, I'm doing it anyway.” Then he'd do it anyway, and proceed to address to the entire world that he did in fact do it anyway.

It also didn't take long for them to develop his primary schtick. With the dynamic of Sonic VS Eggman, you had a classic rivalry between nature and technology. Interestingly enough however, this turned out to be executed more tactfully than your typical Amish-abiding examples in similar media. Never was technology itself regarded as a corruptive influence that you should never utilise no matter what. Rather, it was only as good or as evil as the person using it, with it just so happening that the villain loved machinery only slightly less than he loved himself, and it was countered by Sonic’s best friend being a techno wiz in his own right anyway. Anyhow, with his machinery, the doctor would make a name for himself among video game baddies by confronting his enemy as the boss of nearly every zone in each game, rather than hide away until the endgame.

And all without a driver's licence.

In his soon-to-be-30 years of activity, he has largely remained the same since his inception. Other characters have been introduced, other villains have came and went, but Eggman has remained THE villain of the franchise, and he's remained a vital part of the Sonic the Hedgehog universe... with a slight redesign along the way.

The only ad I don't want to skip.

The Design: Eggman's design may be more simplistic than the likes of Bowser and Ganondorf, and he may not look as openly threatening at first glance, but it's still a very iconic look no matter what look it is. His original appearance was devised so that kids could have an easy time drawing him, which only makes me feel worse about not being able to do it as a grown adult without it looking like a Sexy Legs Kirby.

Still, it's a classic for a reason. With his to-the-point colour scheme, contrasting heavily with Sonic's blue, and his capelet collar resembling walrus tusks, it was an instant winner and made everyone goo goo for g'joob.

The Emeralds he’s juggling are a metaphor for the divided fan community.

And when it was time to give the cast an update for Sonic's first real 3D adventure (or at least the first one that didn't get axed for being a magic eye seizure), Eggman got a respectable change of his own. He was taller, his getup was militaristic, and his body was more legitimately egg-shaped rather than basketball-shaped. He also gained a pair of goggles that he never uses, except in scenes where he puts them on and then never uses them.

“How do my chicken legs not collapse under the might of my gluttonous mass? Find out in an unrelated tie-in novel that you have to pay additional money for.”

There was also that one redesign from 2006, but...

Be it Classic or Modern, I've always loved his design. Before he even says a word or does anything, you know from his appearance that he's a bit of a clownish sort. But he also has a subtle creepy vibe going on, with the way his glasses often obscure his eyes, and how this only makes the pearly-white, unnecessarily wide grin on his face that much more empty and unsettling. This little bit of eeriness hiding among his cartoonish physique reflects the full extent of his character pretty accurately, as we’ll delve into soon enough.

If nothing else, it's more effective than him having no eyes at all.

GRRRRRRRR FUCK YOU BUNNIES THAT I CAN'T SEE

The Personality: If you've seen my villain reviews, then you'll have gathered that Sonic's rogues aren't known for having much in the way of personality. There are exceptions, but they are indeed the exceptions. More often than not though, whether it's an alien conquerer, an ancient monster, or Dan Green the Recolour, they can be summed up thusly: They're evil, they want to destroy the world, and the heroes stop them because they're evil and want to destroy the world. If they're feeling particularly daring, they might go for a second colour.

Luckily, as if to counter all these cardboard drawings, the central adversary of the franchise makes up for these voids of personality by actually having one. And what a personality it is.

The writers of SatAM looked at this and thought “No, this won't do, there's no character to work with here.”

He really is brimming with comedic charm. Every moment that he's present...

Every moment that he shows off...

Every moment that he basks in his own glory...

Every moment that he unveils a new wicked scheme...

Every moment that he puts his enemies to the test...

Every moment that he challenges the world...

Every moment that he laughs at the world...

Every moment that he lives, nay, every moment that he breathes...

Yes, the man has plenty of humor, and it's part of what makes him so enjoyable and memorable. However, if you think being a clown is all there is to him, then prepare to have your expectations subverted initial assumptions taken in a unexpected direction, because although he puts the goof in goofy, he ALSO puts the “oh...?” in “oh shit”.

For you see, Eggman is by all means the epitome of Laughably Evil, but do not, under any circumstance, take him at face value and write him off as a joke. He is anything but.

For starters, he can swing a planet.

There is a rule of thumb that I personally go by with Eggman’s characterization, one that I believe is an immediate make or break factor in regards to whether or not you understand what makes this villain work. Eggman - when you put all his secondary traits aside - is made up of two prominent halves. There’s the egocentric meme machine that bounces up and down like a kid with his N64 and laughs like Santa... and there’s the monster buried within that remains completely and utterly unrepentant for everything he’s responsible for. This is very important. Despite the character’s simplicity at his core, many writers have failed to grasp this, official writers included, and I for the life of me cannot understand why this is such a recurring problem. Eggman is funny, AND Eggman is evil. Both are equal. When you take away one or the other, you may have a funny character, or you may have an evil character, but you don’t have Eggman. Simple as.

Armchair intellectuals may argue that Eggman’s deeds aren’t that evil, since he tends to be merely callous rather than actively trying to hurt or kill people. Those people are probably the types on TV Tropes who weigh a villain’s evilness and effectiveness purely through the surface-level scale of their goals rather than what they actually do to achieve them. While it is true that Eggman tends to be more apathetic about the aftermath of his actions, that doesn’t - and shouldn’t - negate how dangerous he is. It shouldn’t negate what he’s capable of. It shouldn’t negate how far he’s willing to go. And it shouldn’t negate the consequences and casualties that can and do result from his many schemes.

Seriously, think about this for a second. If you confronted Eggman about his current plan to... I dunno, make a water park in Africa or some shit, and you informed him that there has been unexpected mass suffering as a result of this, how do you think he would truly feel about that? What do you think he would actually say to that?

Spoiler: No fucks.

If anything, that he “merely” doesn’t care either way as long as he gets what he wants is more uniquely horrific and deplorable than if he were a generic baddie who committed his evulz specifically for evulz’s own sake and nothing more. At least you’re inadvertently acknowledging that other people’s lives have value when you act one-dimensionally gleeful over ending them, but when your immediate response to the side-effect of a million potential deaths and environmental disasters is “Oh well, fuck ‘em, Eggmanland time baybeeee”, that’s a new level of cruelty.

Besides, even in the Genesis era, he was carpet bombing Angel Island...

“Good thing I have this shield. Sucks to be this forest!”

And he’s only gotten worse since then, indulging in such acts as going full suicide bomber with a missile, after his initial plot to destroy and rebuild Station Square through the means of Chaos and the Egg Carrier didn’t work out...

But don’t worry, he kept it lighthearted by making it look like a penis.

Making one of Sonic’s friends go insane with power against their will, forcing the Blue Blur to put them down personally...

It’s ironic, cause he’s metal. Or do I have to awkwardly explain the joke two more times before I’m a proper YouTuber?

Capturing thousands of innocent aliens, and forcefully converting them into mindless beasts...

I’m pretty sure I saw Alfred Molina conduct this experiment one time.

He even removed the heroes’ collective IQs so that he could shoehorn a cliffhanger on an already terrible game.

Thanks, cunt.

And honestly? When it comes to Sonic and chums at least, Eggman does let out a more openly sadistic side now and then. Need I mention that time when the doctor forced Sonic and two random buddies to make their way through a trap-infested island of his own creation? Not for the sake of nabbing Chaos Emeralds or anything of the sort mind you, he just wanted the blue motor mouth to suffer.

Images you can hear.

To make matters even worse, as befitting of his manchild tendencies, he’s ridiculously petty. How petty? Petty enough to abduct a little girl’s mother for no other reason than because Cheese completely trivialized his forces the girl was friends with Sonic and helped participate in the latest kicking of his own ass.

He only picked Vanilla because there was no Strawberry.

But at least his captives can admire the sheer variety that their captor has to offer. One of the greatest things about the doctor's style is that anything goes. With all due respect to Bowser, he tends to stick with his fiery castles (although he has been branching out recently), and plenty of other villains in gaming tend to be similarly stuck in their ways when it comes to tastes. Eggman, on the other hand, will create all sorts of fortresses and reside anywhere on the planet and beyond. It can be in the sky, in space, somewhere hot, somewhere cold, under the sea, in a circus... and every now and then, he might combine some of them together and thensome. So long as it's even vaguely mechanical in some way, his ground rules have already been ticked off.

Hang on a minute...

You know what else Eggman is? Relentless.

Persistence is a quality that most villains by their very nature share, lest they cease to be an effective antagonist. But once again, Rrrrrrrobotnik maxes out more than any other, and will often go to insane lengths to keep the current plan going, or if not that, then to spite Sonic.

Exhibit A: Sonic 3 & Knuckles, in which the grand finale consists of the madman throwing a gravity-shifting contraption your way, busting out a Kaiju-sized robo, escaping with the Master Emerald after his defeat, continuing to escape even after the Death Egg has been thoroughly destroyed, getting chased through the asteroid fields in space by Super Sonic, and only finally going down when the escape craft and the piloted mech controlling the escape craft are down. And all of this came after a grand adventure where, among other things, he destroyed an entire level just to kill you.

There are immortal omnipotents that put up less of a challenge.

“Looks like it’s time for Plan... *checks paper*... F.”

His relentlessness also reveals another side of the doctor that is simultaneously admirable and terrifying: He bows to no one. No one. Doesn’t matter who it is. Doesn’t matter how powerful they are. Doesn’t matter how much the odds are stacked against him. If another villain were to demand that he cower before them, the scientist would laugh and show through physical demonstration that this is not the way the egg rolls. Unless he’s absolutely unable to do so, he will give it his all every time, and even if he can’t, he’ll use his crafty mind to find some other way to get around the issue. You can beat him in battle, you can foil his plans, but you absolutely cannot break his resolve.

“Dad said it’s my turn to play with the Ruby. I know this, because I’m your dad.”

What about his relationship with those who actually serve him? Specifically, his own robots? Well for the most part, he treats them like absolute crap, what with verbally abusing them at every corner and being all too willing to go full Vader on them the moment they mess up. He IS capable of expressing fondness and giving praise to his more successful creations, like with Metal Sonic and Gamma, but even then, it’s a roundabout way of praising himself, since he’s the one who made them what they are. So basically, you’re only valuable to him if you make him look good.

Gaming in the Clinton Years in a nutshell.

And as for Sonic? Yeah, like with any legendary and long-lasting hero/villain dynamic, it’s obvious that Eggman has some degree of begrudging respect for his opponent. But if you think this respect would dissuade him from actually going through with his ambitions of rulership...

As the hedgehog’s apparent demise in Sonic Adventure 2 proves, as well as his defeat at the hands of Infinite and the subsequent six months of brutal conquest in Sonic Forces, Eggman is dead serious about his goals. If you think he’d get bored after conquering the world, he would simply expand his resources and have a crack at conquering the rest of the universe. When he says he hates that hedgehog, I’m inclined to believe that he means it, and although he may enjoy his “games” with Sonic to an extent, I also can’t see him wanting to remain stuck on square one forever.

If this were Sonic X, he’d just grieve.

By the way, the scene above? Undeniable proof that for all the doctor’s boasting, he’s not actually lying or exaggerating when he prides himself on his brilliance. Because when you get past his goofy exterior, when you look beyond the occasional, relatively minor mistake (*glares at IDW*), you’ll see that... yes. He IS brilliant. And not just in the science department either, although his countless robots and strongholds over the years are no doubt a testament to his credentials there. While he may prefer to go in big and bold, he can also be shrewd with his strategies when he wants to be.

Sonic’s aforementioned near-death experience, for example, was the result of Eggman turning the heroes’ own cunning plan on its head by being one step ahead of them. And in Sonic Unleashed, he lured his enemy into a trap, culminating with him cancelling out Super Sonic.

“...and pay the price for your Werehog gameplay...”

And after all those years of struggling, he finally got a giant monster under his complete control. “But he had help!”, you say? Yeah, from himself.

Did Flynn sleep through all this...?

Much like his inner nature as an evil bastard, Eggman's effectiveness is likewise commonly underestimated by writers. Yes, he occasionally makes mistakes. Yes, he occasionally overlooks details. Yes, he occasionally lacks foresight. But he is NOT stupid. A hero is only as good as their villain after all, and if Eggman is portrayed as a bumbling fool, then how can Sonic be a truly great hero? Eggman is humorous, sinister, and when the chips are down, competent.

...Did I mention that he's also a master Olympian?

The Execution: There's no surprises here. You knew from the moment you saw this review that my stance wasn't going to be anything less than 100% fanboy adoration. In that respect, this section almost feels redundant, because there's only so many ways I can say “Dr. Eggman is the fucking shit and I'm eternally grateful to Mr. Ohshima for bringing this absolute masterpiece into our world” without it getting repetitive. So to cap this review off, I'm going to very briefly compare his portrayals in other media, and explain why they tend to not be as good as the original SEGA Eggman.

“Cause they’re not balanced, right?” you ask. “Cause they veer too far in a particular direction? You're so predictable,” you add. To that I say:

1. Yeah, basically.

2. ...S-Shut up...

3. While the conclusion may be obvious, it's nonetheless important because as I mentioned previously, despite how straightforward this villain is, writers seem absolutely intent on not getting the point. There are loads of villains out there who share Eggman's talent of mixing hilarity and evil together with a bow of competence on top. Two of those villains are among the most famous supervillains of all time, in fact. You might have heard of them.

Joker can do it just fine. Green Goblin can do it just fine. And plenty of others can do it just fine. So why is it such an issue with Eggman? What is it about a round body and a long moustache that gets people to think “No, this guy is absolutely incapable of being comedic and threatening at the same time, no question, end of.” Is it because he’s a more cartoony franchise? Well, that can't be the case, because even Mario has a couple of beloved examples. Fawful, anyone? How about Dimentio? Cackletta? King Boo? K. Rool? Hell, you could even count Bowser himself depending on the portrayal.

Anyway, the point is, writers tend to miss the mark for one reason or another. With Sonic X for example, he wasn't too bad in the beginning, but as the show went on, he became exactly the toothless non-villain that many people misjudge him as. We all know that scene where he berates Black Narcissus for harming their captives (not for pragmatic reasons mind you, he genuinely took issue with the act on moral grounds, even though his own hands weren’t exactly clean either), but even before that point, he was doing such things as healing an injured Sonic without an ulterior motive, not taking any opportunity whatsoever to start conquering Sonic's world because he was pining for Sonic's attention, and being the Jiminy Cricket to Chris Thorndyke's Pinocchio. Why they thought the goddamn villain should be the moral conscience of this show remains an unanswered question, but at least it no longer influences how he's portrayed in the games.

Then you have the IDW comic, which is a similar tale of starting off decent and then careening wildly into the abyss, but for different reasons. Initially, he was built up to be in-line with his competent, foresight-packed self from Forces, with his inevitable return being met with dread, and a delightfully devilish scheme to match when he finally did so. But somewhere along the way, Ian Flynn thought that Eggman coming back from his amnesiac period and returning stronger than ever with a new minion and a deadly virus wasn't enough to up the stakes... so they decided to “up the stakes” by turning both the doctor and his new minion into massive imbeciles so as to justify their plot getting hijacked by the Deadly Six, a move so predictable yet infuriating that it got even me to turn against the Six. And the reason the Six got invited in-universe is because Starline decided he didn’t like being unique and devolved into Snively 2.0 behind Eggman’s back. All this from the alleged “best writer” for the series...

Yeah, same.

And then you have the Boom version, which shares basically the same issues as Sonic X but in a more mundane fashion. It's easier to dismiss because it's a comedy-centric show and his redesign makes it easier to separate him from mainline Eggman, and I'll gladly admit that he does have a lot of genuinely funny lines that redeem him a little bit. But yeah, too much of not being a true villain for my tastes.

Now this isn't to say that there haven't been portrayals in other media that are up there with the original. The versions that I consider better off than the ones above include...

- The OVA Eggman is pretty faithful all things considered, aside from his romantic feelings for Sara, which feels slightly off since the idea of Eggman loving anyone other than himself is incredibly unrealistic at best. But it doesn't actually soften or undermine his deviousness, so I'm willing to let it slide for an alternate take. Especially since he gave us the best Metal Sonic out there.

- AoStH is far from a perfect show, but there's a reason why even its detractors tend to treat its version of Robotnik like a national treasure. Admittedly most of that is because of the legendary Long John Baldry and the endless memes associated with this incarnation, but despite hailing from a comedy-focused show like Boom Eggman, this Robotnik still had a lot of legitimately dangerous moments, more than you'd think.

- And of course, Jim Carrey's Robotnik in the Sonic movie is just... *chef's kiss*

So obvious aesop though it may be, but you see what the more effective portrayals have in common, I assume?

Granted, this also isn't to say that SEGA Eggman himself has had a perfect track record. The decade's worth of upstagings and backstabbings by other villains should be enough of a counterpoint to that claim, and I've also made it clear now and then that I take issue with certain games regarding what they do with the doc, no matter how revered they may be by other fans. Sonic Adventure 2, for instance. I praised the fake emerald scene, and I do sincerely believe that he has a number of other badass moments in that game, but because Shadow was playing him like a fool the whole time, I can't help but have a bitter taste in my mouth when I look at the bigger picture.

So close to greatness, yet so far...

So in that case, which game do I think has Eggman's best showing overall? That's not in any way an easy question, but lack of dialogue aside, I'm gonna go with Sonic 3 & Knuckles again, as the classic journey through the sights of Angel Island plays out in a way that highlights just how determined, ruthless, and underhanded he is with carrying out his mission to revive the Death Egg by any means necessary. Other games do win out in other areas - SA1 for how bastardly he is, Forces for how cunning he is, Colours for his hilarious announcements, CD for using the scenery to show the effects of his actions, Mania for not letting the other villain walk all over him - but for the purest essence of the doctor at his cartoony yet competent best, I'd say S3&K is a reasonable bet.

And when it comes to all his many traits, which one do I find the most special one of all? Well again, far from easy to answer, but I think the coolest aspect about him is also one of the most overlooked. Robotnik, despite whatever superhuman qualities he may occasionally unveil, is for all intents and purposes a regular guy with a big brain. This might make him appear unimpressive when compared to your average Final Fantasy villain and the like, but if anything, it paints him in a more flattering light than expected, because he doesn't even need to be on their level to still be on the radar. It's easy to be a big bad threat when you're an ancient demon or an almighty god-like being, and you only have to wave a hand to cause armageddon. But when you're just Some Guy™ going up against superpowered opponents, meaning you have to earn your threat level the hard way, and you prove to be a challenge every step of the way regardless, because you're just THAT much of a genius... that's fucking awesome, no other way to put it.

And you know what else is awesome? You may not like Eggman, and you don’t have to like him, but like it or not, he is directly and indirectly responsible for a vast majority of the coolest and most loved moments and aspects of this franchise.

The opening to Unleashed? Eggman set up the scene.

Shadow running around and continuing to be part of the franchise? Eggman released him.

Blaze getting involved with Sonic’s world and continuing to be part of the franchise? Eggman’s half-responsible for that.

Metal Sonic? Eggman made him.

Egg Dragoon? Eggman.

Big Arm? Eggman.

Monkey Dude? Eggman.

That text is missing a blue checkmark.

This review is probably longer than the echidna family tree in Archie at this point, so I better finish it off. If it wasn't obvious from all the paragraphs I've belted out in this post, I'm very passionate about Eggman and the way he’s portrayed. Ever since I got into the Sonic franchise in 2003, I immediately took a liking to the doctor, and to this day, he remains not only my favourite Sonic villain, my favourite Sonic character, but also my favourite character period. Some may find it a weird or lame choice compared to other, “better” characters, but that's the way it is, and I ain't about to change it. I am very unlikely to ever stop enjoying the hell out of this villain, and even if he got irreversibly ruined in some way, I'd still continue to love what he was before that point.

Because yeah, he's not the deepest character ever, but... who cares? Is it not enough that we find something that appeals to us? When I got into Sonic, I was introduced to fantastic games, a likable cast, high quality soundtracks, beautiful worlds, numerous friends on this very site, and of course, the lovely treasure that is my partner. I may not have been with this franchise during the 90's, but it's given me just as much fun, nostalgia, and happiness as those who were. Despite the flawed titles, despite the fandom conundrums, I still love this series.

And I still love this absolute prick.

Crusher Gives Dr. Eggman a: TWO Thumbs Up!

#Sonic Villains: Sweet or Shite?#Opinion #Sonic the Hedgehog #Dr. Ivo Robotnik

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peacensafety · 4 years ago

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This is everything about WandaVision up to Episode 5, with most of it concentrating on Episode 5. I have seen Episode 6 at this point, but I will respect the one week spoilers rule that is part of Nerd Culture.

:read more:

First of all, some basics about this series. This is an homage to different American sitcoms. Why American sitcoms when the main character is Sokovian? No one knows.

In the comic books, Wanda Maximoff is a mutant, not a science experiment like in the MCU. She and Pietro are the twin children of a Mutant named Magneto and a human named Magda (who is sometimes a Romini, and originally from Transia). Magneto is referred to as an Omega level mutant. Wanda is born with mutations, able to control Hex Powers, which is whatever the comic book writer needed to move the plot along. Sometimes her original powers have to do with probability, but like, 30 years ago, they started calling it chaos magic, and then she had extra reception to magical powers, and basically, it’s all very vague and ill-defined. She’s like the only one immune to Phoenix powers, and that’s a huge deal. She is not considered an Omega Level Mutant because she does not have completely mastery over her powers, not because she isn’t powerful enough. In the comic book series House of M, she is powerful enough to rewrite the entire universe, that was retconned in The Children’s Crusade, but then her powers are called Mutant Magic in A vs X and she’s got cosmic chaos magic. She’s supposed to serve The High Evolutionary at this point, which has made her more powerful. In the MCU, she was genetically altered by the Mind Stone, one of the six Infinity Stones. So when Wanda, AKA The Scarlet Witch, is in a story you can expect it to be about ridiculous amounts of power.

The assumption that you can make pretty quickly in the series is that Wanda Maximoff is in charge of this alternate reality, and quite possibly created it. Knowing what we know about Wanda, we assume it’s because she broke after the death of Vision and couldn’t deal with that death after the death of her parents (because of the Sokovian civil war) and Pietro, her twin brother, who was killed by Ultron. It’s stated pretty early on that Wanda could have defeated Thanos by herself (this is most likely true, one time in the comic books she decided to remove every mutant power in the known universe and she did for a couple of years. Is she more powerful than Jean Gray? Sit down with some nerds and listen to them argue, because that call will never be settled in a peaceful manner). Wanda has brought back Vision (who was killed by Thanos before he made his wish on the Stones, making him dead dead instead of mostly dead like half of the population of the universe) and in the MCU, this makes almost sense as her powers were given to her by the Mind Stone which brought Vision to life in the first place, with some interference from Tony Stark (Iron Man). In the first couple of episodes, they bring in Billy and Tommy (Speed and Wiccan) and the twins make themselves grow up pretty quickly.

Other characters that come in and play a part are Monica Rambeau (from the Marvel Comic Book Universe and the movie Captain Marvel, who is also the future Captain Marvel), Darcy Lewis (MCU character last seen hanging out with Thor), and Jimmy Woo (another MCU character, an FBI agent in charge of Scott Lang’s house arrest from Ant-Man and the Wasp).

Let’s also talk about some background about where Disney plans to go in the next 5 years. First of all, they have already acquired rights to do an X-Men series. If you have DisneyPlus (which you do unless you’re pirating this series), you know that the X-Men movies have mostly been added to the Marvel Channel rather quietly and unobtrusively. Also, there are rumors that all three movie Spidermen have signed on to the next Spider-Man movie (Toby McGuire, James Garfield, and Tom Holland). Also also, Disney has made a statement that Deadpool will be in the universe pretty soon. So we know that the endgame for Disney is a combination of all of the Marvel Comic book universe.

Things that I have noticed that are fun about this series: all of the commercials are nerd shout outs. The commercials all have something to do with time, with two being blatantly about clocks or innovation. The commercials for the most part have the same two actors in it (are they SWORD agents?). The first is a Stark toaster, which is weird, but okay, and it is the first time we see color (red, maybe an Iron Man shout out?) used in the series. The second is the Strucker watch, a blatant time reference, and Strucker if you recall from the movies is that dude who was experimenting on Wanda and Pietro when they were in Captain America: The Winter Soldier. In the comic books he’s Wolfgang von Strucker, or Baron Strucker, a former Nazi officer and agent of Hydra, and he never ages, and he shows up to try and do a genocide in the books all the time. The third commercial is about taking a break? HydraSoak bath powder. We all get the willies anytime Hydra is mentioned, so relaxing with Hydra is something we don’t want to do. This is also the first time that I think maybe this isn’t all Wanda? Also, this isn’t time appropriate (and this might be an influence from my real world job, and not some intentional message from Marvel) but mixed-race kids on a commercial in the 70s? That would have never happened. Are things starting to unravel, because this would have been super weird at that time and Marvel has been strict about time appropriateness so far, even so far as including gender roles. The last commercial is Lagos, the paper towel commercial. Paper towels are about cleaning up, right? Because these folks in the commercial spill everything. Also, we see the first incident of gender roles not being respected in WandaVision, because we see a dude wipe up his own spill. Anyway, Lagos is that Nigerian city where Wanda killed a bunch of people, including the King of Wakanda, on accident in Captain America: Civil War.

So in episode 2, SWORD is teased with the little logo on the beekeeper’s outfit at the end of the episode when he comes out of the sewer. The group outside Westview is verified to be SWORD in episode 4. Let’s talk about them a bit. These dudes in the comic books were all about space and going into space and doing space things, but then Thanos does a snappy thing. After the snappy thing (and this series is set 5 years after the Snap) they start doing nanotech and AI. In the comics Maria Rambeau is in charge, and after she dies, dude named Tyler Hayward takes over. Watch Tyler Hayward. I personally do not think he is actually Tyler Hayward, and if someone is acting and looking like someone else, we know which villain has probably just inserted himself into the show (if you’ve been watching the interviews, Tom Hiddleston shows up as a call-in fan of the show and demands to know why he didn’t have a series because he’s been dead a couple of times and Vision is stealing his Schtick). I don’t know that for sure, it could be sloppy writing? Maybe they ran out of character archetypes?

At the end of episode 5, this is when the next five years of the MCU comes into play. Wanda is missing her twin, probably because of her sons, and the doorbell rings. Standing there is Pietro Maximoff. Now the crazy part of this is that he is the wrong Pietro Maximoff (the better one, not the one that has been in the MCU movies, the X-Man Quicksilver). He’s standing there and does the weird Uncle Jesse thing from Full House, (which, if you’re paying attention to the real world, Wanda Maximoff is played by the younger sister of the Olsen twins who played Michelle on Full House in the 80s), but Wanda recognizes that he is the wrong Pietro. Darcy, who is watching the broadcast from outside the Hex, states that Wanda has recast Pietro. But has she? This woman is incredibly powerful, why would she bring back the wrong Pietro? What if she is not in charge? Wanda is really freaked out by this, and that is when I realized I needed to write everything down.

Here are my lingering questions: We have all seen Into The Spiderverse a dozen or so times. Is this how Disney is going to handle the Multi-Verse? Is Pietro the wrong Pietro because of Miles Morales and his rag-tag group of Spidermen? Does this mean that Nicholas Cage is going to be in the MCU? Is Wanda as in charge as we think she is? Can we expect to see Magneto (Wanda’s and Pietro’s dad in the comics) show up to either support his children in the Hex or fight on the side of SWORD? Maybe Professor X will come and get Wanda, Pietro, Timmy, and Billy? Will we finally see if Jean Gray is more powerful than Scarlet Witch (she’s not). Is Hayward a problem of inconsistent writing or is he Loki? Is a multi-verse a way to address Chadwick Bosemen’s death for a proper replacement of Black Panther? Hurry up and watch Episode 6 so we can talk about this stuff!

#WandaVision #WandaMaximoff #Vision #Wiccan #Speed #quicksilver #marvel #CaptainMarvel #MonicaRambeau #DarcyLewis #JimmyWoo #MCU #Marvel Comic Books #Snap

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2ofswords · 5 years ago

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Phi talks factions, ruling families, and endings yet again

After long long last I finished my talk about the factions! So let’s talk about them! There is some discourse about it on here and most of it is really interesting and I wanted to throw my own takes into the mix.

Also, will put this in the very beginning: This essay is very long and hinges on a lot of analysation of very broad topics of the game. It is very possible that I make mistakes in it. I would be delighted to know about them and engage in discussion, but please stay friendly. I tried my best to research and to stay analytical, but I am firstly human and secondly human with a memory that can fail me.

Anyway without further ado: Let’s begin the faction talk!

Prologue: Personal sympathy

This is supposed to be more of an analysation about how the factions work in my opinion. It is not supposed to be an explanation why my favourite faction is the Best™. Still, my opinions will obviously influence my own analysis. So for the sake of levelling the playing field and not even trying to play coy about it – or in case you were curious what my personal opinions are – I will start by listing my own opinions about the factions, the families and the endings.

I consider myself a Utopian but also have a soft spot for the Humble ideology. I just really like progress, I am an idealist who thinks striving for a perfect situation has value (even if I do not believe in practical perfection) and I just really like the Kains’ visions okay? Not their executions, mind you, but their visions. (I am just really really obsessed with magic that involves time and space as a concept…) And I think the concept of human potential is one of the most hopeful and important ones to society and trying to get more out of being a human being is just an important concept to me. But I also think the personal responsibility is really important and interesting and the thought about individuality vs. society is something that needs to be discussed, so the humbles are just really interesting to me and I sympathise with a lot going on there as well. Not that much of a Termite person though. Sorry

Concerning the endings: If I would be in a position to choose any ending for the town, I would choose the Termite Ending. I would just be really unhappy about it… But it is the only ending that doesn’t involve any direct sacrifice of life and I value that the most, even if I think the trade-off is still pretty devastating. I am still a Utopian, but potential lives in people. The ending I consider second best is actually the Utopian one and by process of elimination I like the Humble ending the least. You will probably learn why this is the case when we get to talk about the endings, so I am saving my argument for later. If it is about how much I like the endings from a narrative perspective: I am a passionate fan of the Utopian ending even though that is very frustrating since I see it in a rather… peculiar way, I think. I also love the Humble ending a lot and it just has the most personal tragedy and a lot to think about. The Termite ending… eh. It serves its purpose and is necessary but not really pleasing in analysis. Or if it is, it’s still a bit frustrating to talk about. It is very useful for writing fanfiction though. ^^

I don’t really have a favourite ruling family. I think the Saburovs are the most sympathetic, but I am also fascinated by the Kains. My favourite members are Victor and Capella.

Okay? Cool, now that we got that out of the way let’s start with the actual faction talk.

Part 1: What the factions are (and what they aren’t)

The factions are categories that are very broad and not very concrete. It is probably a good idea to talk about what they are first, before we make any statements about them. So, let us start how I look at them and what the factions stand for, before debating the rest.

Firstly: The factions are a part of classic Pathologic. From what I can tell and remember, they haven’t been mentioned in Pathologic 2 at all. Of course, we can see the struggle of different worldviews there as well, but the split cast of important NPCs is not mandatory in any shape anymore and in fact Artemy is now responsible for everyone in town. While the politics between the ruling families are mentioned and the Kains as well as the Olgimskys still share their beliefs, neither the term “bound” not “faction” is introduced in the game. However that might be because we are starting with the Haruspex as our protagonist. The factions are a bit more important in the other two routes of classic Pathologic after all. The Bachelor being concerned with its politics and the Changeling with its ideology itself. So the terms might be introduced later. For now, their conflict may be a part of Patho 2 and certain aspects can be definitely seen, but they aren’t present yet. So we are mostly talking about Classic Pathologic here.

The factions are introduced in two different ways. First and foremost, they are three different ideologies that are present in the town and by definition in the entire story. It is also told, that the whole town is split into these factions and that roughly one third of the town each belongs to either faction. It is also explained, that the factions are purely made by the ideology and that people of different gender, heritage, age and class can align with different factions. (Which means that they aren’t equivalent to the different parts of town that are at least roughly divided by social status). There is also a philosophical level that strengthens the ideological importance each faction holds, but in this essay, I will focus on the ideological part and how it affects society. That means there is another layer that we won’t be touching today, but believe me, we have enough to do as it is.

The other aspect of the factions is the bound of each healer. All of the bound collectively are described as “Simons friends” at least in the Bachelor route and all of them are now split into the three factions. The name “bound” however is to be taken literally. The characters are part of the agenda each faction follows, however, that doesn’t necessarily mean, that the person one hundred percent shares the ideology of the faction! Most of them do, but it is important to keep in mind that peoples belief-systems still vary and the aligning criteria is the importance to the goal of said faction and not necessarily their own way of thinking. People’s mindset and beliefs can vary after all and some of them even have dynamic arcs (tbh Most of them have). The other way around people can be not a part of the bound of a faction and still share their beliefs. This will be important later! For the Utopians the specific bound criteria is “people who have the potential to overstep human boundaries in any way or form”. They are needed for the creation and upholding of the Utopia as it is imagined. Its goal is in some way after all to create something that oversteps the boundaries of what should be humanly possible. For the termites… well… it’s children. It’s all about the children, it is the children who are able to carry the town in the future. And for the humbles it is the sinners, whose souls are rotten to the core (I guess…). That isn’t only because the Humbles just really like sinners but they are directly needed for Clara’s solution and the Humble’s ideology of willing self-sacrifice in order to maintain society.

Okay. But what are the factions? What do they believe in?

Let’s start with the Utopians, because their whole schtick is kind of in the name. This faction is all about the potential of humanity and striving to create perfection. This is happening with the awareness that such a feat is at least deemed impossible. So, their goal is the defeat – or the power to overcome depending on who you ask – of the nature that prevents them from this kind of progress not being achievable. They value this progress and the possibility to overcome those odds over personal as well as societal comfort and justify it with the belief, that said growth would benefit society in the long run. That being said, not every Utopian thinks this strive for growth needs to be shared by everyone, though a society collectively working towards breaking limits as a whole is preferred. (An example would be Maria's explanation of the town, stating that mundane human life is very much necessary to sustain a Utopia). The Utopians are prone to brash decisions, since part of their ideology is that they are necessary to disrupt the status quo and change – even enforced one – is needed to get rid of complacency and provoke new development of the unforeseen (which is very much needed since we are working against “nature” (the literal one as well as the nature of fate and possibility). Their drawbacks are that brashness and the disregard of comfort. Their potential elitism is shown by their value of humans who try to disrupt the status quo and their adamant protection of people who can move society as “more important” and thus worthy of more protection. (However it is noteworthy that a lot of this thinking was introduced by Georgiy in Pathologic 2 and Marble Nest. I still think it is a legitimate drawback but much less used in P1, where the factions are a thing.) This doesn’t necessarily relate to elitism of an elite class (it can though!) but more so to academic elitism. On the other hand, they have the drive to move things forward, they literally are the builder of society and developers of indescribable magic.

The Termites can be considered the opposite of the Utopians. I have struggled to put a definitive description of them for quite some time because they are the group whose representatives have vastly different ways of thinking. Anyways, I have seen the Termite ideology being described as “preservation” by RagnarRox in “Pathologic 2 is an underrated masterpiece” and I think, that fits amazingly. It is about protection and regaining a status quo where everyone can live their daily lives content and as it was before. The children are supposed to be leading the town into the future, but especially in Patho 1 this is more about taking what the past has already shaped and using this as a guide instead of implementing new ideas and philosophies as the utopians and the humbles do (for better and for worse). If we look at how Capella describes her vision of the town, we can also see that it is about togetherness and comfort. Which makes sense if it is the antithesis of the utopian dream. It doesn’t sacrifice progress just because it wants to but because it endangers people’s comfort and personal safety. Disrupting the status quo can lead to catastrophe and make people unhappy, therefore it should be avoided. People should serve the community but that also means not committing to self-fulfilment that can endanger this togetherness. Khan needing to give up on his own ambitions to serve Capella’s vision of the town might be a good example for that. While there is this bond of togetherness there is also the need for leadership. Again, preservation and comfort are highly valued with the Termites and it is established by a leadership that is supposed to act as gentle but firm guidance. With the children being the bound, there is a strong emphasis on parenthood and again Capella – as the white mistress and the termite's leader – is accepted as taking the leadership together with Khan who are ruling together with love as well as fierceness. Artemy also has his journey of establishing leadership within the kin and dethroning the person who is unfit for the role. It is implementing change but to restore balance and only inside the already established rules. I would say it fits more as a case of rightful leadership that still stems from the menkhu families and Artemy proves himself while using his father’s lessons and notes. And the kids themselves are fated to lead the town itself as the chosen ones that Capella implored Isidor to protect, and set its rules, so that there are the boundaries to keep a way of living established while not needing to change this status quo and what hopefully is a harmonic way of interaction between people. So. Now that we have established what the Termites are, I think with this specific faction it is still important to also name what they aren’t. Firstly: The Termites are an ideology of the town’s future. They aren’t the kids club. Yes, all the Termites are kids, but as mentioned before the factions in themselves are a third of the population with varying members who believe the Termites to have the best solution for the town at hand. There are other members (and I will later talk about the Olgimskys and big Vlad specifically as representatives of the Termite ideology) but the kids are the bound because they are specifically needed to set this new order that they want to established. I would argue that some of the kids have principles that are more adjacent to other ideologies. The obvious one would be Khan who has goals that do not align with his family but similar dreams and more radical ideals about overthrowing the status quo. But Grace also seems to be more of a humble, focusing on caring about others and being quite selfless and self-sacrificing in her care for the dead. That means, the kids fill an important role but we have the strange conundrum that most of this factions bound isn’t together because of their ideology. I will try to take them into account still, but if you see me focusing on Capella and Artemy, this is one of the reasons. There aren’t that many people who clearly speak about the Termite’s vision. The Termites also aren’t the Kin. They are connected to each other but again, the Kin is a specific part of the town which the ideology clearly avoids. (And parts of the Kin are not part of the town and actually stand in opposition to it. Moreso in Patho 2 but with the conflict of the herb gatherers we catch a glimpse of that.) And the children are also representatives of different parts of the town and not of the Kin. The Kin are obviously linked to the towns ancient tradition and preserving their traditions honourably is Artemy’s specific journey. Still, they aren’t the same and with both Aspity and Oyun we have characters who are Kin and also part of a different faction.

Speaking of the Humbles. What’s up with them?

The Humbles also have a name that speaks for itself: It is based around the main idea of being humble. There are different consequences of this main core. The first and in my opinion most important one revolves around responsibility and self-sacrifice. The Humbles expect the individual to sacrifice part of themselves for the whole. I mean… that is quite literally what the ending is about. As with the Termites there is a togetherness but this one doesn’t revolve around looking out for each other (at least not specifically) but about looking at oneself and what you could and should do for society to work best. It puts responsibility not on a collective and its leaders but on yourself and needs you to ask what you did right, what you did wrong and how to take consequences for your own actions. This includes a chance for redemption as well as condemnation. For the purpose of evaluating yourself in contrast to society it is also about self-reflection. You need to look at yourself and at your deeds constantly and this analysation and the realization that you can and will fail as well as that you as a human being have your own limits you cannot and should not cross are what lead to humbleness in the first place. Yulia as a sinner, whose very sin is shaping the very ideology and establishing her ideals over the self. This brings us to the second pillar of the humble ideology: fatalism. It is also to see yourself in context of a greater scheme and accepting these very boundaries. Fulfilling your duty in the way the universe demands of you and seeing yourself unavoidably as a puzzle piece of said force is a big deal for a lot of the Humbles. Yulia is the prime example. Lara actively dislikes her fatalism but still follows her father’s footsteps in her attempt to assassinate Block. Aspity moves in the constriction of the Kin and her fate while still being the one who advocates most for change. The Saburovs are all about law and order albeit in different ways. Oyun cannot do what is entrusted to him which causes his horrible deeds in the first place, because he cannot accept at first that he is not fit for the position (or as the words of a humble: not destined for it). And Clara is struggling with what her fate imposes on her and her very being while trying to control her circumstances as well as the fate of the people entrusted to her. It all is about analysing but also about abiding to the whims of fate and facing the consequences of acting either against it, failing it or resorting to violence against society to fulfil it in the first place.

As you may see, all of these categories are rather broad. Of course, they are, they are made to encompass very different views of the world from different characters. When Victor speaks about working towards overcoming bounds he sure as hell means something different than Andrey. Hell, Dankovsky has no idea what Georgiy is talking about half the time! Lara and Yulia are both Humbles, yet Lara explicitly states that she hates the way Yulia weaves her fatalism in her ideology about the self. And well… the Termites are a very special case regarding the factions in general, being more of a symbol of their ideology than its actual believers. So let's get to the meat of this whole post. We now have a grasp on what the factions are about, but… why? Why are they in the game, what are they trying to say?

Part 2: Presentation of the factions and the ruling families

Well… after making an incredibly long introduction, let’s stop talking around the bush. Here is my conclusion about the game’s stance of the factions: … … I am sorry to conclude, that all of them suck. All of them. They are the worst and none of them are worthwhile in themselves. I am sorry.

Okay, okay, okay. Obviously, they are not only terrible. They have their upsides and all of their ideals are rather beautiful. Making potential become a reality is great! So is comfort and stability, we all could sure as hell use some of that! And the principle of giving something of yourself into society, taking responsibility and the ability to care into consideration… boy is that a good idea! But still… the factions suck. And that is an inherent aspect of them just because they are ideologies. And very unsubtle and uncompromising ideologies at that. To quote novel author Dorothy Sayers “The first thing a principle does is killing somebody.” A principle, if it is used without reflection, always has destructive potential. Even if it is the principle to save as many lives as possible. Put into the wrong dilemma, it will kill. (A single glance at the healer’s path’s is enough to confirm that.) And all three factions have some really potentially bad implications exactly because their ideology is so vastly applicable. It isn’t only about emergency situations, but a lifestyle that regards one way of setting priorities as absolute. Of course, that on its own must go horribly wrong! Leave one single way of thought unattended and it will guide you into fucking catastrophe!

I think the easiest way to highlight this theory and the best prove of the game’s acknowledgement of this line of thought is to take a look at the ruling families. The fact that there are three of them is no coincidence. All three families do not only represent one of the factions but also the destructive extreme this faction can develop.

Let’s start with the Kains again, because their case is the most obvious one and the theme of Utopia and thus uncompromising perfection that has a destructive force is in the fucking title of the game. And creating a project that causes the plague in the first place, forcing the Kin to dig the very hole that tears into the heart of the earth – which they sure as hell did not agree with! – conducting human experiments with their buildings and manipulating the situation so that the Polyhedron gets saved even sacrificing the town for its sake… yeah these are some pretty shitty things to do and they all relate to the Utopian ideal and their strive for development, progress and forming humanity as well as society. And sacrificing everything in order to elevate progress is… obviously a bad idea, especially if it involves using people who never consented to such a sacrifice in the first place! With only development – social as well as personal – in mind the scope of said sacrifice cannot be measured at all, leading to devaluing peoples well-being. It is a horrible thing that harms a lot of people and the strict enforcement of the Kains bring a lot of harm to the town. This damage doesn’t only turn against the town but also has a self-destructive tendency. The self-sacrifice that is demanded to keep the spirit of Simon and Nina is eating the entire family alive. Their strict family loyalties seem to have driven Khan off in the first place (though since his role is “The Termite of the Kains” and he holds a strange middle ground I think he is kind of excluded from the “most extreme faction”-stance). Victor and Georgiy are losing their own identity and eventually their life for the sake of a soul that they consider of higher status than them. And Maria loses her own self to become the next mistress and lead what is left of the town into a new age, which Victor laments as her father because he is literally losing his daughter! The family – even if they “win” the whole town conflict – is actively falling apart and is completely fractured if not destroyed in the end. Not only is the sacrifice the town has to endure obviously morally unacceptable but the disregard of comfort in favour of a greater cause is inherently self-destructive. Which leaves the question: Who is this Utopia even build for, who benefits from it, if everything but it is sacrificed? So yeah, what the Kains are doing and especially the way they are using the Utopian dream in its purest form is absolutely and incredibly flawed.

Sooo… what are our alternatives? How about the Saburovs? They are righteous and they care about people! I mean… yeah. They do! Buuuuut… their handling of the situation is also very… debatable to put it nicely. Let’s start with the obvious: putting everyone in prison who seems mildly suspicious while a highly contagious plague is ravages the town is just… horrible. It is a prolonged and cruel death sentence to many people either desperate or innocent. And yes, he himself did it with the utmost desire to protect society as a whole from the criminals and organized street violence but… surprise, that is what the humble ideology is about! Judging the individual according to sin without taking circumstances into account is one of the extremes the Humble-ideology has. You should stay put and work towards the common good and acting against that should be judged harshly!! If taken to an extreme it disregards personal circumstances and even a human approach towards the individual. And even if it hits innocents, the few have to take personal sacrifice for the many. Giving your life to uphold stability should be considered a good thing… right? Of course, the faulty leader should also be held responsible… So the judge becomes the judged and the executor of the ideology is destroying himself. Again, we witness the ideology's self-destructive aspect when taken to the extreme. Judgement and assigning responsibility for overstepping with no account on the human situation, looking out for the other individual or questioning where established boundaries should be pushed, will lead to draconian law where the single human being doesn’t matter in the first place! And that… doesn’t sound like a society one wants to live in, does it?Katerina has her own case of judging people albeit in a religious way. Her view splits the world into the sinners and the righteous and sentences the former to death while the others will survive what she is seeing as the plague's judgement. Do I have to elaborate why this is a bad take and why judging people to death based on being a sinner is… just awful? Especially when we look at the humbles and how some of them may have done some shit but definitely not something that warrants death. (Yulia and Rubin being examples, but I also think Lara shouldn’t like… be judged with death. Well, truth to be told I think nobody should be judged with death… Ever.) So seeing the Changeling’s power as a saintly sign is… bad not only on a societal level but also bad because pressuring a teenager like that is just a the worst. Which brings us the Humble’s second point and the one that Katerina personifies as well: Personal responsibility. The Humble ideology isn’t only about sacrificing the individual and applying judgement but also about self-reflection and taking responsibility. Which sounds really good but can be devastating when taken too far. Which brings us to Katerina’s journey of becoming a mistress and her devastating experience of trying to fit into a role that was expected of her to fill. Desperately trying to fulfil a fate that seems to be yours can destroy you. Her despair of not fulfilling as a mistress as well as a wife (in her own terms) are honestly soul wrenching and tragic. And it is an example where letting go of personal duty and seeing to oneself would have been for the best.

Okay so the Saburovs establish a society that seems awful to live in and also actively destroy themselves (they also die with their ending, something they share with the Kains). Which leaves us with… the Olgimskys. And yeah… I think we all agree that they couldn’t exactly be called a beacon of goodness in the world… The way the bull enterprise is handled is exploitative to say the least, dividing the town and enabling even more racism and class distinction. But what does that have to do with the Termites? After all, only Capella is part of the bound. Which is true but the Termite bound is also the children bound and I would dare to argue that the Olgymskys are unassigned because they represent the ruling families of the Termites but cannot apply as their bounds because of age reasons. Capella is pretty much the head of the Termites, the way Maria and Clara or Katerina are the mistresses of the other ideologies and Big Vlad… well Big Vlad is what the other ruling families are to the other factions. The best reason to stay away from it. (And I could make a point about young Vlad but to not stretch this too much, I will keep it short. Let’s just say that he has a dynamic role in the factions and more or less grows to be a Utopian and is not even really acknowledged at the Bachelor Route. I would put him in the same category as Khan and say that the Kains in themselves still are connected to the Utopian ideology. There are some really interesting parallels between Khan and Young Vlad btw. Both have strong parental issues and feel confined in their role, both appear in the letter about the Bachelor’s and the Haruspexe’s decision as a hopeful addition that isn’t fixed… I am pretty sure there is something to say about that, but this essay is not the right place for it.) There are two main themes with the Termites that are very present in the Olgimskys: stagnation and oppression. I think how the Olgimskys are specifically oppressive and moreso than the other families is pretty self-explanatory. They do not want to bind people to the law or their ideas but to themselves and especially big Vlad is very keen on ruling the town and leading its people directly and forcefully. (And while Capella is obviously the kinder part of the family, she too shares this sentiment. Her alliance with Khan is to align the two families but also to gather force with his dogheads and establish rulership.) They want to be obeyed without question or an established guidebook that gives specific reason to their judgement. But why is this specifically a problem the Termite ideology faces? Well the Termites are about ensuring peoples comfort and life and they do this for any cost. One thing this entails, is saving people from their own ambitions and forming them according to this belief. (Again, Capella’s alliance with Khan and how she sees it is a nice example). They are establishing that humanity should remain in their natural ways, complacent so to speak, while a few chosen individuals lead the town and its people. (The Termites are supposed to do this in the future that is why they need to survive in the first place.) And if we drive this belief and this “ruling as family” ideology, we arrive at Big Vlad’s doorstep. He is the father, he will take care so exactly obey to his wishes without question. Preserve the system that allows you comfort without overstepping your boundaries. Preservation of a system also means preservation of the ruling system without further questions. (And I will remind you that Forman Oyun gets overthrown because the place is not rightfully his and he sucks because of this and the right order gets restored with the right ruling family watching over the Abattoir upholding their alliance with the Olgimskys even if it is now Capella.) In its extreme the Termite ideology can lead to oppression on the guise of guidance and questioning this is not only almost impossible but only allowed to the few people already chosen as the leading caste. (Also if you want to have another look at the connection between preservation and oppression, have a look at “The Void” or “Turgor” and its Brothers which is another game by Ice Pick Lodge. Their whole stick is preserving their realm by oppressing the sisters. The Void seems to reference similar themes in general and can kind of seen as the game’s antithesis… But I digress and just wanted to recommend the game. It’s good!) Why the other problem – stagnation – is a part of preservation is easy to see, but how does it afflict the Olgimskys? Well, firstly it is a big theme in the infight the family has and the conflict that tears the Vlads apart. While Young Vlad wants to follow his legacy, he doesn’t want to follow the exact ways leading to the family breaking apart. Vlads stubbornness and his unwillingness to rectify old mistakes and… I don’t know… open the Termitary is also part of this. Closing it – while done by Young Vlad – is done to preserve the status of the town and deny the plague and its changes to society for as long as possible. A plan that is very, very costly in the long run betraying the Olgimsky’s own duty to ensure their peoples life and safety in the first place! Again, the ideology eats itself.

Of course, only talking about the most extreme and negative example isn’t entirely fair. And I think there is worth in every faction. They obviously aren’t all bad and the ruling families are twisting and radicalizing what could be a good idea. So… was this whole talk about the ruling families just some intellectual pastime that proves how the rulers are shitty but the factions in themselves aren’t? Do they only kind of suck? Or can we actually find the games stance of this radicalization and how each faction alone could affect the town negatively on a larger scale?

Part 3: The endings of the game

So let’s talk about the endings, since they are literally established as the “successful” outcome for each of the factions. And with that I mean that the fate of the town is decided in favour of one of the factions, eradicating the others and their own hopes and ambitions in return. Best it is seen with the Utopians and the Termites, whose dreams are mutual exclusive by the destruction of the town or the Polyhedron alone. But if we consider that the ending also establishes a new way of living in town and a certain social system, we can see the same with the Humbles. (We can also see this if we think of the Humbles goal as a means to restore the town at its best in favour of personal sacrifice, which still doesn’t happen in the other endings, since part of the town gets destroyed.) For the factions, the plague also brings a chance to shift the power dynamics of a town to their direction and this is referenced by several characters trying to make use of this situation or at least struggling to maintain their power. (The ruling families are again the worst offenders of this. The Kains try to guide the Bachelor to their cause from the very beginning and a lot more deliberate in the second half. The rulers’ unwillingness to even acknowledge the plague, Saburovs’ abuse of administrative power, the way Katerina urges Clara to convert townsfolk, Capella’s alliance with the Haruspex… I can go on, but I think we have talked enough about the ruling families.) Long story short: The endings are distinctly aligned with one side of the power struggle. (By the way this isn’t necessarily the endgoal the healers are striving for. I think it is apparent by now, that I align the factions more with the ruling families rather than the healers, because the healers’ first priority is getting the plague problem solved one way or the other and there are different motives for their solutions. Also they can choose a different healers opinion so they aren’t like… one hundred percent absolutely bound by their ending even if they still align with it. But I digress yet again.) So, they – as the “win” of each faction – are a good way to see how they would hold up on themselves and without the other factions interfering. I will analyse the sacrifice they put on the town as well as the society they are striving to build up (since this is what the factions are about. Changing society). Will one of them hold up and present us with a good solution?

I will not even try to create suspense. We all know, I think that they don't. They all bear sacrifices in contrast to what we had before that make the situation actively worse. A video that sums it up better than I can is SulMatul’s “Heroism in Futility; Pathologic, The Void and the Hero Narrative”. The video is really good in general but it also makes a point of pointing out, that Pathologic as well as the void do not offer a standard “good end” where the hero saves the day, because every possible solution is tainted in one way or another. The heroism Pathologic shows (as well as “The Void”) is struggling against a doomed cause and a hopeless situation despite the odds and not about becoming victorious in it. The Artbook of Pathologic 1 states as much, describing the whole scenario of the game as a trap, where the problem is that every ending can be seen as a victory as well as a failure. So, we have some strong sources but still: Let us look at the endings again and see, if my thesis holds up, that it is the ideology of the factions and the remaining of one in each ending that amplifies the problem the town will face after the catastrophe.

We’ll start with the Utopians, yet again. I think they make the most immediate impression and are easiest to describe. Because, you know… destroying a town and killing the sick is really fucking bad. (Though I feel sometimes it’s forgotten that the healthy get “vaccinated” (immunised for some hours) and evacuated before. It’s not about eradicating all townsfolk. And if I would be a true hypocrite I could be like “Do you find any infected districts and sick people on day 12 that you can’t heal, huh?” But that would be… quite ridiculous and I’m sure the sacrifice of the sick is very much intended here. Let’s just assume that it does kill the sick.) It seems hardly worth it and it very much represents the harshness of the Utopians. So, let’s see how it applies to the ideology. The ending for the most part sacrifices life and comfort for humanities progress. This is what the protection of the Polyhedron is about. The Utopians are not protecting it because they find it kind of pretty and it also is not a preservation of something culturally cool (which would be more the Termite way of thinking) because the usage of it is supposed to vary after the end of the story. (The children are leaving the tower so that the soul of Simon can be housed in the building.) But it is supposed to make the impossible possible and ensure humanities triumph over nature, break boundaries and create new impossible ideas. The visions of the new town Peter describes, tell us as much. It is not only about a building but about a new order, where the impossible is created and where the amount of energy is a crucial aspect of the vision. So, if we weight the different solutions against each other from out outside player perspective, we can see how tied the concept of the solution is to the Utopian idea. We already have a very steep sacrifice for the Utopian ideology here. The other aspect of the Utopian ending establishes this “creation through destruction” mantra that the Utopian ideology can impose in a different light: The Utopian end focuses on eradicating the plague. Which is… actually a good thing for once but still tied to the themes of the Utopians and making their involvement in it stronger. If we look at the Utopian end from a cold analytical perspective, it is literally destroying the playing board creating a tabula rasa, to start this whole town project again. (Or at least that is what our mistress Maria alludes to and who is in charge after the whole ending?…) Which is a very radical use of what the Utopians are about, carry out your vision rash, immediate and drastic and if it doesn’t work, then leave it behind and try again (the stairways to heaven tell a similar story). Which ultimately leads to a sacrifice that is way too big because the losses aren’t supposed to be considered at all.

So what about the counter thesis? If the Utopian ending is so bad, then the termite ending must be the solution. Well… it solves some problems. Mostly people not dying. Which definitely is a really good thing! But it also comes with its own drawbacks. Namely the destruction of the Polyhedron first and foremost. Which you know… doesn’t seem like that important… It's just some building. Until we reapply the meaning of eradicating the chance to work for the impossible – which the Utopian ideology enables – and a strive to triumph over nature and improve humanity as a whole. Then it suddenly becomes a huge deal. Destroying the Polyhedron is not only about destroying some cool architecture project of some very bored capital graduates (even though this is sure a thing we are doing) but about preventing humanity's progress. We are saving life but we are also preventing the chance to develop a system where humanity can grow, develop new amazing and helpful things and might even reject their mortality as a whole. And even if the last part sounds kind of insane, please consider, that Pathologic is still very much set in a world where magic and miracles exist. We rely on the magic the earth provides in both other routes, see the prophecies of the mistresses and the theatre, visit a talking rat prophet and we can see the magic of the Polyhedron when we visit it as the Bachelor on day nine and of course in the secret ending. Acting like the ambitions as well as the magic of the Utopians is completely unreachable and should be outright rejected, undermines the cost the Termite ending takes to ensure their own victory. So I would argue that there is at least the possibility of the development of humankind and progress into new developments that can help people in general that get destroyed to ensure the lives of the sick as well as the old rules of the town. And that is definitely a costly exchange! This also brings me to an argument that I hear a lot and also want to deny here: “But if the town exists, more towers and miracles can be build again so its not really that great of a loss.” And while this can hold true for the very similar Diurnal ending (if we are really nice and not deny every form of magic, which is kind of the point of that ending… but I digress), the ending in favour of the Termites negates this. Firstly, it explicitly invents a “town of men” where this strive for destroying nature should be prevented. Secondly… the whole underground fluid thing still isn’t really fixed… because that is what gets saved by the Haruspex this is his goal. Which allows for the Panacea but also means that the plague and the traditions that cause the infection aren’t actually off the table. If we would create another Polyhedron the plague would appear again. The old ways of the town are hardly questioned, and they actually cannot be – at least in a way that implies substantial progress over nature – because the laws that get re-establishes actively prevent exactly this. The thread of the plague isn’t gone completely – even if certainly postponed because of the Polyhedrons removal. And that resources run out and the knowledge gets obscured is shown how littler there even is knows about Isidor's earlier experiments. So, we are either creating a word, where humanities progress is distinctly stopped or we create a situation in which the same mistakes that will cause the plague aren’t prevented at all and humanities mistake will repeat themselves. We created a situation, where movement is not possible and actually actively prevented.

The third one – the Humble ending – establishes a balance where both structures can be preserved but movement is still possible. Which first sounds like all is good and the life of only a handful of people could be worth the cost, if we outweigh them against the systematic costs the other endings provide… right? Well… apart from peoples life’s never being a “cost”… this only can hold true if we cannot find a societal problem with this. And we can. Again, with all endings we can see the broad ideologies coming into play and so the very problem of the endings are, that they follow the factions rules so exclusively and absolute. The Utopian end sacrificing life and comfort for progress and vision, the Termite end sacrificing progress and vision for comfort and life and the humble end… what does the Humble Ending do? Well the Humble end saves the precarious balance between the Town and the Polyhedron but at the cost of personal sacrifice. While all aspects of the town may exist the same is true for the plague that gets neither destroyed nor subdued but instead is still active and handled by constantly applying a cure. A cure made out of the humans blood of those who sacrifice themselves for sustaining this very system. Which does mean we will need constant human sacrifice to sustain this system at all. And since a town and a societal system should last for quite some time and there is no other solution in sight to deal with the plague without firing a shot after all… we are facing a plethora of problems. Firstly: If we assume that for some reason the Changeling – or at least her miracles – are now as immortal as Simon was and she will not suddenly disappear leaving us with no one to even make the cure that we need, then what happens if the sinners we have chosen at the end of the game run out? And if we assume that the town will not like disappear after some years – which shouldn’t be the goal at all! – that will happen eventually. Who gets chosen and for what reason? I remind you again, that this is not a personal thing that people can do if they want, there is a societal need for people to die, it is integrated into the very system of the town. So how do we decide that? Are we just sentencing people to “cleanse themselves by human sacrifice” and just choose the worst criminals? That can be faulty and – again – the death penalty is something that we shouldn’t apply to society! Do we accept a willing sacrifices? Great, now that sounds like important and innocent life being taken for all the wrong reasons and can also hit someone who suffers from suicidal depression! Do we hope that our dear mistress continues her burden and selects who should die next.? That sounds like a horrible fate for Clara and also like a very unjust system. But sentencing someone to death because of a systematic need sounds incredibly unjust in the first place! Plus… you know with a highly contagious and deadly plague sometimes roaming the town, a cure doesn’t mean that nobody will die because of the plague. There still is a high lethality, personal reasons to obscure things and just a frightening time limit. Not to mention that the sandplague hurts before it kills so the pain aspect and the fear of the disease is still lingering. It sure is better then everyone contracting it and dying and the cure is a solution but… not exactly to every aspect of the disease, especially when we do not have the means to subdue it, that we have in the other two endings.

I hope that I was able to show that the endings might solve the catastrophe at hand, but all of them with a cost so huge that the specific solution can become debatable. Defeating the plague for good while saving the possibility to proceed further is really amazing, but destroying the entire old structure and killing the sick is a horrible tradeoff. Subduing the disease is definitely good, but at the cost of destroying the potential to enhance future life or even save more people in the long run and with integrating the enablement of repeating the same old mistakes doesn’t sound like a complete solution and more like turning the wheel and waiting for it to reappear at the same side (or you know… stopping it from turning all together). Preserving the town as well as its wonders is absolutely miraculous but allowing the plague to partake in this new system and requiring human sacrifice as a societal solution is a pretty dystopian thought. Again, the Artbook of classic Pathologic describes the whole scenario and its solutions as a trap. And it is! Because there is no right answer, we have to choose what we apply as a necessary evil and this is all we can do. There is no good ending we can find.

Conclusion: The meaning of “Utopia”

So where does that leave us? And what does that have to do with the factions? Remember the quote I used at the beginning of my argument? “The first thing a principle does is killing somebody.” And we can see the effect of this with every of the factions. The rashness and costly sacrifice of the Utopian ideals is seen by the way the Kains’ act and the loss of live the Utopian solution provides. The Termites disregard of progress and the oppression that is its result can see in the way the Olgymskiys’ handle its people as well as the sacrifice of the Termite ending. The Humbles enforcement of punishment and their harsh self-reflection influences the Saburovs’ judgement and leads to their solution at the cost of constant human sacrifice in the end.

So… does this mean that there is no hope? Should we assume that all of these solutions and ideas suck and leave this whole essay this depressed? That would be a shame and also missing the mark of what Pathologic is about. It is a tragedy, that much is true, but it is definitely not without hope and humanity. Because all the examples I use have one thing in common: They are examples of the radicalization of each faction and in its sole survival against the other factions. A principle on its own might kill. But that is why there shouldn’t be only one principle. Clara is right when she reminds the other two healers that killing one part of the town of is still killing. That there is a balance that must be uphold and we can see this balance in other characters. We can see Notkin’s idealism that is still rooted in earthly matters and a deep care for his people. We can see Eva’s kindness being born of idealism combined with her will to give herself away to other people (although this also gets taken too far in the end). And there is beauty in all three ideas. Fighting against impossible odds, caring for what is right and should be maintained, watching ourselves to help your surroundings… all of this is good! And all of these things hold solutions for the other factions. When striving for progress we need to watch our own wellbeing and the negative consequences of our actions. When preserving what is old, we have to see what should be changed, where chances for progress are and we also need to look at ourselves and not only the concept we want to preserve. Looking at our own sins and self-reflection is important, but so is our own comfort and our own goals, even if they might seem outlandish at first. By applying the different ideologies on top the one we hold dear, we can balance them out.

The best ways the ideology work – the real utopia – is a balance of all three ideologies together. That means that the best state of the town is what we witness in the beginning of the game (even if I would never call that perfect either! The exportation of the kin shows as much!) But debating and changing through the reflection of all three ideologies is in my opinion how society can be driven to it’s best. Progression is useless without looking out for each other and keeping what works and helps. Preservation leads to oppression and stagnation if self-expression is forbidden. Responsibility and duty are needed but can lead to condemnation and self-destruction if it isn’t balanced out. But comfort while allowing progress. Duty while allowing self-expression. That is what can only be archived through active dialogue. This is, why this game is a trap. This is why every ending falls apart: Because we have to choose. Every end is a victory, but it also is a failure. Something has to be destroyed. And even a miracle can only work on the back of its people. But this choice is the exact reason why. Being only allowed to follow one of the factions by radicalizing all three of them at the end of the game we are not allowed to make a decision that could benefit everyone. And this is – at the end of it all – the tragedy of Pathologic.

#Pathologic #Pathologic factions #Spoiler warning #ending discussion #I sure hope you enjoy this essay!

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popculturebuffet · 4 years ago

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Ducktales (Comic) Reviews!: Happy Happy Valley!/Fight! (Issue #4)

My first look at the IDW Ducktales Comics! And for a comission by @weirdkev27! Seriously he’s basically my boss at this point. If you’d like to comission your own comic or animation review just pm me or shoot me an ask to get my discord. Single stories for a comic are 3 bucks, single comic issues and single episodes of a show are 5 bucks with deals on multiple issues or episodes of a show. With my shameless plugging out of the way the stories themselves are:

Happy Happy Valley! (The Comissioned Story): The Main Cast sans Beakly end up stranded at a resort where everyone’s forced to be happy all the time. A classic trope with a twist ending you can’t predict.. mainly because it’s..

Fight!: The boys have a garage sale with stuff from the broom closet to raise money for Huey’s woodchuck trip. Naturally this quickly snowballs into a samurai fight to the death.

Wonders, a full recap with spoilers, and extreme stupidity await bellow the cut.

After a quick commission break for this week’s episode I’m back in the saddle and back into comics no less! It’s been exactly a year since I’ve done a single issue comic review. Oh sure I looked back on house of x, and will again next year, and I do want to cover Empyre at some point and some other comics, but I haven’t done a full recap of a single comic book in some time. But the first story of this issue really, REALLY confused and infuriated Kev, and rightfully so, so I got the commission call, and of my own volition I’m doing the second story entirely for free. I just wanted to do both for completion’s sake and because when I did read this comic I remembered the stories not being very long so it gives me more to write anyway. And if your curious yes I would gladly review classic Don Rosa, Carl Barks or really any duck writer’s work on a story by story basis, it just works easier to do the Ducktales issues all in one since their both more recent and I don’t have to go back and do it later if, once i finish seasons 1 and 2 at some point in the distant future, I decide to do this series too as well as the Sound and Fury mini that was clearly used to offload stories they had left over.

As for my experience with these comics I DID read them when they started out. .but quickly petered off and never even got around to this story, I remember reading page one but never read the rest of it. Part of it is I tend to flitter in and out of comics and part of it was the stories just weren’t that gripping, with the characters often feeling like flatter versions of the far more multi-layered one’s in the show proper and the stories being a bit too short to properly flesh things out like the show, especially since for some weird reason each issue has two stories instead of having one big story on occasion. They weren’t bad and there is a story or two I want to go back to like Lena and Webby being spies together, Fethry and Fenton have a story together apparently, we get an early look at Della, and there’s one where Bradford hints at them plotting against scrooge long before the show revealed it. There’s some interesting stuff I might look at eventually, I just have a LOT of show to get through too, and i’m not going to pidgenhole the entire series as bad or lackluster based on a few early issues.. or one story in this issue. But yeah i’ve held it off long enough.. let’s talk about

Happy Happy Valley!

First off the titles for these are .. pretty lack luster. Their basically just what the stories are about.. Happy Happy Valley and a Fight, that’s.. about it. I didn’t realize just HOW awesome the show is at titles, making each sound like a thrilling and unique adventure which they usually are, until I got to here. It feels like IDW, and by extentsion disney, didn’t care what the stories were called and just wanted a comic out to tie into the show. Which bothers me when they put this on IDW, clearly having a release platform for disney works.. but didn’t bother to use it for their Darkwing Duck comic continuing from the original, the reprint of the BOOM! Studios comic, or the short lived Star VS Comic Deep Trouble, which I will be covering at some point as it was pretty good. Same with the Boom! Studio’s darkwing, I just want to watch more episodes before revisiting it. Point is the title isn’t great. The story is even less than that.

We open properly with our heroes.. all woken up from their beds in the middle of the night for an adventure. It’s not a bad start, though Louie weirdly starts in constantly about how Scrooge’s rich and can do this and that and Subtley dosen’t exist in this story does it? Anyways, later, far away from Louie’s bed.. that’s the caption they go with and I love it, the Sunchaser suddenly stops working and Launchpad’s crashing skills come in handy,

This isn’t a bad scene as Donald brings up good points and likely has his own “times he’s been nearly sacrificed tally” like Louie.. and Della likely also said “Della’s coming out on top!” when her total went into triple digits. Also “When your rich you can even buy luck launchpad”

It just.. dosen’t fit Scrooge at all.. granted this issue hasn’t BEGUN to not fit Scrooge at all but let’s save that for the end. Anyways rather than hostile locals they find Gladys Seeya, good pun, an overly smiley woman whose eager to please and just wants everyone to be happy and has them carried because tired people aren’t happy. Yeah it’s suspcious as heck and a well worn trope, really nice place with a dark secret, to the point the series proper would parody it in the Mervana episode, and subvert it by having them turn out to just be very nice hippies who i’m still convinced had a three way with Donald... I mean he could use it, they were really nice, and Donald is probably very generous. That’s something you didn’t want to think about but now you have to and it’s there. If you GENUINELY think that’s bad, then you should hear about Goofy’s sex life.

See way more horrifying. Now everyone’s miserable! Horay! Moving on, point is Donald had a mer-three way and this is a well worn trope, but it is used in an interesting way.. that’s entirely ruined by the stupid ending, but we’ll get to that. Point is everyone is soon happy, given a buffet, all the food they can eat, and whatever they want. They just want you to be happy.. no secret plot here.. wink. Louie continues his annoying “Every rich person gets X” schtick which feels forced as hell and gets worse with every line and more obvious. It’s one of the weaknesses with this story. It’s basically the writers constantly elbowing you and saying GET IT.. YOU GET IT.. BEING HANDED EVERYTHING YOU WANT IS ANNOYING GET IT. YOU GET IT. The problem is.. the Island’s moral dosen’t fit that. Kev helped here as we discussed the issue once I finished it, as I hadn’t thought of it yet, but the valley isn’t about giving you everything you want.. it’s about just FORCING you to enjoy things. Sure you can be happy off some things like the food but when Donald politley declines to dance because he can’t, which tracks with his life in general, they basically all glare at him to do so. Later they basically force acvitites on them with the ducks only agreeing because clealry they worry about what might happen if they DON’T. Telling someone to smile or enjoy something dosen’t make them enjoy it it just makes them miserable. Problems are 1, the issue very clearly WANTS to have the other moral and 2) the series would do this kind of story MUCH better with “Mystery at McDuck Manor!”. That’s not on the writers fault, as this comic started right before the show premiered and this issue came out before said episode, but it really doesn’t help the show came along with the same exact moral of not forcing your idea of fun on someone else and did it WAY better. It’s the same message, the ducks being forced to endure something only one person thinks is fun, but delivered right and wrapped into a very clever and fun mystery. Honestly I might cover that one this week or sometime soon because it both fits the Halloween season and this issue if nothing else reminded me how good THAT episode is.

But I’m stuck doing this issue. Naturally, and in one of the issues few clever moments, the Ducks try booking it out of there as soon as they can but find their raft gone, and a ring of sharks suddenly there that weren’t before, and Donald understandably doesn’t want to risk the kids lives with that. Thankfully Webby soon comes up with a plan using the activities, and uses a napkin to get it around. This bit.. is actually clever as they use the various bits to get a plan and even Huey has a really clever bit where he just leaves his hat and shirt behind to go looking for the generator, likely on Webby’s request, knowing his brothers can just play him once in a while to draw suspicion. Also apparently Huey wears a tank top under his shirt, which looks weird on him, as he’s not the sporty type, but does fit his “always prepared” mindset well so I like it. Using Basket weaving and balloon decorating, they create a way out, and Webby ties up their host while everyone escapes. They nearly don’t fit out but luckily Donald contributes. And again i’ll give the story this: Donald does more in this one story than he got to do in the vast majority of season one. So our heroes escape with other patrons begging them to take them with them and the stories apparently wrapped up. The generator Huey found was to show the sharks were just holograms which given the science in this world makes sense, as does it jamming the sunchaser. What doesn’t make sense, and what got me my three bucks for this review in the first place is this. I”m putting the full picture there both so you can let it sink in and to let you know, since most of you probably haven’t read this comic, that i’m not making this shit up, nor is it one of my jokes. This .. this is the actual twist for the comic.

...................................................................................................

This is probably the thrird dumbest line in comic book history. Before you ask the other two are

And why yes those are both from the series. And why no I will not be covering All Star Batman and Robin unless someone forces me too. My point is WHAT THE FLYING HELL IS THIS. I mean this makes NO sense on any level. For STARTERS one of Scrooge’s most well known traits, that’s part of his character in every version is that he doesn’t like to spend money. He will to MAKE MONEY and sometimes grumble about it but if he doesn’t. Even if season 1 had it dialed way back, he still reused his old teabags, charged extra on his in house vending machines and tried to get out of buying burritos for recently freed slaves. Being cheap is an iconic part of his character. Granted the series took out things from the comics and original like underpaying employees, barely paying Donald even though in the comics he supports three children, as well as barely paying those children, and refusing to donate to orphans, but still it’s not THAT so far removed that THIS is remotely in character! He had to either buy this old resort or have it renovated to keep up the ruse, pay for the creepy lady running it, pay for the other guests as actors because otherwise his hired minion KIDNAPPED people who were begging for escape, pay for the activities/escape supplies, and pay gyro to build the GIANT GENERATOR THAT BOTH PROJECTS SHARKS AND MAKES TECHNLOGY NOT WORK. While I do think Scrooge would gladly want to teach Louie a lesson, this is a lesson that at best costs hundreds of thousands of dollars, if not at least a million to pull off. And that’s not even getting into how he forced everyone else to go with it, denied them a good night’s sleep and clearly told NONE of them. Beakly not being there actually makes more sense as she would’ve noped out of this horrible horrible idea and bonked him on the head for this. It makes no sense and it’s GROSSLY out of character. And while I’m used ot that from comics, writers often don’t give a shit about the characters their writing, I expect better from DISNEY when it comes to lisencing shit. They’ve done better. I’ve mentioned better and even SINCE this they’ve done better: Christos Gage’s Incredible’s Comics are excellent and I want to read more of them. And the previous run by mark waid is also suitably incredible, if now sadly no longer canon. And even in this very ISSUE there’s a much better, if not amazing, story we’ll get to in a moment. I get disney’s greenlit weak tie in material before but this is ridiculously bad and shoddy. Shame on them, shame on the writer, and shame on this INCREDIBLY stupid story. We get an everybody laughs ending, who cares. we’re out.

Final Thoughts for Happy Happy Valley:

I don’t have much less to say about this story. This about sums it up.

Fight!

We open with a samurai.. though it quickly turns out to be Dewey with a mop on his head hitting Louie with a broom while saying Two Damage! Two Damage! and already in one scene this is so much better and feels so much more natural. Naturally this story has a different writer. The artist is different for both too, and the art is good on both though I do prefer the art for “Fight!” more as it’s a bit more expressive. Though it also benefits from having less characters to juggle so that probably helps. The boys are having a Garage Sale, or Yard Sale as some call it. As a huge fan of Garage Sales, I’ve gotten tons of stuff from them over the years and good shit too like my G1 Snarl, or even just recently a three in one of the first three loud house Graphic Novels for a freaking quarter. You REALLY can’t beat that. It’s why I love these things. So this story already had my money. As for why, Huey needs money for the Junior Woodchuck Camping trip. How else is he going to hold hands iwth Violet and Boyd under a tree. Wait neither of them existed yet. Damn. Well i’m retconning that in anyway. If they can retcon the Scarlet Witch and Quicksilver not to be mutants, which If eel is getting undone VERY soon, or if not Hickman will use that well, I can retcon this to taking place in season 3. Plus i’ts all very wholesome and innocent... their only eleven.

But yeah Scrooge in a nice moment if an off-screen one gave them the contents of the broom closet.. which is really just a bunch of old used up brooms, some buckets and other cleaning supplies. Probably stuff Beakly rarely uses or has long replaced and if not.. well he’ll have to pay for them himself won’t he. Unlike the above clusterfuck this.. feels entirely in character. Scrooge likely apricates that Huey is working hard to EARN the money for his trip and that his brothers are helping, especially Louie since he gets nothing out of this unless they go over what Huey needs. But also being Scrooge he still only gives them some old Junk. But Louie, being louie easily scams a guy into paying 15 bucks for a broom. Still this is slow progress and if Huey wants to be with his poly relationship he’s gotta step it up. Luckily, and naturally given this is Scrooge’s closet, they find an old Samurai helmet, which Huey feels could be worth millions. granted...

But eh it’s going to a good cause, tiny children holding hands by campfires, and when has common decency EVER stopped Louie? Dewey though, wants to start a collection of war stuff.. starting with this. It’s part of why I LIKE the story better: not only does it have much better dialouge but it’s actually rooted in the characters instead of “One trait of Louie’s cranked up to 50 and drilled into our heads”. Huey is trying to earn money for the woodchucks, Dewey only wants something for petty reasons and Louie wants money. It feels like the actual characters and not just cutouts and makes me wnat to read more stories in the hopes of finding more like this. Anyways naturally nothing Scrooge has in any of his storage areas of the mansion tha’ts ancient isn’t cursed, magical or really neat to look at, and the helmet comes to life as they fight over it, and the helmet clints to Dewey, who talks in a deep red voice calling himself Ronnith of the Twin Samurai. The name.. isn’t great but the concept is. Thankfully Huey knows what it is thanks to the guidebook. and just like the Donald bit last episode this one story gets the guidebook better than season 1 did a lot. Turns out the twin samurai were two brothers who hated each other and always competed for their mothers affection.. their mother was also forced to sell her beautiful sculptures for next to nothing after their father left. Instead of going after him though they both blamed each other as teens when invaders struck and burned everything including their mom I guess down, and fought the rest of their days, and while Ronnith never settled things due to growing too old, his spirit, and his intense hate, went into his helmet which now curses any brothers who fight over it to fight with the looser turning into a statue.

Naturally no one wants this but Dewey can’t get the helmet off and Ronnith possess him to destroy the guidebook.. though Huey explains it’s his “third backup copy” which.. yeah again like the tank top thing tracks. Ronnith then manifests armor on Louie and we get the image above.. which is really neat. With Ronnith forcing the two to fight each other, Huey searches for a way to stop it. And while he can’t find it he does figure it out and the solution is REALLY clever: Just as Ronnith’s about to kill Louie, with Dewey apologizing.. Huey blocks. And Ronnith is naturally confused and upon finding out there’s a THIRD brother, the curse dissipates and thus everything’s back to normal. And wrapping things up nicely a guy shows up to buy the helmet and while Dewey tries to just give it away Louie says it’s free with purchase of a bucket for 50 bucks so Huey has his money to go on his romantic camping trip.. though he does ask if hte guy has a brother.. best be safe. Final thoughts on Fight!: It’s like night and day. While the previous story is stilted, has one of the worst endings in duck history and overall is just kind of bland outside of one or two moments this .. is really good. It doesn’t add much to the world or anything, but it’s a fun side story with a clever monster of the week and resolution, some great lines and some good art. This is what should’ve lead the issue, as the main story is again just dreadful. Overall i’d recommend checking this story out.. though maybe get in in trade instead as the A-Story here is really bad, but you can find both on comixology and this issues on comixlogy unlimited if you want to check it out along with a ton of other great comics.

That does it for this review, if you liked this I do regular coverage of ducktales every week, I JUST COVERED THIS WEEK’S EPISODE YESTERDAY. So check that out and until next time vote if you can and check your house for Gary Busey!

#ducktales #ducktales comics #reviews #scrooge mcduck #louie duck #donald duck #launchpad mcquack #huey duck #huelet #webby vanderquack #idw

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robiness · 5 years ago

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some waffling about rwby7 themes (spoilers)

im just rambling here a lot bc im too lazy/sad to get sources to put together another theory. this stuff might matter, might not, who knows these days

enjoy!

themes i discuss: trust/love, truth, time

1. trust + love, duh

“trust love” is the most obvious theme, with it being the opening song and all - presumably trying to tell us that things will turn around once the characters get their shit together

all our groups have lost trust in each other, and are playing into salem’s hands right? but it’s not really like there was ever complete trust between the groups

i mean, literally the only arguable instance of complete trust is shown by clover to ironwood (as much as i hate it)

everyone else just vaguely tolerated each other & worked together while they had common goals (ties in with “not friends” “just a job” mentality)

“i do believe in you, but not only you” oscar be slamming more than neo’s face out here

****”i wanted to trust you” sigh

2. in line with that, truth comes up as well

robyn hill’s semblance is quite interesting for a vigilante character, so im assuming it has a literary purpose for something other than ... two? scenes, only one of which she actually uses it

robyn saying she wont stop until she gets “the whole truth”

team rwby withholding info (ruby from ironwood abt salem, bumblebee from ironwood abt telling robyn, weiss from anyone else abt the winter maiden (?), yang presumably from everyone abt the spring maiden)

ironwood withholding info from solitas until the tower was ready

oscar expresses discomfort about hiding stuff from ironwood

(so does yang but honestly she’s been kinda quiet this volume so idk)

the characters and the fandom have been fighting about who’s wrong here etc, but i think we’re focusing too much on the word “lying” (if someone HAS directly lied this volume, pls correct me) (oh wait ironwood said amity was ready) (well anyway that was around the time things were blowing up so ignoring that)

which interestingly connects to robyn’s line about “the whole truth”. the problem isn’t lies, it’s that nobody has complete information

lack of info made robyn hill suspect ironwood of selfishness, and so started her vigilantism

lack of info caused jacques schnee to get the council on his side

lack of info also caused the qrow vs clover vs robyn conflict

we know how much lacking the info about watts + tyrian messed a LOT of stuff

+++ all the hiding i already mentioned above

and the solution now doesn’t lie (heh) with what they’re hiding from each other anymore, since by this time shit’s hitting all the fans and truth bombs are dropping left and right between them

right now, there’s probably something none of them know that will shift the tide

the opening again matches this idea with the line below - all the characters are blindsided somehow. they don’t have all the cards (stretch clover symbolism? dont care, blake n yang killed vine zeki anyway) so to speak

3. and most interesting to me, a lot of talk about needing time in this volume

off the top of my head, variations of “we just need a little more time” is said by Ironwood during a meeting, Winter to Weiss, Yang/Blake to Robyn, Nora to Mantle

“the timeline has changed” is said by cinder and ironwood both, on separate occasions

***suddenly i remembered penny’s line about preparing for “six possible outcomes”, and that’s a time travel trope if i’ve ever seen one

speaking of fair game - the whole problem with them last episode was that the possibility of any real relationship is abruptly cut off (again, “i wanted to trust you”, meaning it could have eventually happened but time was against them)

the opening song sets the concept of time up as something that will heal shattered hope, but there hasn’t been a point like that yet other than the qrow/clover cliffhanger

i mean unless it’s some lame “time will heal all wounds” schtick, but i doubt that lol

(im sure this has been extensively discussed by the oscar time travel semblance theory enthusiasts already but HEY hope y’all got something new)

CONCLUSION:

idk hope or something lmao

other than that, literally none, i have nothing, and i’ve had nothing since qrow branwen shed his first tear so iT BETTER BE HOPE

pls pls pls do share your thoughts if you took away something from this! i too need answers

im so tired of this game of emotions

#rwby7 #rwby speculation #rwby7x13 #team rwby #james ironwood #robyn hill #clover ebi #rwby #let qrow branwen be happy #fair game #team clwn

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the-awful-falafel · 5 years ago

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Rick and Morty - S4E10 “Star Mort Rickturn of the Jerri” Podcast Summary/Breakdown

I said I’d keep doing these breakdowns if people were interested, but I was also waiting for a podcast that gave some good analysis/trivia on the characters and writing process. And what better podcast to summarize than the one about the season finale? I recommend watching it yourself if you have time.

(Link to full podcast video here!)

The interviewed staff this time are Erica Hayes (director), Anne Lane (writer), Brent Noll (lead prop designer), Steve Levy (associate producer)

The way episodes get scheduled/made is that the writers try to break as many stories as possible and see what sticks within the production time they are given. If they have to rewrite an episode a lot it can possibly get pushed to later in the season than they originally intended

This episode wasn’t necessarily always going to be the season finale during the early writing process, although it was always intended to be in the latter half of the season

Star Wars is so big in our culture that there is seemingly an obligation to trope it, which the writers are kind of exasperated about, so that led to the type of referential humor in this episode

Justin Roiland was the one who wanted Rick’s internal organs to be partially cybernetic/synthetic, and it wasn’t initially in the storyboards. It’s also meant to show that Rick’s enhanced and able to take more punishment than a regular human

The placeholder music for the Phoenixperson VS Rick fight was heavy metal, which made it feel almost DBZ-ish, but they toned it down once the actual track had to be composed because they wanted to focus on the brutality of the fight

The writers try to never force characters/plotlines to come back early, and their idea is that characters should only be brought back when it’s the right/optimal time to use them

They’ve been discussing whether or not Beth is a clone in the writers room since early in Season 4

Anne Lane points out how the show—and, in a way, its take on continuity and its own internal canon—seems to be predicated on “nothing matters”, a viewpoint often shared by Rick, but that philosophy is constantly called into question and shown as not true by characters such as Morty, because things do matter to them on a personal and emotional level. Family matters, their experiences matter, humanity matters. If this was the “Rick” show, it would probably be entirely episodic, but a canon exists regardless because no matter how much Rick tries to deny it, he himself is also human and cannot help feeling human emotions.

The invisible garbage truck gag was originally going to be a part of the main episode as a culmination of Morty and Summer’s plotline. It was planned to get teleported onto the Federation ship, driven by Jerry, and brutally crush guards into a gory pulp while they couldn’t even see what was killing them. The gag was cut because it didn’t help the story enough, but everyone was still really attached to the concept, so it got moved to the post-credits scene instead

The original episode title they came up with was “Star Mort: Bethisode 2: Ricktack of the Clones”. They chose a different Star Wars title to riff on since this version was obviously too spoilery

Space Beth’s spaceship was intentionally designed to look like Rick’s spaceship, as he originally built it for her when he sent her off into space and she’s been making upgrades to it ever since

The Gromflomites’ insectoid ship designs weren’t created until season 2 despite the species originating since the pilot

The interviewed staff are absolutely aware of the fans who idolize Rick, and they believe that viewpoint has become less popular in the fandom as the show went on due to the show increasingly highlighting Rick’s flaws and making it clear how terrible he truly is. Pickle Rick and Dr. Wong’s speech was brought up as an example

The writers didn’t actually go into Season 4 planning “this is the season where Rick is taken down a peg”. It was more of an organic result of the writing as they broke the story for all the episodes, as well as coming from an interest in telling stories about Rick that focused on the side of him that he doesn’t want expressed, rather than focusing on the “badass smartest man in the universe” schtick that we’re already familiar with

They were still aiming to be consistent with depicting Rick’s character in Season 4 as someone who, following Beth taking control of the family back in the Season 3 finale, is trying to not “rock the boat” too much while still attempting to find ways to get away with what he did in the past. They were basically looking at Rick as someone struggling to find his place in his family and the universe this season

Despite the huge episode order and having 60 episodes left to go, they don’t really plan ahead or focus their energy further than a season-by-season basis (10 episodes at a time). So they probably don’t have any massive character arcs set in stone this far in advance, they mostly play it by ear

Rick and Morty is an incredibly difficult show to make from an animation standpoint compared to other adult/”edgy” cartoons due to how high-concept and ambitious its environments, characters, and camera shots are. It’s especially stressful because they said that they reached a point recently where they juggled 3 seasons at once, which has never happened in the show before.

They try to cope with the high demands of the animation by reusing background characters and environments whenever possible. They try not to reuse background characters that got dialogue and then got killed off, though, for the sake of continuity. They also try not to use stock aliens that have gotten recycled too much in past episodes.

A lot of the gun assets are reused throughout the show. The weird organic bug-gun Beth used in this episode was a new design, and it apparently gave Brent Noll a lot of difficulty in the prop design phase

A caller asked what Roiland and Harmon were referring to in a past interview which heavily implied there was a Season 4 post-credits scene which would lead into Season 5, and all of the interviewed staff were confused (since no such scene exists and they don’t recall any from development) and came up with different theories about what they might have been talking about. They also point out that most post-credits scenes are written as jokes and that the only real plot-related one was the Tammy and Birdperson one back in Season 3’s premiere episode. They prefer to keep implied future plot elements within the episode itself. “They’re not like Marvel post-credits scenes.”

The Wrangler jeans joke came pretty late in the process and wasn’t an actual paid advertisement. It was given to the Gromflomite ship as its weakness because the Gromflomites are very corporate and they were already parodying the Death Star trope so they wanted it to feel hackneyed

The Zeus fistfight and the Phoenixperson fight weren’t meant to be parallels to each other despite how brutal they were in episodes released back-to-back. Initially the planet-fucking episode was placed earlier in the season so it was mostly a coincidence. Also, the Zeus fight was meant to be more of “a dick measuring contest between two idiots” rather than anything impressive or epic

The reason Beth turned the clone decision back onto Rick is that she realized the choice he gave her was, once again, him stepping back from the responsibility to care about his daughter. So Beth attempted to force Rick to choose for once in his life whether or not he wanted her around, and he failed to commit to even that, which was the cowardly action needed for Beth to move on from her father’s emotional neglect.

Steve Levy dismisses the allegations that only the first and last episodes of the season advanced the plot, as the staff consider character growth to also be part of the canon and something that is advanced throughout this season (using Morty’s character as an example). They also have pointed out that they’ve done canon-heavy episodes in the middle of past seasons before, such as the Ricklantis Mixup in Season 3, and it was only by coincidence that Season 4 had the major lore episodes be the bookends.

They also point out that some episodes that fans consider “filler” can be called back to later, retroactively making them important to the canon, so there’s always an implied level of continuity going on unless they explicitly call out an episode as non-canon (like the story train episode)

The interviewed staff don’t know when Season 5 is coming out, but they do believe it will be sooner than past seasonal gaps

Many of them are currently working on Season 5, and some of them are even working on Season 6

Erica Hayes is currently working on a different show because the board artists/directors are usually first in the process, meaning they wrap up work first and have to find other work in the meantime. She’s wrapped on Season 5 and expects to be back for Season 6 once the scripts are ready

And that’s it! Hope this was comprehensive enough for y’all to enjoy. (And now, I wait for Season 5′s podcasts.)

#rick and morty #star mort rickturn of the jerri #companion podcast #q & a

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romansrace · 4 years ago

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What If: RuPaul liked Jan in S12?

This What If deals with the scenario in which RuPaul takes a shine to Jan and favors her throughout the season. Jan's performances are kept as they were in the episodes she appeared in, unless an elimination or win changes things, but Ru sees her in a more positive light and is more critical towards other girls as a result. Full run below the jump:

Ep2 (1) is the first episode in which Jan appears. She performs well in the challenge and on the runways as originally. In this scenario, the judges are amused by her kooky take on a tulle/toolbelt runway, and as such, Jan and Sherry Pie are the top 2 [as we know Sherry will also be favoured] and Jan wins the first lipsync. Jaida is High where she originally placed Top2.

Ep3 is the first acting challenge. Jan, as the winner of the first challenge, will now be choosing her team. Jan will rank the other girls in order of strength: Gigi, Brita and Jackie [who she knows], Nicky, Crystal, Dahlia, Heidi. Heidi and Aiden will thus be the other team captains once again. Heidi will pick Gigi as the strongest available partner and the one from her episode, and Aiden will pick Sherry for the same reason. Jan is likely to pick Brita as a strong teammate who she knows and is close with. Widow picks Nicky as the strongest-ranked remaining from her episode. Heidi next picks Jackie, both because she did originally and to remove her from Jan. Aiden picks Jaida as the other top2 from her episode. Jan picks Crystal as the strongest-ranked queen remaining over RockM or Dahlia, Widow picks RockM to not be stuck with two fashion queens, and Dahlia is last to pick. She joins Aiden's team as it has the strongest competitors overall. Meaning our teams are: JAN, Brita and Crystal AIDEN, Sherry, Jaida and Dahlia WIDOW, Nicky and RockM and HEIDI, Gigi and Jackie Aiden's team this time are the fruits and vegetables, allowing Dahlia once again to be the meme broccoli throughout the whole season. Sherry and Jaida are likely to bicker over the standout role of Bad Apple, and Sherry is likely to win that power struggle based on how she got her way in Gay's Anatomy. For the three-part skits, it looked like the scripts were assigned randomly, so it could go any way for the other three teams. To switch things up a little, Heidi's team retain the three old ladies act, but this time Jan's team get the girl scouts act while Widow's team are this time Three Girls One Brain. In any case, Nicky will struggle with this challenge. The first acting challenge in a Drag Race season is usually judged in groups, however in this season Sherry won while her team were only Safe, while the B2 was made up of queens from two teams. As such, Sherry will still win this challenge, bringing as much or more to Bad Apple as she brought to the leader of the three girls originally. Jackie and Heidi remain High. Jan and Brita are Safe and Crystal's runway drags her down to Low. The B2 remains Nicky Doll and Dahlia, and Dahlia is duly eliminated.

Ep4 is the Ball Ball. Jan's soccer outfit and ability to display sports skill on the runway earns her a High on this challenge; in place of Nicky who is now critiqued based on the similarity of her outfit this week to the previous week's, and pushed down to Safe. Gigi still wins the challenge and Brita eliminates RockM in the B2.

Ep5 is the Gay's Anatomy acting challenge. Nicky and Gigi once again win the mini challenge. Nicky is now hungry to prove herself after thus far only coming Low, B2 and Safe, and assigns herself a more central and goofy role - half of the fork, with Heidi. The baby role instead goes to Crystal who is happy to work opposite Widow. Jan retains her role. Widow and Crystal had worked together before in Missouri and play together well; as such their mother and baby act goes down a storm and Crystal gains a first High this episode. In order to facilitate this, Aiden is bumped down to Safe. Brita - who now hasn't worked with Aiden before, nixing that subplot - remains Low and Heidi and Nicky, now scene partners, are in the B2. Heidi eliminates Nicky as originally.

Ep6 is Snatch Game. Nothing changes here - Crystal is once again Low, while Brita eliminates Aiden from the B2. Jan is safe - Ru can't justify placing her above Sherry or Jackie.

Ep7 is the Madonna Rusical. Jan this time is praised for taking on Early Madonna as the hardest part and opening the show, and is given the victory. Gigi now gets slight criticism for 'misunderstanding' the task and Michelle makes a jibe about not even remembering her blonde days. Jan is now on two wins, equalling Gigi and Sherry. Other placements remain and Brita is eliminated.

Going into Ep8 Jan is on a much more even keel. In this timeline Ru likes her energetic ad and puts her Safe with Jaida - good, but not as good as either Jackie or Crystal’s efforts. Gigi is pushed down to Low. Sherry is criticised for not selling a 'product' and is put in the B2 against Widow, and executes a comedy lipsync to Madonna's Burning Up to knock Widow out one episode early.

Ep9 now has Jan for the political episode. Jan takes Gigi's Low, pushing Gigi into the B2 with Jackie for relying on a schtick and repeating something she already gave us before in terms of the robot girl act. To avoid the negative publicity of the white girl in the colonizer outfit eliminating the show's first queen of Islamic heritage after Jackie's heartwarming runway story, this episode now has a double shantay.

Ep10 is the Makeover challenge, now with seven remaining queens. Jaida wins the challenge and Jackie B2s for the second week running with Heidi. Heidi eliminates her. Jan is either Safe with Gigi, or the only Safe, pushing Gigi down to Low for this episode.

Ep11 is the standup challenge, with Jan here now in place of Jackie. Jan will likely do a routine about being sporty, either a personal story or a comedy routine. Given that hosting is what Jan does on her own New York shows, she’s very likely to take the High placement here that originally went to Jackie Cox. Jaida and Heidi remain the B2 and Heidi is eliminated in 6th.

Ep12 is the final performance challenge. Gigi convincingly wins after an energetic performance, while Jaida and Jan with the strongest performances otherwise (with Jan’s vocal being singled out for particular praise) proceed straight to the final. This time it's Sherry to lipsync against Crystal, knocking her out of the running for winning. I can see Crystal winning this lipsync against Sherry unless Sherry has a bag full of tricks for On The Floor, as it's also her first lipsync vs Sherry's second. Given that we know in the actual series they filmed two endings to the final competitive episode, Sherry’s disqualification means that Crystal winning and proceeding to the final is the most likely outcome.

The FINALE takes a lipsync for the crown format. If Sherry makes the final, Jan knocks her out in round 1. If it's Crystal...the same thing happens. Jan wins the lipsync against either Jaida or Gigi thanks to being able to equal them skillwise and Ru's favoritism, as is the point of this prompt. And thus, Jan, on two wins, four highs, no B2s, and the best seasonal track record would be the winner of Season 12!

#drag race what ifs #s12 #drag race season 12 #fantasy drag race #jan #jan sport #jantasy #ru pauls drag race #rupauls drag race #all stars 6 #rpdr as6 #what if

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dolansmith · 5 years ago

Text

Thoughts on the “Trisha Drama”

I’m going to preface this with my previous thoughts of both sides. I didn’t know who Trisha was until after I found out about the vlog squad about a year ago. I didn’t mind her, i thought she brought out an interesting perspective to the group. Then I thought she was literally off her rocker.

I loved the vlog squad bc I found them in a really difficult time in my life and they kept me from getting too deep into a depression. While I saw some of their mistakes, I saw the best in them all and hoped for change or at least some kind of accountability.

This is gonna be really long and idk if anyone is even gonna read this/care lol but Im just so frustrated with a lot of the people that are into the vs. Like after really looking into everything that happened, I felt kind of ashamed to be backing the vs bc they’re doing some fucked up stuff tbh.

So lets do a basic rundown of mistakes made.

Mistakes in their public relationship: -Trisha: made sexual jokes about jason’s friends, started arguments about her insecurities instead of starting a conversation. -Jason: made sexual jokes about girl’s a decade younger than trisha (and 2 and a half decades younger than him), would complain about having to go do things trisha liked doing and would pout the whole time (i.e. disneyland and a couple of the hamilton viewings), would egg on trishas insecurities, literally dumped her on a daily basis and call her crazy when she voiced said insecurities and then would basically get back together within an hour and practically give everyone whiplash, also talked about her weight and eating habits CONSTANTLY (fucking dick) -David: inputted himself in their relationship, recorded their fights and encouraged their toxic behavior to both his friends and his audience

Mistakes in the “official” breakup: -Trisha: talking about jason’s ex and kids, comparing david to ted bundy (a lil wild but tbh not that big of a deal bc no one actually believed thats what she meant but anyway), the brandon thing (we’ll come back to this) -Jason: continuing to make jokes about fucking a 19/20 year old despite his gf saying she didn’t like it, not putting an end to David “pressuring him” to making said jokes, the brandon thing -David: ignoring his “friend” when she said not to put something in his vlog, putting his image and career first

Mistakes after: -Trisha: constantly going on rants about david and Jason. -Jason: staying in contact with trisha secretly. (ill get back to this too) -David: putting his image above all else.

Now we’re going to get into some uncomfortable hot takes. I’m gonna get a whole lotta hate from stans but tbh idc anymore

The Brandon Thing (I’ve done some digging since her video exploding at Jeff):

-Brandon began a relationship with a high schooler. She was underage the first time they had sex. There’s receipts and timelines set up. I’d recommend Petty Paige’s Youtube video on it for specifics. -Lot’s of vs fans say she only brought it up when her and Jason ended so that meant she didn’t really care, but I’d like to point out that she has stated (on more than one occasion) that she voiced her thoughts on this multiple times to the group in Private and no one cared. Y’all are always going on about how she should say whatever she has to say in private but when she does and is ignored, what then? Just a thought. -Let’s also bring the rest of the vs up in this. How come none of them ever said anything? They’re the ones still out here tolerating him. Pretty hypocritical. I’m not gonna aim anything at the girls bc none of them have Brandon in their videos but the guys? Jeff, Jason, David, Todd and I think Scott too, have all had Brandon in at least one video. They’re out here talking shit about Trisha amongst each other but are friends with a predator? Lmao Okay, cool.

Jason Keeping in Contact for months:

-This was dumb. -As someone who has suffered from mental health issues and has been in a mental hospital and suffered from attachment AND abandonment issues, Trisha would’ve been better off had Jason ended things and kept them that way. Instead, he ended their public relationship and friendship. He kept her a secret from even his “friends” and then dragged on their “friendship” for months. For what? He should’ve just given her her things and closure and kept it pushing. -On that, why did he keep her belongings for so long and refuse to give it back until she said something public about it? He ignored her calls and texts about her very expensive things for weeks. Then she made a video calling him out on it, and she got her stuff back. -I’m seeing a pattern here, aren’t you?

The Jeff Thing (did some digging on him too...by digging i mean google):

-This one makes my blood boil for several reasons. ESPECIALLY AFTER TODAYS VIDEO. It rlly put everything into perspective omg. -The starbucks story that Trisha told was the same everywhere: ‘I saw Jeff at Starbucks and said hey. He ignored me and was such a pussy he left his order at the counter after having paid.’ His masculinity is SO FRAGILE that he twisted it into ‘I’m not gonna be fake with someone who fucked over my friend. Can’t fuck them up either tho lol’ and ‘i’m not gonna make shit easy on you, i’m gonna make them feel weird’. What a baby lmfao -His assault joke rubbed me the wrong way. I know Jeff’s schtick is the whole “I was in jail for a few months and I was a drug dealer I’m big and scary” blah blah blah. Listen, I’ve met men that have been in jail longer (he was in for only 4 months he once said I think) and had worse upbringings than he did and HAD to do some of the shit Jeff was doing (which lemme remind yall, was on his own accord). The men that I know that have lived similar and worse lifestyles than Jeff, would never and I REPEAT NEVER, make a joke about assaulting a Woman over “fucking my friend over”, when the situation was what it was. Which was: an exposé, basically. That’s some petty shit, it’s for the birds. (Also, Todd and Jay’s jokes about the assault joke? Ain’t it. They were just as bad as Jeff’s original joke.) -Do y’all know what Jeff’s been to jail for? He tried to assault someone that worked at a 7-Eleven after he and his dumbass friends were fucking around in the store and got yelled at and ended up assaulting a woman walking by. -He also talked about her mental health issues. Maybe he wasn’t talking about her specifically, but it was REAL specific. He said that it was crazy that a “psychopath” that’s been in a mental hospital still had a platform on youtube. That they shouldn’t have one. Trisha made a really good point of, “some could say the same about your time in jail.” Because they could. And mental health can be managed. So can your outrageous anger issues, Jeff. This was really ignorant on his part. -I also want to remind everyone about the time he said he didn’t understand how men could be sexually harassed. That all you had to do was say no. -He says he likes to “make things awkward” and make everything a joke when really he’s just being ignorant and doesn’t want to get real hate when he gets inevitably called out

Trisha’s “Dirt”:

-Trisha doesn’t know anything that the rest of us don’t. We’re just all IGNORING it. Why? Bc David’s charming and Todd and Jeff are pretty? Ridiculous. This is the last vlog squad post i’m going to make because I’m done. So the following is going to be a rundown on the “dirt” on them that made me come to the decision that I wouldn’t be supporting them anymore. I’ll also put my own thoughts and comments underneath in case y’all are curious. Staying silent about these situations is the same as complacency. -Brandon Calvillo: Covered this but to reiterate, he dated a high schooler and slept with her/dated her knowing her age. He then lied about it in a video to cover his tracks. *I am well aware that she was months from being 18. This doesn’t make it okay. What does a 26 year old have in common with a 17 year old? And just because this is the first girl we know about, doesn’t mean she’s the first at all or even the last. -Durte Dom: He was accused of assault at vidcon. *This hasn’t been confirmed. But it also hasn’t even been discussed. This girl is getting hate from vs stans and the vs have stayed silent. I can understand not wanting to show attention to people who make accusations for clout, but assault is serious and should at the Very Least be acknowledged privately or legally bc it could be considered slander. Don’t let your fans (or your friend’s fans) do your dirty work. -Jeff Wittek: He has major anger issues. Makes jokes about assaulting women after actually having assaulted one in the past (accidentally but doesnt take away from what he did) and has made jokes about sexual harassment against men not being viable *tbh he has a “pretty white boy complex”. Meaning he knows that he can say and do what he wants and most people will let it slide bc he’s a pretty white boy. No education needed. -Jason Nash: Is friend’s with a predator, is quite possibly setting an awful example to his kids, namely his daughter. *Listen. I’m a feminist, a woman should be able to decide what to do with her body after she turns 18. But being groomed and hit on by grown ass men when you’re barely legal, ain’t it. If you want to and feel ready, there’s nothing anyone can do to stop it BUT 9.9 times out of 10, that fucks a woman up in the future. One day, she is going to see her dad hitting on a 19/20 year old Tana and see that her dad’s 26 year old best friend dated a 17/18 year old and lied about specifics and might think that’s normal and how men should treat her. I won’t support that shit.

And as for all the other member’s of the vs, they either don’t care enough about what their friends or friends’ friends are doing, or they’re not bothering to even consider it’s happening and that isn’t cool either.

Be better.

As for Trisha, she’s had her own faults and fuckups, no doubt about it. I’m not a big fan of her content but i FELT for her. Her name has been dragged through the mud because of this more than anything else and it doesn’t sit right with me when her only real fuckup in THIS situation was bringing the ex and kids into it the way she did. Everything else either could have been avoided or she had a right to say to the public since they put everything about the relationship out in the open as much as she did. If Jason and David had reached out and admitted their own mistakes and asked her to stop talking about them online the way she was, she probably would’ve chilled out. What happened, what they and their fans (us) have done has been nothing short of traumatizing, no doubt. The way these 30 year old boys (Jeff, Todd, Scott and Jay) are reacting to her? They’re the real joke if we’re being honest.

Note: I’d also like to say that if you do still support them and have differing views than I do, I’ll respect you and your views no matter what. Everyones entitled to their opinion and thoughts. These are just mine.

#trisha paytas #vlog squad #jeff wittek #david dobrik #jason nash #durte dom #brandon calvillo #scott sire #most of these men are manipulative af #as much as i love zane matt and heath #they dont speak up either #neither do any of the women which is borderline heartbreaking #rant #I did my best to make everything clear but if theres any confusions or questions or if you just wanna have a discussion about it lmk #Discontinuing Speak Now.

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