#in sum: final fantasy tactics (:

[ssssk666]

Hello there! This post was in my mind for a couple of days, and I finally wrote it! After ton of research, of course.

BACKSTORIES OF JOSEF, MARTIN AND BILL! PART ONE! (And their psychological issues, but don't take them too seriously! My own opinion included. If I made a mistake about these or about lore of the films, sorry XD. All above is my theories and headcanons.)

Josef Heiter:

As we can see, our surgeon is misanthropic and antisocial human being, but what caused him to isolate himself? (Living in the forest, that there's even no communication; short speech; not tactical)

I have two takes about this.

1. Problems from childhood.

His temper can go from young age, maybe from mental issues, or from society issues. He wasn't interested in playing or interacting with other children, he had no friends."Quiet, weird kid". At school, he was obsessed over biology and sciences. Growing up, everything went even worse. Surgeon work is very gory, but separating conjoined twins is a hell on earth. His every movement, every part of this operation must be perfect, otherwise both of children would die. Either way, after becoming an expert of such cruel operation, he was never the same. His pension age came, and he went insane!

2. Problems after career.

But, what if he was "normal"? Child with no mental issues, having friends and being good overall. But after studying in medical university and starting working as a surgeon, his mind was gone. What I mean? He was disappointed and angry at humanity after all this gore he saw. And even becoming an expert didn't helped him.

Mental overview:

As I said, our doctor Heiter is showing very many antisocial traits. Nothing can make him happier, except for surgeon work; lack of empathy & emotion; few-words speech. Worldview is misanthropic, "their flesh is his fantasy".

So yeah, firstly, I want to start with Narcissism!

Wikipedia:

Narcissism is a self–centered personality style characterized as having an excessive preoccupation with oneself and one's own needs, often at the expense of others.

My points for that:

1. He is confident in his own uniqueness, like "no one ever thought about that, I'm so cool"

2. Believes in his crazy ideas, that they will work (why human centipede is a little bit inlogical - maybe I'll make another post about it... Lol:))

3. Wants recognition (which, however, he has already received - as an expert in separating Siamese twins)

4. And, of course, kisses himself in the mirror.

Second take:

Mysofobia - fear of contamination and germs!

My points for that:

1. Heiter is keeping his surgeon's inventory clean, all his house and clothing for the 'pede victims.

2. However, then Jenny gets infection, he just sums up that she will die soon.

3. Well, in this case, I don't have anything to say anymore... Sorry.

Also, he seems to have a God complex.... Yeah..

~~~~~~~~~~~~~~~~~~~~~~

So yeah! That's all. I also wanted to diagnose him with paranoid schizophrenia, but I thought I will make a mistake with shizo. And there's supposed to be drawings of Heiter being young and child (in both cases of backstory ), but I have problems with drawing now. Goodbye! Martin and Bill posts will be soon, I hope so.

[owlixx]

What I Played This Summer

So, I kind of forgot that I had been doing something worth jotting down, so this is going to cover the entire last month of what I’ve been doing in video games.

- I’ve been trying to even remember what I’ve been playing since I beat the whole Kirby series back in January.

[That was very fun. Has also been fun playing Forgotten Land with gf more recently]

- For sure I tried to do Wario Land next but got burnt out on Wario Land 3 being longer than expected.

[Even just a bit of WL4 has been great. Looking forward to wario world because I played it as a kid. And Shake It as well. Might do all the wariowares too when I get there]

- I got a PS3 and a GBA since then.

[Spent a lot of time just farting around and fiddling with these guys, booting up random games]

- Basically, I had just beaten Minish Cap when Tears of the Kingdom came out, and then I had kind of been between games ever since beating Tears of the Kingdom.

[I did really enjoy Minish Cap despite having to use a guide sometimes and cheating fully on the final boss. Also of course really enjoyed TOTK even if I have some nitpicks like the dungeon cutscenes, lackluster sky islands, the rupee economy, weird control scheme, etc]

- I played Bulletstorm, War For Cybertron, probably some Call of Duty, Final Fantasy Tactics Advance.

[always wanted to play Bulletstorm as a kid and I think the writing decently holds up aside from the odd R word here and there. WFC I loved as a kid but now seems hilariously grey and gritty. FFTA is honestly really cool but missing some QoL stuff I’m used to in modern SRPG so I had thought of starting FFTA2 and I did, but only to the second turn lol.]

- I beat Sonic Frontiers.

[Its…fine. As a massive sonic fan, I’m not keen to ever replay this one but I did really enjoy the tone of the story, the writing, and my first few hours in the open world. I really hated the cyberspace levels, the mandatory minigames, and the monotony of it all. The boss fight music is easily the best part]

- I played a bit of Redfall as a joke, for like a week.

[Its just worse borderlands, and I’m pretty critical of borderlands even as a committed fan of it.]

- I had a friend over for a week and we beat Lollipop Chainsaw.

[Brilliant game. Tried to transition to playing the similar\adjacent Bayonetta but the writing in LC is too good]

- Twice I purchased around ten (each time) Vampire Survivors-inspired games and played them each at least a little before fizzling out.

[I think my most played was Rogue Genesia until the content well ran out. I did also enjoy Halls of Torment and Brotato]

- I bought a physical copy of Watch Dogs Legion for five bucks.

[There’s nothing…wrong with it, per se, it’s just less than the sum of its parts and I had a hard time feeling motivated to keep playing. I didn’t enjoy the profession system being tied to random collectibles. I did enjoy the base gameplay and the Legion concept, but it just made me want to play…]

- Assassin’s Creed Odyssey. And that’s something I want to talk about more in depth in my next post.

[autopotion]

I love seeing you guys final fantasy tactics-posting omg :,) glad to see that people still love this game

Anon I will be super honest I had no idea that I had anon questions even on at all so when I went into my inbox this was a huge surprise LMAO. A pleasant one though. I'm not really a BNF or anything, I kinda keep a low profile, so this is extremely sweet.

But yeah!! I'm not sure if you're new here (re: to my blog) but I'll give you the backstory anyway. FFT was a foundational game to me growing up. It also is among the games introduced me to video games as a whole; I actually grew up watching my mom and sister play it, and then my brother and I played together when we were a little older. All of us cite it as among our favorites, if not our very favorite. FFT is also one of the few media properties from my childhood that I haven't grown out of. In many ways I feel like I grew into it, as the text is quite dense for a video game and a lot of the finer points and politics flew over my head as a child (not the least because I was playing the PSX version, which I adore, but that translation is not exactly known for its clarity).

I got my spouse @officecyborg to play it when we first started dating, and she liked it all right then, but it wasn't until I replayed War of the Lions about a year and a half ago that she really latched onto it, which was delightful to me as a long time FFT lover with no real place to channel my interest (most of my close circle of nerdy friends haven't played it, and my siblings like it for different reasons than I do). We got really into Delita/Ovelia, which was a delight for the teenager in me who had been obsessed with them (and I guess I still am lol), and I maintain that Zoe has The Best And Most Correct Delita opinions. (Ovelia is my favorite. (: )

Over the course of April/May last year we also wrote in a feverish haze what we lovingly refer to as "the manifesto," AKA a series of interconnected Delita/Ovelia vignettes that frames their tumultuous relationship in a way that we feel reflects what we like most about them. I've yet to read a fic that really captures what I love about their dynamic, though a small handful come very close, so it's been an exciting project. We put it away for a while to focus on other things, but have since returned to it to clean it up, and plan to slowly post it to AO3. One of our favorite scenes from "the manifesto" is already up, actually, since we liked it enough to post on its own, and wanted to present it to the world just in case we abandon the project for other endeavors. You can read it here, if you want. (My spouse and I usually focus on writing our own original fiction that we hope to post as a mixed-media web serial, so "the manifesto" is an unusual side project that we happen to hold very dear.)

Also, if you like my spouse's funny and insightful FFT posts, please go through her #tactics blogging tag for more wonderful gems.

And if you're looking for more people who talk about FFT, I would be super surprised if you hadn't poked around @corpsebrigadier's blog, who is I think hands-down the most steadfastly encouraging FFT fan when it comes to reading, distributing, and creating FFT fan content. Also their cakes look amazing. @adalheidis has also created some of my favorite FFT fanart ever, though Lou is more chiefly a Tactics Ogre fanartist if you're into Tactics Ogre too, and also just creates really stunning art regularly, especially original stuff.

But yeah. My blog name is an FFT reference (the Chemist reaction ability) and so is my video game aesthetics blog, @zeltenniacastle (though unfortunately FFT shows up on that blog quite rarely, as not a lot of folks gif it or make edits of it). It's a very important game to me and probably my favorite game of all time. I used to replay it every summer, and started switching between the PSX version and War of the Lions as a comparison. I don't talk about it all the time, but it's always lying in wait, waiting for me to re-hyperfixate on it, lol.

[worldbuildguild]

Syllabus: Feature Creep ( and how to avoid it )

Let me introduce you to a term from software- and -game development: Feature Creep

Feature creep is the excessive ongoing expansion or addition of new features in a product,[1] especially in computer software, video games and consumer and business electronics. These extra features go beyond the basic function of the product and can result in software bloat and over-complication, rather than simple design.

( Feature Creep: Wikipedia )

To sum it up in the context of worldbuilding and design: Feature Creep is what happens when a designer overloads their project with ideas, which ultimately ends up making the final design confusing. You'll often find that your design also loses its ability to communicate your ideas properly, as it drowns itself in its excess of inspirations and references. But what does this look like in, say: character design?

This is Luso from Final Fantasy Tactics A2. On the surface, the character is competently illustrated. Everything is very nicely rendered with a good sense of structure and a high amount of detail ( if you're into that ). The proportions are fine, the style is very clear. It is a nice drawing. But upon further inspection, we start to notice just how many features the design actually has: Armour pieces, complex patterns, numerous dominating shapes and so. many. props. The palette, while not immediately clashing is also incredibly confused, spanning from just about any primary colour in the colour wheel, all contrasting one another, making it hard for your eye to find a place to rest when looking over the design. If you were to take a look at the design and tell me what it was supposed to invoke thematically, what would you tell me? - Well it's a mage ( mage book ) that is also a knight ( sword ) but mostly its a warrior with some kind of special proficiency in keyblades(??), but also there are some touches of nature and luck ( clover, ladybug on the belt, green, patterned cloth ). You'd have a really hard time convincing me that the design is invocative of any one of its ideas. (If you were part of the art community back in the 2000s to 2010s you'll also definitely remember all the memes about the angel-wolf-demon-goddess-mermaid-dragon OCs and all the derivatives of that particular line of design. Some faultily called these the markers of a Mary Sue character. Though I'd argue that Feature Creep can show up in any well written character regardless. Even those who are made by professionals, who are well aware of what they're doing: like Luso, for an example ) Feature Creep is, however, a typical marker of a developing designer or young artist who want to explore multiple ideas at the same time. Morally, there's nothing wrong with that. You can make as many hybrid creatures as you want. It is all in good fun. But if you want to sell people on a design or a story, you're going to need to edit them down a bit.

Economy in ideas

Animated features and shows are probably among the mediums that approach their designs with the most limited amount of ideas. That doesn't mean their designs are boring though, oftentimes they're actually incredibly effective since the limited amount of ideas allowed in a design means that designers can pour much more care into integrating the ideas into the final design.

Let's take a look at one of the animation industry's latest greats: How to Train Your Dragon. When Dreamworks artists sat down to design the dragons for HTTYD, they decided to go against the current trends. The western hemisphere has long been plagued by samey designs, as the likes of Drogon ( Game of Thrones ) Draco (Dragonheart), Saphira (Eragon) and Smaug (The Hobbit), who has solidified the European take on the mythological creature into the cultural conscious. The designs in themselves are not bad at all, but when HTTYD suddenly took flight with its completely reworked ideas for what a dragon could look like - it was a breath of fresh air. For toothless the designers seemed to have applied nothing more than two main ideas to their design. A black dragon with anatomical cues from an axolotl but the mannerisms and certain facial features of a black cat. This design invoked a sense of familiarity. It was simple, iconic, slightly strange to those who hadn't been familiarized with the axolotl yet, and clearly communicated a sense of pet-like behaviour through its feline gestures.

Staying in the vein of feline creatures; Pokemon is perhaps even more restrictive in their idea economy ( at least for the most part ). Many of the first generation pokemons were 'merely' combinations of animals mixed with either elemental concepts, such as the many evolutions of Eevee ( Flameon, Jolteon, Vaporeon, etc ), or Pikachu, a Rabbit that bears electric symbols incorporated into its design.

For something slightly more complex we can look to Blizzard's Overwatch game. Where a number of desigsn are inspired by combining real life stereotypes of certain cultural-historical peoples or occupations ( cowboys, ninjas, DJs/musicians, arctic explorers ). One example of such is the centaur-hero Orisa. Which combines the anatomical features of a quadroped creature with a human half on top. But with an added idea of incorporating patterns and assets that have been debated to be of Baluba origins. A tribe originating from Central Africa.

As you can see, designers usually stick to around 2-3 main ideas and then pepper in little extra details that are at least adjacent to their main ideas. It keeps the reading of the character consistent, and you're not at risk of overloading your designs with needless elements. If you're looking to make a character that is actively trying to look confusing, of course you can throw as many ideas in there as possible, but for when you need your design to convey a cohesive read to your audience ( which is supposedly most of the time ) you will do well in picking only a few ideas and incorporating as thoroughly into your design as possible.

How to chose your ideas

There aren't any hard and fast rules as to why you should pick some ideas over the other. It mostly comes down to your preference as a designer and storyteller. I personally prefer following these three milestones, as they ensure that your ideas are relevant to your design and provide the potential for visually interesting designs. Pick those ideas that can provide the most thematic relevance The most obvious choice is that which relates to your design's main idea. An example for props: You need to make the prop looks modern to your audience. Therefore you chose ideas that incorporate smooth, sleek shapes into the prop's design ( reflecting the modern design trends of today ). Maybe you'll combine the soft, rippling shapes of waves on the sea with the shape of a chair or couch, to eliminate the need for edges that could make your seat seem "clunky" and 'out of style anno 2022'. Example for characters: Your character likes fish, therefore you incorporate a number of blue-ish greenish colours into the pallette. Maybe you even add a few 'fin-like' shapes to the silhouette or outfit. Pick the most interesting ideas Perhaps you're picking between two aquatic ideas. Let's say: Ships and Seamonsters. Which one do you feel provides the most potential for fascinating solutions to your design? If you're making a sailor-character, perhaps the Ships are more interesting to you. If you're making a mermaid, looking to seamonsters might be a pretty cool idea.

Pick those who contrast the most Humans -love- contrast! it brings interest nearly by default in anything from character design, to environmental concept art, storywriting and art styles. It makes us curious as to how things work and why they are the way they are. Which is ample ground for you to do some interesting worldbuilding or character writing. If you are to design a submarine, you could just make a submarine. But what if it was in the shape of a seagull? A bird that only enters the water for fish once in a while. Hell, what if your main character; a young scholar who is very much not comfortable being underwater, had slight bird-like features to really emphasize how out of their element they are. These are just three parameters which I use to sort my ideas. Sometimes I also do stuff for the hell of it, but for the most part I like to put a lot of thought into how my ideas contribute to the design. For the most part, I'll try to connect my ideas to the world and the story as much as possible to make the whole experience seem more cohesive. What you value in your ideas is up to you, perhaps your art style demands that you use certain ideas to stay consistent. Maybe you prefer designing with certain palettes or shapes. That's fine. No artist picks and chooses their ideas for the exact same reasons. Everyone has biases. But it is important that you are aware of your choices. Moreso important that you are aware that you don't squash too many ideas into a design. Remember, every idea is a good one, maybe it's just not always relevant in the context you got it in. So save the unused ideas in a note somewhere - it might become useful later!

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[diedbutterflies69]

Will you stay?- Bang Chan imagine.

Contains: friends to lovers au. , Divorce, smut, fluff, blindfolding, oral sex, explicit sexual stuff etc . Minors don't interact.

Never once on your life, you thought you could get your shit together and laugh genuinely at the worst in world. falling out of love is worse but it's even more worse if it's your it's not you who fell out of love. Married at 22 and the honeymoon phase hardly lasted for a year and by the age of 26 got yourself labelled as a woman who sabotaged her own marriage in thirst of money. Your ex husband was bitter about your success even before you got married. He thought as a woman, you just did bare minimum and got yourself a high positioned rank by sleeping with one of the rich rags. You tried hard enough to hold on to that rotten red string , but he had the scissors and just cut you off. You weren't willing to sacrifice your career just because of his Immature mindset, yes you loved him, but can't a women love her own hard achieved success more? That's the question you wished to ask everyone who pointed there fingers at you. After divorce you didn't feel pain just numbness. Your self-hatred coming more stronger than ever, even hating the job, you tried Saving since years, getting life on track seemed impossible and at the end just quitted. Moved out of the city just to move back to your home town, the root of your real pain. It wasn't really a town but rather a more flashy city, expensive shits which you were unable to afford in childhood but now it wasn't any big deal. Earth is round and sometimes precious people find you all by themselves. Your highschool friend, the only friend you had throughout your lifetime because of your anti social tactics.

Bang Chan, the social butterfly who almost knew every single student in whole school, he was the hottest guy you ever saw in your life and also the kindest. You had crush on him even before you both were friends, he was your senior,used to help you with those shitty math sums, crack jokes every now and then and scolded you whenever you procrastinated. He came to congratulate you even on your graduation day, even though there were many more students whom he met you were still glad atleast someone bought you a beautiful bouquet of tulips and bellflower. The last time you saw him was before you moved out in search of cheap collages without informing him, as you thought you were just one of many friends he had and won't ever notice someone like you existed.

But god, how much wrong you were.

You met Chan after almost 9 years in convince store and his reaction was almost priceless , like finding treasure. He was now more handsome, beautiful and god-like even after all this years his style of dressing didn't Changed much, he still looked like Kim Kardashian at 2021 met Gala. nevertheless his smile still had those healing properties with his Cresent moon eyes. He was absolutely stunning.

The first sentence he spoke after confirming your identity was 'I missed you' and then tons of lectures and questions . Knowing how narrow-minded you were he gasped dramatically. Cheesiest ways of saying how could I forget my best friend and so on. That day was probably the best day of your life and maybe even the day after years you really smiled. You both exchanged numbers and addresses and his home was just 10 minutes away from yours. Destiny indeed.

Now it's been over 7 months since you met Chan again and he never made you felt like you were just one of his 109 friends. Chan made you feel special, after knowing what kind of disaster you faced he was even more supporting of you, you both used to spend weekend together watching variety of shows and movies going to stargazing, best friend goals. After many years you knew even if Chan had many people to confide with he never really did. He was alone, just a night owl obsessed with work. You were happy. And he was happy too. Being just friends was enough for you, but not for him . He was slowly trying to find courage to confess his love to you. He liked you fuck from highschool days. He found you once randomly staring at him across the room and when you suddenly disappeared all his fantasies were scattered, he knew your dreams and was willing to help you with your every step. knowing how messed up your household was from your neighbours he felt guilty for not being able to give you happiness. He loved you, but was helded by his own insecurities.

Not anymore though, he wasn't the same coward who just stared at the love of his life from distance. Being the extra human he was, he bought you one of the most expensive restaurant of the whole country, man was loaded. After driving for almost 5 hours you both finally reached there .

Now a nervous Chan sitting infront of you. You being oblivious to the fact that he has a beautiful diamond ring and a confession to make. Chan handed you the menu card and every single dish had an extraordinary name, without much thought you placed the order.

"atleast tell me now, why are we here?" You asked the man infront of you who was behaving extra weird today, he looked sick and was occassionally asking you random questions.

"No reason, I was in mood for long drives and... You know have a nice meal" Chan said fidgeting with his fingers he was acting like a flustered high school guy it was clearly indicating that he was lying but you didn't really care, Chan was weird sometimes.

"Sounds fake, but okay. By the way you aren't sick right?" You asked Chan out of pure concern as he was sweating profusely even in an cold AC room.

"I am fine, just feeling a little hot. Don't worry", Chan said it was more like he was convincing himself that he was fine and shouldn't worry. He wasn't a teenager but a human with responsibilities who once again fell for someone out of his league, he used to think that and he still sees you as a literal goddess. While he was lost deep in his thoughts, the waiter came with food , and this was his opportunity to shoot his arrow. You both started eating and talked like being in paradise.

"did you liked anyone in highschool?", Chan asked you out of blue making you almost choke on food. The only person whom you liked throughout your highschool days was the guy sitting infront of you and you didn't really remembered much guys and the best answer was probably saying a lie with little truth.

"no one lol", you answered trying to sound chilled but since highschool crush topic was out you weren't able to keep your curiosity with yourself.

"What about you, liked someone?", You asked trying to sound nonchalant and not desperate and bitter.

This was the Exactly the conversation that Chan planned in his mind. And here started his way to either heaven or pit of rejection.

"I loved someone", Chan said and you this time you really choked from the depth of your heart, you thought Chan was anti romantic type of guy as he never talked about of his female friends with you or bragged about his non existent dating life. Trying again to not sound jealous or bitter you spoke again.

" Who was that lucky bit-- I mean girl yes girl? Who was she?", You asked, almost letting out the bitch loudly. You weren't sure but you saw Chan smiling cheekily, he was really getting old acting weird more and more everyday.

"Well... Someone from our school",Chan said and you swear you didn't made a disgusting face showing pure jealousy. The best human in your life and your first ever crush had crush on somebody, you didn't knew why you were feeling so fucking bitter but you weren't able to handle the curiosity anymore.

"Tell me her damn name", you asked Chan in a frustrating tone not being able to keep jealousy to yourself.

"Why you being angry", Chan asked followed by his small laugh.

"I am angry, just the food was a little spicy you answer me now, her name?", You answered Chan with your defenses up and still sticking with your previous question.

Chan in response got a little serious now,you thought he was being childish now, he wasn't a kid who was given a dare to name out his crush yet he was acting like one.

"You won't leave me right, I mean after I answer your question?", Chan asked you and you didn't knew what to say in response you were now a little sus about him.

"fine don't answer, keep secrets", you said and continued eating. The next thing Chan said made you now choke and die on food.

"I loved you and I still love you" Chan said looking down at the table head hanging down like his teenage self just confessed he watched porn infront of his parents. You were shocked, frozen and the your heartbeat 10x faster, you didn't knew how to react and tried to find humor in this extraordinary situation.

"Chan, you kidding right?", You asked Chan with a nervous smile on your face. Chan looked up at you , his eyes trying to find yours but you avoided the eye contact.

"I am serious, I liked you from HighSchool times, I saw you for the first time in library when you were looking at me, I swear you were so beautiful and even now after all this years after seeing you I can't, I can't help but fall for you all over again, sorry"

Chan confessed, his voice filled with sincerity and vulnerability his sentences were scattered here and there and incomplete explanation but still you understood everything he really poured his heart to you, you felt like crying even if you both weren't such stupid cowards back then, then today you won't have turned out a divorced women and Chan a guy who grew out lonely even if he had a world for him.

"What should I say Chan?", You asked Chan you were sounding like a girl whose bf told her to breakup even if the situation was exact opposite. Even if you love Chan , you didn't think about him reciprocating same feelings back to you. You were beyond insecure with your love emotions. One thing was sure you won't be able to love Chan without being a bundle on him. Your emotion Baggage was too big and you didn't want Chan to get his heart too with your stupid emotions.

"I love you and I will be really really good to you. Please try staying with me I will try really hard to earn space in your heart, please?" His confession was like literally begging. You weren't able to believe if he was real or not, if it was a dream that will end as soon as cruel morning comes, this felt like fantasy. Chan was a amazing man, he had everything money ,honour ,beauty a nice heart. He was like a character written by women so perfect so delicate yet strong, and he loves you this fact was enough for to lose your mind. but you thought you were a taint to his beauty, you were a character full of inferior complexes and a person too easy to dislike thats what illusion you made about yourself. A random extra in her own story.

"I will pay the bill, let's talk later", you said and walked away immediately to pay the bill leaving a clueless and disheartened human behind. Chan was able to see how you stopped yourself from saying love you too and throwing yourself in his arms. He wasn't same from HighSchool a guy who gets overwhelmed by his own emotions and gets unable to see others. He knew you had atleast a small space for him in your heart and to make a big room for himself he had to throw out all your insecurities and self hatred. He followed you like a lost puppy and he wanted to pay for food but you already did and now you were already out of restaurant searching for his car to get back.

Chan sitted beside you, without doing anything silence and awkward air surrounding you both.

"start the car", you said breaking down the silence, you were extremely worthless and trash as you made the only one person whom you love feel like nothing.

"Just answer me, will you try dating me please", Chan said his voice again passing draggers into your heart. Trying to form any logical explanation you spoke again.

"I am not looking for relationship right now, see Chan you are amazing, but I can't make you happy now and did you forgot that I am divorced, please understand" you said expressing your real insecurities and fear, fear of not being able to keep a man happy.

"you don't want relationship because you divorced that fucking trash of a man?", Chan asked he was getting frustrated you thought but he just wanted to make you happy and not deny what your heart wants.

"my mind isn't stable, I might just irritate you everytime with my mood, you will will get tired of me and leave me -- I don't want to be alone again I will die if you leave me", you confessed tears threatening to fall out of your eyes there wasn't any doubt that you loved Chan he filled the void in you in just months made you happy but you didn't wanted to just take and take and give nothing in return. Chan's hand found yours interlocking your fingers with so much delicateness that you might cry.

"you think so low of me, just stay by my side I will make you so happy that you will hardly get time to think about your past, trust me", Chan said his fingers slightly lifting your chin up to look into your eyes, you looked in his eyes filled with so much care and this was your last straw before breaking down in his arms.

"I love you, I love you so fuckin much, you were my first love my only friend, my everything, please-- please love me", you confessed tightening your arms around Chan, his scent making you feel safe and like home, his one caressing your hair and other wiping away the tears. Even though the scene was more like a dramatic clique scene whatever emotions you both felt was unexplainable.

"So you my girlfriend now hmm?"Chan asked you for first time in night his voice containing pure happiness and excitement.

"I have a sexy boyfriend", you said smiling from ear to ear against Chan's chest. The label boyfriend making your heart flutter, you didn't knew happiness like this can even exist.

"My love", Chan said his voice sweeter than honey, suddenly the night was more starry."now can we go home?" You asked Chan finally breaking the hug, reality hitted you now Home was 3- 4 hours away.

"I made a reservation in hotel, we gonna spend night there", Chan casually said making your heart jump out of your chest.

"pervert, you planned everything seriously", you said dramatically and giving him a playful digusting look.

"I booked two rooms", Chan said now starting the engine making you feel embarrassed. "Who is pervert now~" Chan said in air teasing you more.

The rest of the ride you both talked about anything and everything. Confessing how you used to find ways to always be in each others vision etc. Both of you finding a new thirsty side of each other. Nothing felt uncomfortable, it was happiness those inhumane laughs crazy tricks you both used to pull everything was heaven. After some time you both reached infront of a gaint hotel , it looked expensive af but regardless Chan knew how to waste money and you were tired of lecturing him about savings.

"let's go", Chan said removing your seatbelt and getting out of car to open the door for ya. He was being so cheesy gentleman and you were enjoying every minute.

"room 42 and 43" Chan said to the receptionist and she handed two keys to him. Thanking her then getting on elevator, you were a little disappointed that you weren't sharing room with Chan, yes you were pervert and total simp for Chan, he was too hot and your sexual drive was getting higher each passing second. The elevator doors opened and you got off. Chan handed you the room key and softly kissed your forehead, both you wished it was your lips.

"if you want anything, just knock okay?" Chan said in his lovely tone, I want you you internally screamed, nevertheless you gave him a nod and got inside that expensive room .

Starring at the ceiling while lying on the bed your mind was full of Chan, you knew he wasn't probably sleeping and was wasting time in watching random shit on internet and you were hungry, hungry for Chan, it wasn't your fault that Chan was so hot. Trying to fall asleep and fidgeting here to there you finally decided to knock on Chan's room door. A danger zone. You noticed how the door flunged open in less than few seconds.

"Hi" you said scratching back of your head and trying to think what next to say.

"Hi..?"Chan said being confused.

"there is cockroach in my room, let me stay with you" you said a clear white lie. Taking impulsive action were never good for you.Chan sighed before opening the door fully and signalling you to come. This was your happiest day ever.

"whY you lying", Chan asked you as you plopped yourself on sofa besides bed. He asked the sentence in a sarcastic way.

"Do you you wanna kiss me?", You asked Chan with a straight serious face catching him off-guard, you didn't wanted to waste more time, you wanted to do everything with Chan, yes fucking on first day of dating was a little too early but you fantasized about this gorgeous man since ages, in your eyes he looked total dom but his reaction to your question was making you doubt your thoughts.

"Are you sure", Chan asked you clearing his throat.

"Are you virgin?"you asked Chan, he was being too nervous.

"Obviously not"Chan answered you in duh tone, rolling his eyes. And it was getting awkward.

"The cockroach must have gone by now I should go, bye", you blabbered and got up ready to leave, you were about to open the door but Chan grabbed your hand and before you knew anything his hands were on your cheeks cupping them softly and his lips so close to yours, Chan's eyes were looking straight in your orbs , your heartbeat stronger than ever.

"Can I?", Chan asked your consent his thumb softly brushing against your lower lip. This man had totally made you insane, something stirred inside you. Chan was perfect he was everything you wished. You gave him a small nod and slowly his lips touched against yours, you wanted to cry, his lips felt so good, he didn't rushed his movements everything was happening in slow motion, he holded you with such a vulnerability like he was afraid that you will go, your hand reached his head, fingers moving through his soft locks. You felt his tongue inside your mouth , you felt a electricity run down your body when the kiss deepened.

We kiss again. The next kiss is the kind that breaks open the sky. It steals my breath and gives it back. It shows me that every other kiss I’ve had in my life has been wrong.

Breaking the kiss Reluctantly in need of air, Chan rested his forehead against yours. He was hot almost like burning, sweating.

"Why are you so nervous, Chan?", You asked Chan hugging him tightly clinging like the last leaf to the tree.

"I am scared, I just love you", He said engulfing you in his arms. And you Finally felt, what real love feels like.

"Love you too", you replied softly.

"Do you wanna continue..?"Chan asked you his tone little less scared.

"Off course", you said looking at him with smile, something inside you told it was okay to let out your freaky side infront of Chan. Chan smiled back and suddenly turned you around , the large bed infront of you.

"Lie down there",Chan whispered in your ears , his low register sending shivers down your spine. This was exactly how you pictured Chan to be, your inner submissive almost died. You followed Chan's word and laid on your back on the bed, now you were feeling like a virgin. His eyes roaming through the room in search of something.

"Are you okay with being blindfolded?", Chan asked you as he came back with the tie he wore today and was rolling it slightly in his palms, and you swear you never saw a man so hot in your entire life. Getting blindfolded was one of your unfulfilled kinks.

"ye- yes", you replied your tone filled with thrill and excitement. Chan came back to you standing near you, his hand softly cupped your cheeks , before bringing the tie to use it in sinistrous way tonight. The cloth felt strange to your eyes, his cologne smell hitting you and Chan caught your shy smile, His heart felt so fluffy. Tieing a comfortable knot Chan sat on bed near your waist. His hands slowly crept near your stomach leaving a direct lingering touch on the sensitive skin, eventually going upwards while giving a little squeeze to add stimulation, his hands reached your boobs, you didn't wore bra, and he wasn't surprised maybe your nipples perked up enough to get noticed, his middle and index finger Rolling your sensitive bundle of nerves, the blindfold making his every touch more intense, your breath was heavy you let out a suprised moan when Chan gropped your right boob in an erotic way, this sole action increasing your wetness down there you were getting impatient. You moaned his name a little loudly when his lips came in contact with your sensitive neck, sucking in a painful way, inorder to leave a hickey.

"Should I touch you here", Chan asked you as his hand reached to your area where you needed him to the most, hands going directly inside your panties ,but not touching he was a teaser.

"yes please", you moaned almost breathlessly too tired of intense foreplay. You just wanted Chan to rip off your clothes and fuck you till sunrise. Getting satisfaction with your answer Chan finally removed every clothing of your lower body, leaving you completely bare, all at his mercy. His finger moved up and down on your opening , the wetness making Chan easily slip his one finger deep inside you.

" my baby is so wet, because of who?", Chan asked you as his finger was moving slowly inside of you and thumb rubbing circles on the bundle of nerves.

"because of.. you", you admitted without any hesitation trying to grind yourself on his hand, begging for more.

"Good", Chan said and without saying anything he added another finger inside you moving a little faster inside your cunt, rubbing your walls with a little pressure, scissoring them inside you painfully and making way for a third finger too and by then you were a complete moaning mess, his fingers were pleasure yet torture the blindfold making your senses weak. Mind full of whatever Cham was giving you. Your legs were shaking sign of your orgasm approaching you, by one hand Chan holded your thighs tightly to their place fingers now moving more faster to make you reach the peak of pleasure.

"Chan.. I--I-I-- wanna cum please", you moaned your little squeaks and begs almost making Chan's cock cum right inside boxers. With some final thrust of his fingers, you cummed the hardest you could imagine, squeaky sounds coming as Chan was fingering you through your orgasm, you almost crying from overstimulation. Moaning his name like a chant.

"you did well",Chan praised you finally removing his fingers from you leaving you empty, but it won't have last wrong. Chan removed your blindfold , the bright lights hurting your eyes, you adjusted your vision and the image of Chan sucking his wet fingers coated with your liquid came directly in front of your eyes. Letting out a helpless whine.

Chan plopped himself on knees on either side of your thighs, finally letting his cock out, leaking with precum, and he was big, thick , you didn't thought he could get even hotter.

"Ready baby?", Chan asked you as he fully undressed himself as well as removing your top, your mind hazey . The scene which you pictured since highschool finally happening.

"yes", you replied Chan, he came down to kiss you passionately and slowly entering inside you. You moaned painfully, tears pulling your vision, it was a painful pleasure. Chan kissed away your tears and hand interlocking with yours after finally being fully inside you he started to move at slow pace.

"you feel so good Chan", almost screaming from pleasure, your whines were fuel to Chan's ego and he increased the pace. Body slapping sound filling the room, his groans were most sexy thing you ever heard. Again and again his tip hitting your deepest spots.

"I am close", you moaned out breathlessly, pleasure becaming too much to handle .you released around his cock, reaching the peak second time at night.

After giving a few more thrusts Chan cummed at your stomach, he was still sane enough to not curse you with kids while being lost in pleasure."I love you", he said as he settled beside you hugging you tightly. This was heaven.

"love you too", you said , your voice a little hoarse.

"by the way I forgot that I bought a ring to propose you", Chan said, realisation hitting him, that he forgot to say the long ass paragraph that he was supposed to say while sitting on one knee. You smiled at his guilty face.

"don't worry, propose me after having shower", you said heart filled with pure joy and happiness . Happiness of knowing that You love someone who will always love you back.

[carnage-scissors]

I had a few insane thoughts that came together to create this.

This sums up Final Fantasy Tactics pretty well I think

For context: The image in the very back is from the video by Brian David Gilbert called 'there is a rock in my house'

[dwellordream]

A Six of Crows Review: Kaz IV through Jesper II

Previously

Kaz IV is pretty gore heavy, which I’m not complaining about, though as far as interrogation tactics go, it feels like Bardugo just really had a hankering to write some eye trauma. I also feel like the pain of that would probably put someone in such a state of shock they’d be unable to speak at all, but whatever, this is a YA dark fantasy novel where teenage boys rip apart wolf jaws and tear out oculars, I guess we’re rolling with it.

You’d think the shock of nearly losing Inej would inspire maybe a modicum of self reflection in Kaz, and honestly his treating Jesper like his valet actually pissed me off on a visceral level, which, to be fair, is the most emotion I’ve ever felt while reading one of his POV chapters.

Thus far I would sum up my problems with Kaz’s character are this: my problem is not that Kaz is not likable or relatable. He doesn’t need to be either, he’s an amoral gangster. My problem is that he’s not terribly believable and he’s not terribly compelling.

I don’t think the wanton violence gives his character more dimension; if anything it reduces him further to a cardboard cut out of say, Tommy Shelby from Peaky Blinders. Bardugo apes a lot of gangster tropes with him but there’s no nuance or meat to it. He doesn’t fascinate me and I don’t care about his backstory or his future.

None of the characters in this book so far are hitting it out of the park, but I am much more invested in Nina, Matthias, and Inej than I am in Kaz, and that’s a problem, since the entire novel arguably revolves around him.

He is the antihero protagonist. He’s directing much of the action as the leader of the Crows. He should be reeling the reader in more. Instead it’s like a brick wall with more intestines slathered on it for edgy effect.

We do get some nice backstory and development for Nina in her second POV. I don’t have much context for the Little Palace or Zoya since I never finished Shadow and Bone, but Bardugo continues to do a decent job at developing Nina and making her feel both strong and vulnerable, as well as a sweet romantic at heart.

We also get some of her backstory with Matthias. I honestly find the trope of ‘we know he’s not quite as bad as the other war criminals because he doesn’t hold with rape!’ to be pretty absurd and despicable, but Matthias and Nina’s dynamic is arguably the only compelling relationship in this story so far, even if he’s a shit person* and she’s a sweetheart.

*Matthias is very particular about not being called a slaver. This, of course, is an important correction, as he and his fellow soldiers weren’t capturing grisha to enslave them, but to put them on sham trials and then exterminate them as part of the Fjerdan nation’s vile agenda. 

Between this and the constant references to his blonde hair, blue eyes, and ‘impressive’ build… it’s hard not to think Bardugo was making some deliberate Nazi allusions. I don’t exactly applaud her for it.

I don’t have anything to say about Inej V other than that Inej’s account of her enslavement is heartbreaking and her and Nina singing together as she recovers from her wound is the only scene so far in this book to make me emotional. I wish more time was spent developing Inej’s friendship with Nina as opposed to her feelings for Kaz.

Finally, Jesper II evaporates the little goodwill I had accumulated from the Nina and Inej chapters tonight, because Jesper is literally a walking camera once more. 

No development. No reflection or interiority. None. I would not have known he was even narrating this chapter if not for the header. It’s almost all dialogue. This is ridiculous. 

#JusticeforJesper

[yurimother]

LGBTQ Light Novel Review - Otherside Picnic Vol. 1

I have been sitting on J-Novel Club’s Otherside Picnic for far too long. This work is the only one from their recent slew of science fiction and fantasy Yuri light novels that I had not yet reviewed. Sadly, I was, as always, so caught up in all the other amazing Yuri coming out that it fell by the wayside for longer than I would like to admit, things were so much easier back when we only got one or two Yuri localization a year (have I made that joke before?)! However, the English release of the second volume is about a month away, so the time felt right to open the door and enter the Otherside. I was very excited about this work, as I enjoyed Side-By-Side Dreamers, another light novel by the same author, Iori Miyazawa, and praised its world-building and creativity. Unfortunately, Side-By-Side Dreamers was far too short and poorly paced. I hoped that Otherside Picnic, which has the advantage of spanning multiple volumes, would correct this issue. I am thrilled to report that the Yuri goddess has answered my prayers.

Otherside Picnic begins as its main character, Sorawo Kamikoshi, is about to drown. After venturing into a mysterious world, the Otherside, she saw a horrific creature, a Kunekune, which infected her mind and paralyzed her. However, she is saved by the appearance of Toriko Nishina, a beautiful and experienced adventurer. Together, the two young women defeat the Kunekune and thus become partners exploring the Otherside to find rare treasures. They sell these items to a woman researching the Otherside, Kozakura, for large sums of money.

The premise is excellent for short monster of the week style stories, or “files.” While each of these files is an exciting adventure on its own, Miyazawa masterfully builds on previous chapters, gradually raising the stakes and the abilities of Sorawo and Toriko. For example, while the two struggle to kill a single Kunekune in the first file, by the end of the volume, Sorawo can use her knowledge and skill to guide Kozakura to help her quickly dispatch four of the monsters. The scenarios faced beginning to escalate as well. They will go from fighting a single monster up to being separated and trapped in an illusion or else stranded with a group of soldiers defending their camp from attack. The pacing and organization of the story is terrific and easy to navigate.

The most engaging part of the light novel is the titular Otherside, a mysterious world full of danger, from horrific monsters to the deadly “glitches,” anomalies that destroy or alter those who step into them. The encounters the girls experience within are chilling and disturbing without having to resort to gross-out tactics. The monsters and many events are taken out of various online stories and creepypastas from the real world. Miyazawa takes these and mixes in some scientific and philosophical theories about fear and human recognition to craft one of the more intricate and fascinating world. However, the real strength of the setting is how the characters interact with it.

Sorawo is rather callous and cold, reacting harshly to others around her. Before meeting Toriko, she had no friends. However, her vast knowledge of ghost stories and the paranormal, as well as her intelligence and ingenuity, help guide her through the Otherside. She has a strange affinity with the other world, being drawn to it as much as she is fearful of it. Yet, its pull on her is nothing compared with that of Toriko’s. Sorawo immediately starts noticing her beauty, regularly commenting on it. As she and Toriko work together more, their partnership increases to a level of codependency. Sorawo does not lust after her sexually, but her reliance on Toriko and the need to be by her side becomes the driving force for her actions.

Toriko is almost the opposite of Sorawo personality-wise. She is kind and cares deeply for her friends, although she has very few companions. Her ultimate motivation in searching the Otherside is to find her old partner, with whom it is implied she was romantically involved, a fact that makes Sorawo jealous. She is more physically capable and confident than Sorawo and is proficient with firearms. While Toriko is not as attached to Sorawo as Sorawo is to her, she relies on the other girl to keep them alive in the Otherside and willingly puts herself in harm’s way to protect her.

Despite being almost total opposites, save for a shared avoidance of other people, Sorawo and Toriko are the perfect pair. Their abilities and knowledge complement the other’s weaknesses and mesh well together. Each one is willing to make sacrifices for the other, and they become something much more profound than friends, although, at this point, their relationship cannot be described as romantic. Despite the supernatural nature of their exploits, there are understandable and human conflicts between the two women. For example, Sorawo is jealous of Toriko’s old partner and she worries that she will disappoint Toriko. On her part, Torik has a tendency to put her wishes and quest to find her friend ahead of Sorawo’s needs. While not all of these issues are resolved in the volume, it completes a great arc for both characters and leaves stronger than they were in the beginning, as individuals and companions.

On a final side note, I want to praise shirakaba’s illustrations, though I do not usually rate or comment on the artwork in light novels. While there are only a few pieces, each of them is detailed with fantastic linework and heavy contrast to create stunning images. My personal favorite is an excellent “girl sits at expensive work station” image of Kozakura. I only wish there was an opportunity for shirakaba to provide more drawings, especially of the monsters. Shirakaba has some beautiful and creepy science-fiction creature artwork online, and it’s a shame that none was present in the volume.

Otherside Picnic Volume 1 is a brilliant work of science fiction. Miyazawa describes a horrifying yet enchanting world full of challenges for the protagonists to overcome. Each time they do so, the Sorawo and Toriko become stronger and more capable. The solid story structure and pacing helps keep the adventure moving at a reasonable pace and solidifies the physical and emotional growth the characters undergo. It nicely wraps up central conflicts and begins to peel back the curtain on the world and personas while still leaving lots of room for further exploration in future entries. I am eager to read more from this series and highly encourage you to check this one out.

Ratings: Story – 10 Characters – 7 Art – N/A LGBTQ – 2 Lewd – 0 Final – 8

Review copy provided by J-Novel Club

[seasaltmemories]

End of the Year Review Collection

So my readings/media consumption for the past few months have been scattershot with not a lot individually to comment on so I thought I would group them together and tackle them one by one.  So without further ado let’s start:

Schoolgirl by Osamu Dazai

After this title got dropped in comparison to my writing, naturally I was curious to check it out.  And while I am usually not a fan of stream of consciousness styles, I found this surprisingly delightful.  The plot is exactly what it says on the tin, a schoolgirl from 1930s Japan going about her day.  But what makes it really work is how it so thoroughly captures this adolescence precociousness.  Details show her father recently passed away and she often makes these dramatic statements about “goodness” and how evil she feels for going through normal growing pains.  But then just as quickly she gets distracted by petty daily concerns.  It’s the right balance of insight without ever tipping over into being too knowledgeable.  I don’t know how much I would enjoy this type of style in a longer work, but as a novella it worked just right.

Under the Pendulum Sun by Jeanette Ng

This has been on my radar ever since March, but once I got my hands on it, I had trouble really getting into it.  The premise is to die for:   England discover Faireland and starts sending missionaries to convert the fae.  Naturally torment for the arrogant humans ensue. Yet for all my love of mixing fantasy and theology together, I found myself 1/4 in and still waiting to get carried away.  There was much less very confused and complicated discussions about religion and a lot more wandering around with vague cryptic foreboding, and I just had trouble being interested protagonist beyond a plot-twist I got spoiled on earlier.  I never got to the revelation in text and I could tell it was meant to be a slow-burn of sorts.  But I had a lot on my plate work-wise and so it just kinda fell to the wayside.  One day I might check it out again, but I am not in a rush.

Night Sky with Exit Wounds by Ocean Vuong

I would say I’m someone who appreciates poetry but just doesn’t have the mind for it.  Still although I only read a few excerpts from this, I was immediately floored.  Something about Vuong’s work just immediately clicked with me.  The language he uses is very precise.  For example, he’ll reference Greek or Christian mythology just long enough to take the exact image and emotion he needs before moving on.  If you get the allusion it can be a one-two sucker punch, but the actual story and contents of the poem still feel uniquely his.  And over time all these poems build an entirely new mythology of his life to mix together and reference.  Add on themes of family, violence, and gay sexuality, and suddenly I felt finally able to understand poetry.

Brigandine: Legend of Runersia

So apparently this is a revival of an old strategy series from the PS1 days.  I went in pretty blind since I was only borrowing a copy, but if I had to sum it up, it is like if you made Risk a tactical RPG.  Aside from a handful of small, indie titles, my only real experience with the genre was Fire Emblem, so I thought I would try it out.

Anyway it reminded me of a lot of older games.  There is a story in theory, but it mostly found through the guide that comes with the game.  There are a lot of mechanics to keep track of as you cycle between nation expanding and individual battles.  I restarted a few times and consulted some guides as I tried to get a grip on just what was the right strategy to take.  But I had a lot of fun with that problem-solving element and having to figure stuff out on my own.  Once you get going you pretty much fall into a predictable “pick a direction to expand in and do it,” but it provides a decent level of stimulation at a steady pace.  I wouldn’t call it amazing but it scratched an itch I didn’t know I had for the genre while being different enough from what I was familiar with.  I could see this as being a good bargain bin purchase.

[fantasyresident]

We are the sum of our deeds, not our names.

Ramza Beoulve, Final Fantasy Tactics: War of the Lions

Philosophical Quote Of The Day

[schraubd]

Rise of Skywalker: Quick Thoughts

In keeping with the traditional Jewish Christmas festivities, I saw a movie last night. I actually managed to avoid most of the substantive discussions of Rise of Skywalker in advance, and what I did read sounded so muddled and crossed that I managed to come in with no substantive expectations. Now that I've seen it, I can say one thing with confidence: Rise of Skywalker is, without a doubt, the worst Star Wars film to have Wedge Antilles in it. Of course, that still makes it presumptively better than all the films without Wedge Antilles in them. Does it manage to hold that high ground? Here are my quick thoughts (*SPOILERS*):

I think the movie starts off shaky and improves as it goes.

The new droid gives off a real Portal vibe to me. Also reminiscent of Portal: the GLaDOS rig-up that Emperor Palpatine is attached to.

The almost complete omission of Rose felt like the producers were giving in to the most toxic elements of the Star Wars fan base, and I disapprove.

I was among those who very much liked the idea that Rey really was "no one" descended from nobody of consequence, and so I sharply disagree the decision to make her the Emperor's granddaughter.

More so than the original trilogy or the prequels, the new trilogy (is that what we're calling it?) feels much more like a fantasy story than a science-fiction story. Ancient artifacts giving rise to eldritch power and all that.

Even for a Star Wars film, Rise of Skywalker in particular badly fails what I call the "James Bond" test (the James Bond test is how early and/or how often the movie would end if the antagonists were remotely competent at aiming). 

That said, did you ever notice how many Imperial First Order Last Order(?) troops died because they bother to ask questions before shooting? They're always yelling "freeze" or "show me your identification". Resistance fighters just blast people without giving anyone a chance to surrender.

The "hyperspace skipping" move in the beginning really strained my suspension of disbelief (even granting that I'm watching a super-futuristic Star Wars film). Much like the "hyperspace Kamikaze" move Admiral Holdo did in The Last Jedi, it feels too useful (even if dangerous) not to have been seen before. Also -- TIE Fighters aren't hyperspace capable, so how are they following the Falcon? And even if they are fitted with hyperdrives, how could they track it? Finally, the whole reason Poe does this desperate tactic in the first place is because they're being followed by a huge swarm of TIEs. But after a few "skips" they've only got two behind them -- they should be able to handle those with regular turret fire.

Speaking of suspension of disbelief, who exactly is crewing all those Last Order Star Destroyers? This is actually one of my least favorite genre conventions -- the big organization, seemingly all-but-fallen, having a giant secret army/base/fleet in a location completely unknown to everyone (Agents of S.H.I.E.L.D. is positively awful about this). Where does it get logistical support? What were all those crewmen doing back when nobody knew where Exogol was?

Another genre convention I hate: the big bad villain with hundred/thousands/millions/billions of deaths on his hands gets a redemption arc, while meanwhile, hundreds of random and relatively innocent mooks (indeed, the movie goes to some lengths to note they're mostly conscripts kidnapped as children) are slaughtered without remorse or a second thought.

On the other hand, great job with gender and racial equality here: I heard plenty of female voices in the random stormtrooper death screams!

After watching the conclusion of the narrative arc, I have to say: I really wish they had told the story of the Thrawn trilogy from the old Timothy Zahn novels instead.

This is all adding up to a pretty negative assessment, so I will say that I felt like the movie ends up being greater than the sum of its parts. But I still think it's probably my least favorite of the New Trilogy. And that's with Wedge Antilles in it!

via The Debate Link https://ift.tt/2Qjy3DG

[the-blue-sandglass]

A SophBot’s Thoughts: Kingdom Hearts III

SPOILERS UP AHEAD! DON’T READ IF YOU HAVEN’T FINISHED THE GAME-

Here’s me summing up best I can my thoughts on a ten-hour game I’ve been pumped about for several years!

Two characters in particular will get their own post(s), as I have...things to say.

I love this game to death. The gameplay is smooth, there’s so much potential in battle, the graphics and soundtrack are beautiful, and beating the snot out of creepy hooded people has never been so much fun, at least in my eyes.

However, while I did enjoy the story overall, several things bring it down and can put quite a damper on the experience of the Dark Seekers’ finale. But first, I’ll start off with what I enjoyed story-wise.

Sora

Ah, Sora. Our good boi. One of the best bois.

Sora is arguably the character who’s written the best in the game - perhaps it’s a matter of screen time and being playable, but he ended up doing the most out of everyone (a problem on its own, but we’ll get to that when we get to it) - all while veering on the edge of despair.

Maybe I’m rather biased, as he’s always been one of my favourite characters in these games, but seeing him get up and fight again after that crap he went through at the end of DDD, and not only get back the strength he had initially lost but prove victorious was more than a prideful moment for me. His interactions with Donald and Goofy (for the most part, we’ll get to that bit when we get to it) were great and felt pretty natural and friendly, you feel the connection there. The idea that this lad’s also just barely holding on puts things into an interesting perspective...and makes that goddamn moment (you know the one) all the more heartbreaking.

You did wonderful, my good boi. You’ll be back. But that’s a matter that proves...problematic.

Worlds

Admittedly, the lack of Final Fantasy was disappointing. But the way most of the worlds were handled in the overall plot has a clear improvement that makes the story of each one a lot more investing. Holy hot damn, the villains have an actual reason to be there-

THE DAY IS G O L D-

Also...seeing these dramatic, edgy villains get torn to shreds by Disney characters is bloody glorious.

Never would one expect ‘Woody roasts Xehanort’ to be such a goddamn awesome search-

Skididdle, skadoodle, Xehanort. You are loved less than a noodle-

The Whole Rest

Since I don’t want this to be overtly long, here’s a list of other scenes I thought were-

-The reunion between the Wayfinder Trio (top notch, lads, tears all around)

-Most of the Roxas story (a bit more attention would have been nice, but still pretty good as far as I could tell)

-YEETUS VANITAS

-Luxord Overboard

-San Fransokyo in general (yes, I cried at BH6)

-Corona in general (those interactions! The dance in the middle of the square, YESSS-)

-CHOO CHOO, MOTHERF-

-Most of the Org XIII’s death scenes were handled well

-WHERE’S THE LAMB SAUCE, SORA- 

-I’M ON A BOAT-

-THAT BIT IN THE KEYBLADE GRAVEYARD WITH EPHEMER AND THE KEYS OF THE FALLEN

-Eraqus and the Wayfinder Trio (brief as it was)

-Those bits with Kid!Xehanort (where did you go wrong, kid-) and Kid!Eraqus

-Most bits of the credits (the final cutscene will be discussed separately) were goddamn adorable

-That cliffhanger could lead us to...interesting places.

-And that shot when Sora’s saying how Xehanort’s caught up in the shadows, as it won’t save for some reason and I feel it’s underappreciated-

And then it alllll went WRONG.

Okay, maybe I'm pushing it a bit. But the story’s hardly perfect. Where to start...oh yeah, the beginning and problems that peek their heads out.

No bulli Sora!

I’ve mentioned before my...distaste for Yen Sid’s actions in passing, but let’s get into the start of things, and this doesn’t apply just to him in particular. But it starts with him - and arguably ends with him too, but it’s one of the things I'm gonna talk about in the next post.

I won’t discuss it too much but - wow, there’s a startling lack of tact for this traumatic event Sora went through, how long ago? I doubt it’s been long enough for the boy to be completely over it, as he’s clearly still hurt and affected by the lack of strength he has; even Pete pointing it out clearly stings!

Yet, literally everyone treats it as a joke. Which, I wouldn’t be so bothered by if Sora’s chill with it (like maybe a ‘Hey!’ and then a laugh)...but he’s not.

He’s almost always folding his arms or frowning and not saying anything while everyone just laughs at what’s basically him being stuck with a crappy position. For most of the game, Donald and Goofy are pretty good - but when this pops up, it puts a damper on it, at least for me.

Which leads me into...

DDD’s climax? What’s that?

Did everyone besides Sora, Donald, Goofy, Yen Sid and Young Xehanort forget about DDD’s ending? The fact that Sora nearly got turned into a bloody vessel?

Well, apparently! 

As far as I remember, the only time the event’s really discussed as it is (not just ‘Sora lost his strength’) is near the start when Yen Sid’s reminding him of it even though Sora is literally the last person who should have to be reminded about it, LITERALLY OLD MAN HE WAS THE VICTIM OF IT-

Anyway, there’s that bit, and that one scene I joked about in Toy Box-

Well, no shit he remembers you. You only stalked him and tried to possess him. And then after that, it’s never really mentioned again? There’s not even a line like, ‘You’re no longer of use to us’ of any kind which makes the climax of DDD feel...well, empty. Hell, it kinda makes those parts where something bad happens to Sora (like when the asshat above yeets him into Verum Rex just to troll or when Marluxia uses ‘Sleep’ and never uses it again) feel like they’re cheap tactics to make the player go ‘Oh no!’. But yeah, story-wise, how does that impact the rest of III aside from Sora losing his strength?

Wow, as if it was just an excuse to have Sora be at LVL 1 at the start of the game!

OH WAIT.

THERE’S SO MANY GOOD CHARACTERS, USE THEM-

One that’s not as big to me anyway, but still worth noting. A lot of characters in KH3 don’t really get the screentime they should. They just sorta show up, and do what they have to. It works fine...! It just...feels kinda underwhelming not to see more of them.

Looking at the way Terra was handled, as I leave you with a question; after he gets brought back into his own body...what is he allowed to do?

Granted, I won’t complain that characters from Twilight Town and the Disney worlds get more to them - it makes you believe that Sora and his squad are friends with them now, but it would still have been nice to have seen more of characters like Aqua, Ven, TERRA, Roxas and Xion...though those last two might be helped in the new DLC.

I hope.

But, I doubt the DLC could help the next two cases out much...oh yes, I refer to Kairi and Yen Sid. And surprise - Xehanort will be getting his own in regards to his actions and how...our heroes respond.

Down the rabbit hole we go!

(sorry if this was structured a bit weirdly, my first time doing a post of this type-)

[eggoreviews]

My Top 25 Games Advent Day 12 - The Witcher III: Wild Hunt (#14)

​​"Hatred and prejudice will never be eradicated. And the witch hunts will never be about witches. To have a scapegoat — that's the key."​​

The Witcher III and I have had a very rocky relationship over the past couple of years. There was a lot of fighting and a lot of problems I ended up having with a game everyone else hailed as masterpiece. It was only recently, with some patience and a lot of convincing myself to give it another try, that I finally saw its value. And oh boy, do I value it now. So before I keep comparing my attachment to this game as a relationship like a weirdo, let’s delve into what made me change my mind about a game I was so vehemently neutral on for so very long.​​

​​When I started The Witcher, I just could not get into it. Several hours in and I was struggling with the various combat and crafting mechanics and finding I was too underlevelled to do much at all, and focusing on all this background noise meant I barely made it into Velen before I realised I was forcing myself to continue. So I stopped, for near enough two years. And then, out of nowhere, I came back and I was gone. I was sucked immediately back into Geralt’s adventures; of his thrilling quest to locate Ciri and destroy the Wild Hunt, the richly interesting side quests and characters that come with them, the challenging, often intriguing monster contracts that always came with a twist. I was absolutely taken with the world and everything that filled it and it turned out that all I needed was time away. So when I finally jumped back into completing each and every plot thread, whether as huge as dethroning the mad tyrant of the Wild Hunt or as tiny as winding a peasant’s lost frying pan, it kept me engaged and left me wanting more until the very end. I know I just recently called the first Dragon Age the Lord of the Rings of gaming, but I think that title may in fact have to go here instead, from pure story and character quality alone, not to mention the excellently crafted and detailed fantasy world they inhabit.​​

​​Speaking of characters, I would say they were the aspect of the game I most appreciated. Matching the game’s perfect tone of knowing when to balance serious dialogue and epic battles/setpieces with humourous characters and sometimes utterly wild and hilarious side quests, the characters Geralt encounters on his journey are as rich and interesting as they are real and faithful to the world they live in. Of course, the main cast of Geralt, Yennefer, Triss and Ciri are consistently brilliant characters throughout the game, growing and changing through the experience and through the choices you make as the player. Geralt’s fraught relationships in particular as he works through a rough patch with his beloved, Yennefer, and chooses whether it would be better to reconcile his relationship with Triss instead is a well-written, realised love triangle that did the unthinkable; it made me care about a romance plot. And a straight romance plot too! How??​​

​​Alongside them come the side characters; while even the lowly peasant quest givers deserve a mention here, every named side character is pretty much unforgettable. Dandelion, the hapless bard who can’t keep it in his pants, Djikstra, the hilariously slimy criminal who keeps a strenuous friendship with Geralt, Zoltan, the friendly dwarf who’s ever your helpful companion and Ves, my rebel wife who I wish got more screentime (seriously I love Ves so much). Vesemir as the father figure to everyone, the sarcastic, bitter but still in some way caring Lambert and the suitably powerful Eredin and Imlerith as central villains. All incredible, all consistent with the world and it makes it all the better.​​ ​​Onto the world itself, this is another example of a not-quite-open world that fills every single square inch of its land and sea with something to explore or conquer. Whether or not you explore the war-torn marshes of Velen, the bustling city of Novigrad or the fraught isles of Skellige, there’s no end of content to satiate you aside from the main questline. New side missions to pick up, treasures to discover, monster nests to destroy, places of power to increase Geralt’s strength in your chosen area, whether that be vanilla combat, your magical signs or your expansive alchemy capabilities. The world and what inhabits it truly compliments the richly developed gameplay mechanics that make Geralt so engaging and diverse to be, as there’s so many different ways to approach the challenges the game throws your way. And nothing quite matches the thrill of knowing you’re Geralt of Rivia, masterful witcher and slayer of giant monsters. It’s the purest form of escapism in every sense of the word and I adore absolutely every aspect of this game that makes this such a flawlessly unique fantasy experience.​​

​​On top of all this, The Witcher III contains the best minigame I’ve ever encountered in anything: Gwent. The act and quests for hunting down a full deck of Gwent cards, the tactics and amount of unbridled fun you can have just playing this card game on its own is dizzying in itself. Counting alongside this Gwent related questlines where you can do anything from playing innkeeps across the world to entering into high stakes Gwent tournaments, all to further your skill and continue to collect unique cards, is brilliant fun and endlessly satisfying. If I’m honest, it’s a damn shame I can’t get ahold of a real Northern Realms Gwent deck because I would be all over that and I would absolutely play anyone at it.​​

​​To sum up The Witcher III as a whole, I would call it the definitive fantasy role-playing experience with one of the most well-realised protagonists in all of gaming. I haven’t quite got round to playing through the expansions yet, but you bet I’m gonna and I massively recommend this to anyone who enjoys fantasy. You’ve got a real classic waiting for you in The Witcher.​​

​​Standout Moment Award: The battle of Kaer Morhen is, for lack of a better word, just epic. With the fortress as a setpiece, the foreboding Wild Hunt relentlessly marching forward towards you and having near enough every character you’ve met so far gather to help you in your fight was incredible and a great catalyst for the game’s upcoming climax. It’s totally reminiscent of LOTR’s battle of Minas Tirith for all the right reasons.​​ ​​Standout Character Award: Geralt of Rivia. I know, massively obvious choice, but as I said, Geralt is one of the most well-realised protagonists I’ve ever played as. He was so brilliant a character, I’m genuinely scared of how they’ll change him for the upcoming Witcher series. Big, big shoutout to Ciri, Dandelion, Triss, Ves and Lambert too though, who all also could’ve taken this. ​​ ​​Tomorrow: No. 13; a prank gone horrendously wrong, local cannibals dismayed. ​​

[aterabyte]

Rating Fallen Order Bosses from Easiest to Hardest for Me, Personally (Except the Albino Spider thingy because I never fought that)

Beware of spoilers and longwindedness below the cut. 

12. AT-ST; this was by far the easiest boss. It took me a while to whittle down, but I don’t believe I even needed to use a stim. It was just parry until it’s stunned, run in and slash, roll away from the grenades, force push the missile, and repeat. No trouble at all. Granted, it was to introduce a recurring enemy (albeit a rare one), but I think it would’ve been served better as a more dangerous modified AT-ST of some sort (perhaps with a stomp attack?), with regular ones appearing later as degraded bosses with fewer features.

11. Security Droid; another boss fight to introduce a new enemy, and only slightly more dangerous than the last. It had tight confines that made the droid hypothetically dangerous, given its long ranged melee attacks and high damage, but the droid was ultimately far less threat than many droids that appeared later on due to being fought alone. I’m not sure it even brought me to half health on my first stim pack. 

10. Arena Bounty Hunter; Ding, mine was called. She caught me by surprise during the ambush and stunned me without me landing a single blow, and when I finally got to the arena and got my lightsaber back, I had an infuriatingly tough fight--I think I must have died three or four times. The last death was right after I reached her with about half my health left and no stims--but then when I got to come back in at full health with no beasts to fight, she was pathetically easy. She mostly attacks with blaster fire, which can be easily parried. Every once in a while, she’ll fire a missile or strafe you with a flamethrower, but these are easily avoided. The only time she even damaged me in our second fight was when I got greedy and didn’t roll away in time after landing a lightsaber combo, and she hit me with her flamethrower. 

9. Nydak Alpha; this one took some time for me to figure out as I’d spent most of Dathomir avoiding the Lesser Nydaks. Because of this, I died once when I had almost killed it. When I came back, however, it was just a matter of patience and diligence, dodging its unblockable lunge and then parrying its three-hit combo to get a few good hits in. Rinse, repeat. 

8. Second Sister; by far the easiest melee-focused humanoid enemy in the game. She has an impressively varied set of combos and some good range, but her attacks are easily parried, and her unblockables are not only easily dodged, but leave her very vulnerable. Not only that, but the fight ends at half health, so she doesn’t last very long. Unlike the previous two entries, she didn’t even kill me--but at the same time, the last two were mostly circumstantial losses, and she got a number of good licks in due to her sheer variety. 

7. Gorgara; This oversized bat seemed at first like it would be a terrifying foe. Its very early first phase is easy, with just a couple of heavily telegraphed unblockable that let you land several hits, followed by an opportunity to Force Pull it to the ground and hit is head for massive damage. After you do that, though, it takes to the air and starts hitting you when sonic strafing runs, then charge attacks, then ground pounds that make a shockwave like the last two bosses. For all its variety, though, this boss fight is clearly a power fantasy more than anything. Its attacks are easily avoided and it takes little damage to bring down for its size. 

6. Taron Malicos; Essentially a better version of Second Sister in every way, and the first boss I’d say gave me serious trouble as a lone enemy against a full-health Cal. He starts off with some easily-parried lightsaber combos, but those combos quickly cease to be easily-parried once he starts mixing in his unblockables. Malicos is an extremely technical fighter who will often take a parry, then bounce back with an unblockable--or throw his lightsaber at you several times in a row, then toss one into the air out of your sight to pull in back down at you while you’re dueling him, or just pick rocks out of the air and throw them. Lucky you, Merrin will come in and start helping you halfway through the fight, hitting him with magic at various points that drops his stamina. He didn’t quite kill me, but he got me within a single hit of death, which was impressive since I had six stim packs at this point and a badass magic lady teleporting in and out of the fray. 

Honorable Mention. Electrobaton Purge Troopers; these guys are actually just regular enemies, but you could be forgiven for thinking otherwise. The first time I encountered one, he killed me with almost no damage taken because of his absurdly fast combos that stunlock you into taking several more hits if you don’t block or parry the first blow--and then killed me two or three more times for good measure. These guys also have an unblockable at the end of their main combo, which catches you by surprise at first. And if you don’t parry before attacking and instead just block then dodge, they also tend to, instead of blocking and letting you take down a chunk of their stamina meter, dodge your attack and throw a weird jumping attack out of nowhere. Plus, they tend to come in areas where you can’t Force Push them off the ledge, at least after you unlock the upgrade that makes your pushes strong enough to affect them. Even at the end of the game, one of them came in with a couple scout troopers and took two of my stim packs, which was absurd since I was tearing through every other regular enemy in the Fortress Inquisitorius with ease. Fuck these guys.

5. Oggdo Boggdo; Oggdo Boggdo was an interesting one. The earliest miniboss in the game, encounterable in the first hour to hour and a half. If I’d come back and killed it later, I likely wouldn’t have struggled at all. Fighting it as early as I did, however, I only had a single lightsaber blade, one force power (which didn’t even work right, because if you Slow its tongue and try to hit it, your blade goes right through) and little enough health that it could kill me in two hits even after I lowered the difficulty to normal for the only time in the game. Even after doing so, I had to drop down from above and cut off a quarter of its health, and it still brought me to almost no HP. Oggdo Boggdo may not have been that dangerous in reality, but with how early I faced it, it earned a solid place just just inside the top 5.

4. Haxian Brood Droid and Bounty Hunter; of the randomly-generated miniboss ambushes, this was the only kind I ever encounter, and it was a doozy. Both enemies are unthreatening on their own--the Bounty Hunter is identical to the one in the arena, and while the droid has long range and mostly unblockable attacks, it’s also slow and easily avoided. The problem is that this is a very good combination. The Bounty Hunter tends to stay in the air, and it’s a lot harder to deflect her charged shot and bring her down when you have a Droid named Chonk or whatever pummeling you. Conversely, if you try to focus on the Droid, you get pelted with annoying lasers and stunned with missiles. Of the four times one of these pairs showed up, the only one I actually killed was on Kashyyyk,  where the Bounty Hunter got stuck in an infinite walk cycle and couldn’t move or attack unless I came close, allowing me to whittle down the, on its own, pathetically easy Droid. This pair is perhaps the greatest example of enemies being more than the sum of their parts. 

3. Rabid Jotaz; Funny enough, I never actually killed this thing. I went to face it immediately after getting the scomplink, died three or four times, and then gave up. I’m confident I could have killed it if I’d faced it a little later, but at that point in the game, this simple enemy was too much. Its attacks have wide arcs and obvious tells and are easily dodged in theory, and its health was pitiful for its massive size, but the Rabid Jotaz had one big advantage--a tiny arena. Seriously, the arena was a claustrophobic circle maybe two and a half times its armspan in diameter. It didn’t matter how slow the thing was when there was no room to go anywhere and its unblockable swept across half the room. It would’ve been much easier, I think, had I come back to kill it later on but I hate backtracking, so it gets a spot in the top three. 

2. Trilla Suderi; Trilla has an absurdly varied moveset. Even right off the bat, she likes to throw two different combos with multiple variations on how they can end, sometimes leading into each other, sometimes leading into a weird spinny move, sometimes leading into a jumping downward stab. Of course, that’s nothing compared to the shockwave she has. It’s like Ninth Sister’s where she’ll smash her hand into the ground after a short windup and send a wave of force bullshit you have to jump. The thing is, she likes to throw it at two inconvenient times. One, right after she summons an annoying probe droid to distract and stagger you, and two, when you’re at point blank range and have no time to dodge. She also has absurd range, blinking across the entire large arena in a matter of moments, which is bad enough when she’s throwing an unblockable lightsaber attack, but is even worse when she’s throwing her most infuriating attack of all. She’ll lunge at you, grab you by the face, and suck out both your health and, for good measure, your Force meter. The only saving grace is that is has a generous windup time. 

With all that, why’s she only number 2? Well, she’s sloppy. I had a hard time whittling down her block meter because so many of the attacks she does will let you just hit her health directly and take off a good chunk. Plus, after my first death I started using a fun tactic where I’d run in, spam Force Push to drop her Stamina, hit her to regain my Force meter along with the experience she stole, then use a dual lightsaber attack for massive damage, dropping somewhere close to a fifth of her HP in one fell swoop. Plus, her attacks are mostly easily blocked or dodged. She killed me five times, but it was always because she either used her OHKO suck-yer-brains-out move, or because she summoned a Probe Droid that staggered me at critical moments before I could kill it. With all that, it was very satisfying that I beat her by throwing her own exploding probe droid into her. 

1. Ninth Sister; she killed me a whopping twelve times. Like, seriously; this lady did not play around. Her first phase, when she’s using just one blade, is simple. Parry, parry, dodge to the side to avoid the unblockable stab when she Force Pulls you in, don’t get hit by the overhead jumping swing. You can deal good damage to her with the openings she leaves, but she’s still more defensive than Trilla despite her brutish style, and she has health befitting her stature. Still, the first phase poses no threat. Then, she activates the other blade on her lightsaber and becomes a lot tougher. 

Noticeably, she has several more special moves. She’ll do a shoulder charge that’s pretty easy to avoid, but once her health gets down to about a third, she’ll throw in a second charge, which caught me off guard sometimes even when I was expecting it. She has an unblockable spinning blade attack, which is easy to avoid but does massive damage, and she has a ground slam like Trilla--but easier to evade because she always creates distance before doing it. My big struggle was the simpler part. Her combos are faster and last longer, she seems harder to land hits on, she pulls switcharoos with similar-looking attacks that turn out to be unblockables, and her stab seems to have less windup time, making it a far more dangerous attack than in the first phase. For all the fanciness that she adds, it’s mostly easily avoided. What got me was just the regular attacks, and that damnable stab. With this, the Ninth Sister of the Inquisitorious takes the #1 spot. 

[innuendostudios]

After four months of work, my video essay Bringing Back What’s Stolen: Fury Road and the Avenging Feminine is online. A nearly hour-long dive into the cinematic language of feminine violence in action and horror films. You can also watch this playlist of all 8 parts if you don’t want to click through manually. I will share a supercut of the whole thing as soon as I deal with a copyright block.

This was a crapload of work so, please, if you want more like it, consider backing me on Patreon.

Transcript below the cut.

Mad Max Fury Road has three principal characters: Imperator Furiosa, Immortan Joe, Max Rockatansky; protagonist, antagonist, deuteragonist (it’s a word).

Each character is introduced from behind, as a body first and then, later, as a person.

We meet Max at a remove, practically a silhouette. Wrapped in cloth and buried in wild hair, it takes several moments before we glimpse human skin. Almost immediately, he’s disappearing into his V8 Interceptor, and it’s not until his pursuers roll his car that we get a shot of his face, covered in sand and a matted beard.

Max is a person who has abandoned all markers of his humanity to live alone in the desert. His obscured face makes it easier to relate to him as a feral animal than as a man, and that’s the life he’s chosen; living like an animal insulates him from danger and buries his guilt and trauma. Throughout the first chunk of the film, Max’s face is remains obscured, first by the beard, then a gag, then a muzzle. We get only one unobstructed shot of his face, and it’s framed by the bars of a cage. The protections he built around himself, the war boys have stripped him of, and replaced with chains; humanity is no longer something forsaken, it's something denied.

It’s not until 45 minutes into the movie, having escaped Joe and formed a tenuous alliance with Furiosa and the wives, that he starts to look to the audience like a recognizable human.

We meet Furiosa in the opposite fashion. Where Max was a wide shot of a silhouette that is all cloth and hair, Furiosa is an extreme close-up of brightly-lit human skin. She carries Joe’s brand, and she has her hair cut short, which implies everything we just saw Max go through, she has gone through as well. They’re both prisoners. [“I was taken… stolen.”]

Where Max is invisible inside his car, we follow Furiosa inside the war rig. Max is like a hermit crab receding into its shell only to have it pried off, where Furiosa has complete mastery of her vehicle (it even has her missing arm drawn on the driver’s side door, as though the war rig were an extension of her body). Clear windows, her face unobstructed, the greasepaint on her forehead making her eyes - the windows to the soul - pop, making her expression more readable.

Everything Max takes the first act to become, she is from her first scene. The time between her introduction and getting a good look at her face is just over two minutes.

Joe’s introduction is the sick inversion of the others’, closer and fleshier than Furiosa’s yet more alien than Max’s. Where Furiosa’s skin humanizes her, Joe’s tumorous body does the reverse. Where Max has his layers of protection stripped from him, Joe is kitted up with armor and finery. Where Max struggles to make his face visible and Furiosa’s expressions are accentuated, the distance between Joe’s introduction and seeing his face uncovered is the entire movie; we only see Joe unmasked when half his face has been torn off. And three minutes later the credits are rolling.

What makes these characters accessible has been distorted to make Joe a grotesque. (I don’t have room to get into the troubling ways Fury Road uses atypical bodies as a shorthand for inhumanity, so I’ve written a small, additional essay, link in the down there part, or at the end.)

So here we have it, from the opening shots: protagonist, antagonist, deuteragonist; human, inhuman, half-human.

The things I’m describing are filmic techniques for creating or denying audience empathy. Humans relate to other humans, and filmmakers employ dozens of tricks to portray inhumans as human and thereby relatable, and portray humans as inhuman to make the otherwise. By this rubric, empathy with Max is built, empathy with Joe is denied, and empathy with Furiosa is simply expected.

The female action star being the one for whom empathy is most freely given is by no means unprecedented, but it’s not the norm. In the tradition of Blow Shit Up movies, the “relatable action heroine” is often approximated, approached asymptotically, but rarely depicted. Some don’t seem to believe she exists. Yet, here she is.

Furiosa is our white whale.

If, in a rom-com, the Thing What Solves Your Problem is love, in an action movie, The Thing What Solves Your Problem is violence. Something is wrong with the world, and the plot is structured around amassing the strength, tactics, or allies necessary to smash your problem until it goes away. That’s how things get fixed. And the idea of punching the world back into shape is deeply tied up in our notions of manliness.

There are dozens, if not hundreds, of archetypal action protagonists, from the Everyman Against the World to the Hulking Brute to the Dapper G-man to the Stoic Killing Machine, and, while occasionally cast with women, they are all, by default, men. There’s maybe no other genre more deeply associated with masculinity.

The longstanding assumption is that women complicate violent movies the way we used to say they complicate sea voyages. The movies are manly, the audience is male, and a male audience will not identify with a female character as a matter of course. This assumption goes into the writing, the casting, the filming, the editing, and the marketing. Demographics do bear out that violent movie audiences are, primarily, men, but this assumption existed before we tracked demographics. So, then: if we’ve been making the movies for men, and marketing them to men, should we really be surprised if it’s mostly men who end up seeing them?

For a variety of reasons, action filmmakers can’t just make movies without women in them: a) there are still at least a few women in the audience, and their money spends just as well as a man’s, so best not to completely alienate them, b) they’d rather not get yelled at too much by feminists, c) sleeping with beautiful women is part of the power fantasy a lot of male action heroes are supposed to cater to, and d) absent any women, the fixation with the male physique might read as just a wee bit gay, and we can’t have that, apparently.

So if women in action movies are unavoidable, perhaps the audience’s sympathies, if not freely given, can be earned. For this purpose, action filmmakers have invented a handful of female archetypes.

Between these six women, we can chart the cinematic language of feminine violence as it is most commonly codified. I’ll stress that they are not the sum total of womanly presence in violent movies, but, if you’re a fan of violent film, you’ve probably been in a room with them dozens of times and never been formally introduced.

Each has something to teach us about how men are expected to relate to a woman in a violent context. Let us discuss each in her own turn, and, with each, how Fury Road’s avoidance, subversion, or rejection of these expectations are key to what the film is about.

Let’s get y’all acquainted.

The Innocent: Helplessness

There is a beat common in action movies called The Kick The Dog Moment. Kicking a dog is how screenwriters signal to the audience just how bad the bad guy is, because only a monster would harm something so precious, so loyal, so helpless as a dog.

An even more common beat for exposing a villain’s evil nature is the Strike The Woman Moment, or the Grope The Woman Moment, or the Shoot The Woman Moment.

This is the role of The Innocent: precious, loyal, helpless, and serving the same narrative function as a puppy. Her proximity to violence spurs the plot forward, and reveals things about violent men, but the story’s never really about her. It’s about the men. She’s there to get threatened by men, to get kidnapped by men, to get killed by men. Also, she’s there to get rescued by men, or, failing that, to be avenged by men. The Kick The Dog Moment isn’t about the dog, it’s about the villain. The dog is a device.

The Innocent is not wholly incapable of enacting violence herself. She will, on occasion, fight back against her captors, which serves to communicate to the audience that she’s feisty; but it rarely accomplishes anything. Occasionally, during the falling action, she is granted an act of symbolic violence, sometimes even landing the final blow on the villain, but this is only after the dramatic tension surrounding the villain has resolved.

The Innocent is an onlooker to violence, she is often the site of violence, and though she is sometimes allowed to perform violence in an honorary capacity, she’s not a full participant. She is a symbol of what is good and worth protecting, and what is good is innately peaceful. Violence is a burden that violence is used to spare her from. It is the solemn duty of men. She can only enter this domain as a victim.

She is, by far, the most common female action movie archetype. There’s even a variant I call The False Innocent - the woman who plays off people’s assumption that women are powerless in order to kick their asses. You know, what if that 90-pound, doe-eyed waif being threatened by the big strong men is secretly the toughest person in the room? (Joss Whedon is, shall we say, fond of this one.) This serves as a direct rebuke to the assumptions baked into The Innocent, but it says something about how pervasive the archetype is that you can build an entire second archetype around everyone assuming all women are Innocents.

In Fury Road, as soon as our protagonist and deuteragonist meet, it is made clear that Furiosa can hold her own in a fight with only one arm. This scene serves the same function as the Thor-Iron Man-Captain America fight in The Avengers: “Hey, these folks are pretty evenly-matched. Wouldn’t it be cool if they were on the same side?” And Furiosa’s not the only woman who can fight: Later, we meet fearsome warrior tribe The Vuvalini.

So where we normally see a divide between violent men and passive women, here we have a split between multi-gendered warriors, and people who don’t fight - in this case, the wives.

And not being a warrior doesn’t ipso facto make the wives useless, unlike some damsels who, growing up, made you or possibly your older sister yell “DO SOMETHING WOMAN” at the TV. People who can’t throw a punch can still throw you a weapon, they can pull your enemies off you, they can keep ammo away from your enemy’s gun. They can reload a rifle, they can stop a bullet from being fired. They can make you a new ally. Even when people try to turn them into helpless prisoners, as happens to so many women in so many movies, they don’t have to submit; they can surrender and then help you board the enemy’s caravan, or, even taken captive and held at gunpoint, they can still help you take down the Big Bad.

In isolation, any one of these could be just another “feisty damsel” or “false innocent” moment, but, in their totality, they start to imply that the reason the wives aren’t fighters like Furiosa is the same reason they don’t drive the war rig: They don’t know how, because they’ve been kept in a safe. There is nothing innate about the difference between a warrior and a non-warrior, and certainly nothing gendered; just training.

If the usual framing is active, violent men protecting or possessing passive, innocent women, no one in this movie is passive. No one. Even if you aren’t shooting the gun yourself, there are still ways to contribute. You don’t have to sit around waiting to be rescued, there’s work to do.

It’s important to recognize that the wives are never rescued by anyone; not Max, not even Furiosa. [“they begged her to go” clip.] Violence may still be the way things get done in an action movie, but it’s not synonymous with agency. They set the plot in motion. This whole thing is their plan. It’s not a rescue, it’s an escape.

The Vasquez: Masculinity

Meet The Vasquez, the masculine woman, named after Janette Goldstein’s character in Aliens because all the other words I could think of carried the wrong connotations. (Also, Goldstein? Really?) The Vasquez is rough, she’s tough, she’s hard-drinking, she’s foul-mouthed, she’s gun-savvy, she’s sexually aggressive, and, most importantly, she’s one of the guys. If the most common coding is that men are violent and women are passive, and the action screenwriter assumes a male audience won’t like their female character because they can’t stand to think violence could ever be feminine, the obvious solution? Make the lady man up. If she resembles a man, she can be fashioned into any number of existing male archetypes, from military grunt to double agent to assassin.

Her closest male counterpoint is The Hardbody, a staple of the 80’s action milieu. In a hardbody movie, we either meet a man who’s a pillar of masculine strength, or we watch an ostensibly regular guy spend the movie becoming one. Similarly, The Vasquez is sometimes introduced fully-formed, but, more often than not, we watch her emerge from the body of a traditionally feminine woman. And where a Hardbody’s training montage shows what is soft becoming hard, The Vasquez shows what is feminine becoming masculine. [G.I. Jane clip on not menstruating.]

In either gender, we can call this process “ruggedization,” and it’s not only physical. As a character acclimates to violence, there is often a change in presentation. Most especially with a woman, ruggedization may not be the gaining of muscle but the shedding of feminine signifiers. Note how Ripley, over the course of three movies, goes from having all the hair to a lot of the hair to none of the hair, thereby resembling all the men in the movie, as she becomes more of an action heroine. Note how, as Thelma goes from neurotic housewife to a woman who robs liquor stores and holds up policemen, we see her go from frilly white dresses to denim to dirty sleeveless tops. Note the scene where Louise sits down at a truck stop, takes off every piece of jewelry she owns, and trades them for a man’s cowboy hat.

Also, in correlation with becoming violent, there tends to be, call it a shift in patterns of speech: [“suck my dick” montage].

The Vasquez maintains the association between powerlessness and womanness codified by The Innocent because, as the woman sheds her weakness, she also sheds her womanness; the two are treated as the same thing. Violence stays masculine; women get violent when they become honorary men.

Fury Road‘s trick is to take its plurality of female characters and scatter them across the entire gender spectrum. In terms of presentation, you’ve got the highly feminine wives, the traditionally masculine garb of the Vuvalini, and Furiosa somewhere in between. The film subverts the spectrum further by softly rejecting the notion that a person occupies any single position along it. Toast is very feminine and also knows her way around guns; the Vuvalini are a leather-wearing, pants-sporting biker gang, and also are The Many Mothers, who care about feminine-coded things like cooperation, empathy, gardening. Masculinity and femininity are not an either/or. Many traits exist, in varying proportions, in all people.

Traditional femininity is valorized in our male heroes as well. Traits like healing, softness, deference to superior skill, self-sacrifice, these things are treated as inherently valuable irrespective of one’s gender, and absolutely mission critical to their success in battle. Basically every time a man does something that Human Embodiment of Toxic Masculinity Joe would disallow, it helps them win. This goes a long way towards elevating femininity, but also breaking up the male-female dichotomy, allowing anyone to possess any trait from anywhere along the spectrum and still be strong.

The fact that Joe does treat gender as an either/or, that he does not foster community nor empathy with his followers, that he only maintains loyalty by imposing a Norse-inspired death cult that leads his war boys into reckless behavior and crumbles instantly if it’s ever challenged, these things are liabilities.

Men and women are at their strongest not at their most masculine - at their most like Joe - but when they are free to be as masculine and as feminine as the situation requires of them. What’s wrong with Joe isn’t masculinity - masculine signifiers abound on both sides of the fight - it’s a malignant masculinity that rejects all but the most extreme of one end of the spectrum. This narrowness is what gets Joe killed.

The Dominatrix: Sexuality

The sensual murderess, ass-kicking in catsuits, high heels, and chokers. The ostentatious fusion of the two greatest spectacles: Sex & Death, Pleasure & Pain, Eros & Thanatos. If you want to leave behind the idea that the only way to be violent is to be manly and you worry your straight male audience will revolt, consider writing someone every straight male is already familiar with.

Consider The Dominatrix.

(Note that I am using the term “dominatrix” a little loosely here. In real life, there is a distinction between highly sexualized violence and actual BDSM iconography. How do I know? Mind your own business.)

The Dominatrix is a violent - often hyperviolent - character who is still, unmistakably, a woman. I mean, say what you want about Bayonetta, she’s not mannish. Most men are at least passingly familiar with what a dominatrix is, so it’s not a far leap to refashion a woman’s bedroom violence into action movie violence. But she comes with some baggage.

The femininity she displays is specifically the subset of femininity most appealing to men. She’s not a nurturer, not a healer, not soft, and rarely cooperative. Her womanliness begins and ends with sexuality. And sexiness creates its own context. There may be loose justification for why she’s dressed the way she is: you know, she can’t wear armor like a normal person because she needs to leap around - gymnastics being another familiar image of female physical excellence, and an excuse to whiz the camera around her body. But much of the time we don’t even get that much. The movie holds no pretense: She’s dressed that way because the audience likes it.

The thinking here seems to be that if straight men consider violence the domain of men, and, therefore, a violent woman an affront to their masculinity, they’ll willingly take a blow to their male ego provided their heterosexual ego is, to speak indelicately, getting stroked. For what does a dominatrix do? Strike, dominate, and degrade, yes, but for their partner’s own pleasure. It’s, at least in part, a performance; there’s a reason your dalliance with a domme is called “a scene.”

The dominatrix-as-action-heroine turns violence into a kind of elaborate pole dance, inoffensive to a man because it’s for him, a woman trafficking in male signifiers made acceptable because she does it sexylike.

Of all the characters we’re talking about, The Dominatrix demands the least empathy of the male audience. An action movie offers a power fantasy; James Bond is supposed to be a character men want to be. Men don’t want to be Barb Wire. Men are supposed to look at Barb Wire, not walk a mile in her pumps. The Dominatrix is most commonly a villain or an antihero. Perhaps it should come as no surprise: Bad Girls aren’t Good Guys.

Now, this is a bit of a subjective statement, but Fury Road doesn’t sexualize its women.

Let me paint you a picture: A man lives for some indeterminate length of time at the very bottom of a rigid social hierarchy wherein only the man at the top has access to beautiful women. Prior to that he lived for years alone in the desert. We don’t know how long it’s been since he’s even spoken to a woman. After a thrilling escape, he, alone, happens upon the five women deemed by that society the most beautiful and fertile, the “prized breeders,” clad in white, cutting off their chastity belts, and spraying each other with a hose.

This is how Max meets the wives. Most Hollywood directors would shoot this scene like a wet t-shirt contest.

Man Of Social Caste That Would Never See A Beautiful Woman Naked Stumbles Upon One Or More Bathing Out Of Doors has been shot hundreds of times. This is every hot springs episode of every anime ever drawn. Movie peeping is the essence of the filmic experience, because a man watching a woman bathe is doing the same thing you are doing as an audience member: looking at naked people who can’t see you. The way you traditionally shoot this scene is to lean in to the voyeurism. If there’s going to be bathing and then a fight, why not sexy bathing and sexy fighting?

In Fury Road, Max lusts only for one thing. Water.

During this scene, Furiosa is fully-clothed, and look at how she’s framed. Now look at the shots favored for the wives: long shots and tight close-ups. As in: their breasts and hips are either filmed at a distance or cropped out of frame.

I don’t want to overstate things. That framing is not enforced, merely favored. And there’s no denying these women are, by conventional standards, beautiful - I mean, for fuck’s sake, Zoe Kravitz is in this movie. I’m not, like, kinkshaming you if you do find this scene erotic. But it seems to me that effort is being expended to downplay the obvious potential for eroticism. A chastity belt coming off could easily signal sexual availability. [Men in Tights clip] But this one has teeth. To I’m thinking, “I would want that off me, too.” I feel I am being asked to walk in the wives’ shoes.

If what you need to feel OK with a woman holding a gun is some hint that she’s doing it to turn you on, Fury Road won’t give you that. If you want to see women as sexy bodies before you consider seeing them as humans, Fury Road won’t give you that, either. That’s how Joe sees them, and they left that perspective behind before frame one, and make one thing clear in their very first line of dialogue: [“We’re not going back.”]

The Mama Bear: Motherhood

A common action movie character is the man who’s love interest is kidnapped and/or murdered, and he is spurred into violence so that he can rescue her and/or punish everyone responsible. Swap the man for a mother and the love interest for her child and you’ve got The Mama Bear, the woman who will stop at nothing to protect her cub, a la Jodie Foster in Panic Room or Jodie Foster in Flightplan, or, occasionally, the woman who avenges another member of her nuclear family, a la Jodie Foster in The Brave One. (Jodie’s got a thing that works for her.)

Believe it or not, most men, growing up, had moms, and it’s a cultural narrative that children feel safe under their mother’s protection. So The Mama Bear is a violent woman who is, once again, both feminine and familiar. She’s the ideal of what we’d want our mom to be if something bad happened to us.

By nature or circumstance, The Mama Bear is a single mother, either recently divorced, recently widowed, or possessing a husband who is simply someplace else. (And if he shows up he tends to get his ass handed to him.) Occasionally she’s just single, or even a surrogate whose motherly instinct kicks in upon contact with an orphan. In all these cases, she springs into action without a lot of assistance from men. You can read this as an independent woman who does not require men to help her, or you can read it as a woman who acts, not because she’s suited to the task, but because there are no men to do it for her. Most are a little bit of both.

But this is a strong character who’s not only allowed to be feminine, she is strong because she’s a woman. She has entered the domain of men with her femininity intact. This is not to say that motherhood and womanhood should be so closely tied in our cultural consciousness, simply to acknowledge that, at this moment in time, they are. Mothers are thought of as women whom we not only accept but demand strength from.

But, if she’s our idea of what a mother should be, then our point of identification isn’t necessarily her, but, at least in part, the moppets. Because what warm-blooded mammal can look at the quivering lips of children in danger and not root for anyone trying to save them? The Mama Bear, often enough, gets a kind of collateral empathy, the spillover of our concern for her kids.

She is, also, in contrast with The Dominatrix, almost completely without fail, sexless, another consequence of having dead or absent husbands. She doesn’t have sex, kiss, or even flirt, because, naturally, our ideal mother would never make us think about her banging anyone. That, the assumption seems to go, is the price for our respect.

Between one obvious pregnancy, the wives’ escape to “the green place of many mothers,” and the words they left scrawled in their cell, motherhood is a central theme in Fury Road. The symbology of motherhood is all over fiction written by men. You know the “women and children first” trope in disaster movies? That’s not just chivalry. It’s also men preserving the mechanisms by which they pass on their genes. [Up In The Air: “Because you can’t have babies.”]

Immortan Joe is kind of the ad absurdum of this thinking, having literally turned motherhood into a commodity-producing industry. Outside of Furiosa’s relative privilege and a few unnamed proles, the only women in Joe’s hierarchy are babymakers and dairy cows. The wives’ escape is, at least in part, about providing a better life for them and their children, where bodies and babies are not property.

What’s absent in all this is any actual children. Save for some nameless warboy youths at the beginning and end - some of whom, for all we know, may have been born to the wives - children are not party to the action. There are no wee ones with their eyes welling up to get you caring about their moms by proxy. The wives and the Vuvalini may all carry the title of “mother,” but it’s abstracted. What’s at issue isn’t children but the idea of motherhood, or, more accurately, the right to motherhood, celebrated on its own terms and for its own sake, not as a service to men. And, by focusing more on pregnancy than child-rearing, motherhood is not quite so divorced from sex.

Motherhood and strength coexist in the characters, but the one does not derive from the other. Motherhood is not correlated with fighting ability. The wives’ rebellion is about the rights of their babies no more than it’s about their own rights to not be things.

The Final Girl: Specialness

[“Do you like scary movies?”]

OK, this one… is a lot.

A gaggle of young folks - usually horny teens - is terrorized by a monster - usually a man in a mask - who represents a kind of pure, unwavering evil and kills with a bladed weapon. One by one, every character is picked off or incapacitated until there’s only one left, a young woman who, in spite of her terror, finds the strength to fight back, and, often enough kill the killer. If you’re not familiar with the slasher movies of the 70’s and 80’s, you might not even know, at first, who of the initial posse is supposed to be the protagonist, but if you’re a fan, you’ll recognize her instantly: Responsible, resourceful, and pure, she is The Final Girl.

The slasher is an interesting case, because, breaking with the traditions we’ve established,  it’s an entire genre where a presumably male audience isn’t expected to accept a violent woman, by the end of the film they are expected to be screaming for her to pick up the chainsaw and kill the fuck out of the bad guy.

Because The Final Girl is special, damn it.

What sets her apart? Well, a lot of it is to do with what The Final Girl symbolizes and how it contrasts with the symbology of the killer. Of all the characters, she is the most suited to survive and combat the villain, which is why she outlives her friends. We can start with the most obvious difference: [“She’s a virgin”].

Virginity means a lot of things in the movies. Purity: If the killer represents all we consider evil about the world, the antidote to that is someone who is, metaphorically, “unsullied.” Youth: If sex is considered a rite of passage into adulthood, then a virgin is, in some ways, still a child, and we’ve already discussed how relating to a child is considered a smaller ask than relating to an adult woman. Desirability: As a society, we haven’t fully escaped the puritanical narrative of “bringing a virgin to the altar,” at least not in our movie symbolism, and codifying a woman as “untainted goods” invites the male audience to, well, crush on her. There also tends to be this subtext of sexual violation to the murders, which lends the whole thing a Chaucerian concern for preserving a young woman’s maidenhead.

There are other ways The Final Girl, even if not explicitly a virgin, is virginal. She doesn’t drink, or, if she does, she’s a lightweight. She doesn’t smoke pot, or, if she does, she’s inexperienced. She doesn’t flirt, or, if she does, she’s comparatively demure. She’s also usually a bit brighter than her friends: The one who first senses something is wrong, the one who makes a plan of action, the one who figures out the killer’s identity. She may not be “one of the guys,” but she’s “not like other girls.”

This emerges slowly over the course of the film. The more characters die, the more The Final Girl appears to individuate from the rest. It is the ways in which they are not like her that get the other girls killed. They’re too dim, too horny, too oblivious. The empathy you build for The Final Girl - in part by having every other potential point of empathy systematically removed - you are not asked to extend to the other girls. You empathize with a woman, not with women. If she is special, they are unspecial. Their deaths are scary, but titillating. You’re not expected to root for them the way you root for her. You’re here to watch them die.

Then there’s the killer himself. In the early going, the camera is more closely aligned with him than any of his victims, often showing the murders literally through his eyes. It’s only as The Final Girl grows more active in the story - and, eventually, becomes violent - that we gradually come to see the killer from the victim’s perspective.

Each slasher villain is a snapshot of what society thought an image of evil incarnate would look like at that time. The things they have in common are telling.

The killer is almost always a man - Friday the 13th Part I notwithstanding - but is commonly, by societal standards, an insufficient man: Physically deformed (The Hills Have Eyes), gender-nonconforming (Psycho), or just really, really hating sex (Jason X). This is often blamed on being too close with his mommy. Meanwhile, The Final Girl’s disinterest in the activities of other women makes her a little tomboyish, and it’s really common for her to have a boy’s name: Stevie, Marti, Terry, Stretch, Ripley, Taylor, Sidney. Couple this with her tendency to kill the villain with his own intimate, penetrating weapon - and I’m not going to go down the rabbit hole of phallic imagery in slasher movies because, frankly, I think most writers make too much of it, but it’s there - and you can read The Final Girl’s assault on the killer as becoming a better man than him.

We still haven’t escaped the fixation with violence and masculinity. This isn’t to say The Final Girl is another Vasquez - even if she is ruggedized, it’s not by forsaking femininity. Instead, the distinctions between masculinity and femininity are more permeable; the killer kills what is feminine, and then fails to kill what is, in some ways, less feminine than himself. And that failure leads to the reversal of who commits violence against whom.

Fury Road borrows a lot of imagery from horror films, most especially in imagining Joe as huge, misshapen, and masc’d. But Joe’s monstrosity is not a lack but an overabundance of masculinity, by no means the ideal male body but a body that idealizes maleness. If masculinity is a performance then he’s Kenneth fuckin’ Branagh. He hides his welts under fake abs, war medals, and - ahem - whiteness, and hangs a gear from a muscle car from highly symbolic places. [It’s drivin’ me nuts!] And he’s defeated not by appropriation of these signifiers but by rejection of everything they stand for.

But if the core of The Final Girl is a specialness that does not extend to other characters, can we talk about how not one person on Furiosa’s side of the battle is special? Not a one of them.

If we wanted to argue Furiosa is “not like other girls,” which other girls would we even be referring to? The femmes in white or the granny biker gang? The elderly matron, the full-bodied milk mothers, or the suffering proles? Furiosa has commonalities and differences with all of them. They all have commonalities and differences with each other. There is no “normal” from which to deviate. Even within a single type, there is variation: the wives alone have the leader, the nurturer, the weird one, the scared one, and the tough one (or: Gobo, Mokey, Wembley, Boober, and Red). No one is interchangeable.

At the same time, no one is special. The war rig is chock full of redundancies: Multiple people who can drive, multiple people who can shoot, multiple people who can fix what’s broken. Which is, again, necessary, because there’s too much to do not to have backup. [“I’m going to need you to drive the rig.”]

We don’t know a lot about Joe’s society, but we can infer it’s a caste system that stratifies everyone by specialness, here defined by their usefulness to Joe. At the bottom are possessions: wives, blood bags, and milk producers. Above them are the masses, and then the war boys, who believe they will be awaited in Valhalla if they perform their duties well. Next is Furiosa as a leader in Joe’s army, and then Joe’s immediate family, and, finally, Joe himself, singular and all-powerful. [“He grabs the sun.”]

Furiosa’s alliance counters this verticality with a lateral power structure - I mean, it’s literally the difference between a tower and a convoy - where specialness is not a prerequisite to rights, privilege, or empathy. A cooperative, where no one is fungible or disposable, and on one is special or elite. People form interdependencies with each other of their own free will, and may leave at any time if they wish. No one earns a place in society, or the empathy of the audience, by proving themselves unique. It is simply assumed that everyone is deserving of both.

Also, remember when I said this scene mostly kept the camera away from the wives’ breasts and hips? Here’s one of the only exceptions: [not a virgin clip]

The Rape Revenger: Suffering

I’m going to spare you the explicit footage in this section.

The rape revenge film is the subtext of the slasher movie made literal, the kick-the-dog moment if it took up an entire reel, what would happen if The Mama Bear fought as passionately for herself as for her kids. A number of men target a particularly vulnerable woman - usually isolated, sometimes even deaf or mute - and rape her. And then, one by one, they meet their fate at the hands of The Rape Revenger.

Most commonly, The Rape Revenger and the victim are the same person, though, sometimes, she is avenging a loved one, or even a member of her immediate community. (Yes, among other things, Alien is a movie about rape. The rape is metaphorical.) Her often sadistic killing spree is female-against-male in response to the most quintessentially male-against-female act of violence, and not only is the male viewer supposed to find this violence acceptable, he is supposed to find it righteous. He is supposed to clamor for the deaths of the transgressors. In these films, there is no retribution too cruel for a rapist.

The genre was most popular around the same time as the slasher, and carries much of the same coding: There’s the same lurid fascination with female bodies as objects of beauty and sites of extreme pain, the same earning of sympathy over the course of an entire movie rather than it being assumed, and the same implication that men are the source of a violence that women can become imbued with by being the victims of it.

The biggest difference is just how much the woman suffers in these movies. She suffers a lot.

There’s no collective of dipshit teens to spread the violence across; everything the villains do, they do to one woman. The genre banks hard on the idea that one can’t help caring for a person as one watches her go through hell. Often, what makes the villains monstrous isn’t their cruelty but that they lack this compassion, that they hardly even notice the pain they’re causing. To them, sexual violence is rarely even about the woman, but jockeying for status with one another. It’s performative, men proving they’re alphas. And the movies treat this apathy towards female suffering as among the most heinous acts a man can commit.

If your heart does not go out to a woman in pain, you are implicated in her suffering.

Not that the male-fronted rape revenge film doesn’t exist, but this is another of the rare violent genres where the protagonist is a woman by default. It is deeply rooted in the (at least, presumed) experience of being a woman. And, for all the genre’s trashiness and exploitation - and they are very trashy, and very exploitative, and usually written by men - the most ambitious of them point fingers not just at the male villains but at masculinity itself.

So if a rape revenge film is seen as a workable way to get a male audience member to not only align with a violent woman but against the worst aspects of maleness itself, the question is: Does the woman have to be nude, filthy, beaten, and degraded for him to get there?

Fury Road assumes otherwise. Female suffering is conspicuously absent from the movie.

Make no mistake, the wives have all been raped by Joe. That’s why he kept them. At least two are pregnant with his children. But there are no scenes of them inside the cell, no flashbacks, no tearful descriptions of what was done to them. Even over the course of a very violent movie, it is surprisingly merciful when it comes to violence inflicted on women: When Angharad dies, the camera doesn’t show it [“she went under the wheels”]; when Organic performs an emergency C-section on her body, the camera tilts away; a scene where Joe leaves her and Miss Giddy in the swamp to be eaten by crows was wisely cut from the film. Even the worst beatings Furiosa suffers are not dwelt upon.

It is crucial that the only person we see suffer Joe’s indignities is Max.

Male-on-male violence carries neither the social baggage of what real-life domestic violence usually looks like nor the grindhouse edginess of watching women get hurt. It’s allowed to just be violence. We see Max stripped of his autonomy, his car and his blood put into service in somebody else’s war. We see him captured, sheared, and branded, and then we’re shown Furiosa, with all evidence of the same, and it’s clear whatever empathy we’ve built for him in the safe space of male-on-male violence, we owe to her. We’re never asked to pity the wives, and we’re never given a cheap thrill at the sight of their suffering. We’re asked to respect them, and to take them at their word. We’ve seen their cell, their pregnant bellies, the scars on Angharad’s face. We don’t need to see them suffer to know it happened.

Cruelty is the hack writer’s shorthand for evil. That’s what all those Kick the Dog moments are for. But a man can be evil without being cruel. [Cheedo scene, “he was kind.”] Joe withholds plentiful resources to keep his subjects in line. He keeps young men as battle fodder for his wars. He keeps slaves for blood and breeding. Would it matter if, in person, he was sweet, gentle, soft? The system he’s built to benefit himself is inherently cruel. The wives don’t write “you treated us like shit” on the walls when they escape, they write “we are not things.” We don’t need to see, or even know, how Joe treated them to know he’s a tyrant.

The Avenging Feminine

Before the comments fill up with taxonomical debates over whether this or that character truly fits the definition of a Mama Bear, the way folks still argue over what is or isn’t a MacGuffin, let me disclaim: The study of tropes is the study of patterns. The Mama Bear is not a character, she’s what a host of different characters all have in common with each other. We note a trend, and we give the trend a name so it can be discussed. Not every character will have all the traits we associate with the pattern; arguably most won’t. But the reason we give the pattern a name is because, if there’s a trend, it must be serving a purpose. The assumption is that men won’t like the image of a woman with a gun. The purpose of the trope is to say, “It’s OK, this time, because she’s a mom.” And it’s a lot less relevant that Charlie Baltimore doesn’t perfectly fit the definition of a Mama Bear because she’s also kind of a Vasquez than that her motherhood serves that same purpose.

The assumption is men will accept that any male character, no matter how soft, if stripped to his essence, will become violent, but, with women, they need to be convinced. These are six different ways of contending with that assumption. Though, you will, I hope, have noticed, that almost every woman I’ve discussed here has been white. This is because, if filmmakers assume a male audience needs to be convinced that a woman will become violent, a countervailing assumption is that a white audience doesn’t need to be convinced that a person of color will. POC have their own set of tropes to contend with, tropes that have far less influence on the action movie as a whole, because violent Black women are even rarer than violent white ones. Because the codification of movie violence is deeply informed by the presumed whims of straight white men.

It’s an open question whether many straight white men actually need these reassurances to enjoy a violent film, though it’s clear a lot have come to expect them.

Action movie violence isn’t just violence, it’s power, and power in the hands of the disadvantaged is very threatening to those with privilege. Fury Road’s very interested in the flow of power. In it, women may possess violence, but lacking it does not make them helpless. It does not insist that masculinity is the only way to wield power and vilifies those who do. It refuses to objectify its female characters but doesn’t strip them of all sexuality in the process. It valorizes motherhood without pretending what makes a woman powerful is her ability to provide men with babies. It offers many models of femininity without treating any one as more normal or valid than the others. And it engages the way women suffer under patriarchy without using that suffering as cheap pathos or easy thrills.

In short, the assumption baked into all the tropes we’ve discussed, that violence - power - is the domain of men that women can only enter in exceptional cases is flatly ignored. Feminine presence in this masculine space is not treated as a transgression, men who would consider it one are personified in the villain, and no attempt is made to soothe the male ego at the sight of women holding guns and crossbows.

This alone would make a movie remarkable. But I don’t think we can stake a movie’s greatness on what it doesn’t do, so, if you’ll permit me, I’ll get to the goddamn point.

No matter how many women are in it, the core of an action movie is about solving your problems with violence. That an appropriate show of force will put things right again. Fury Road is no different in this respect. And, in our society, this is understood to be the male power fantasy, one that has been enforced by thousands of repetitions. So what, then, does it mean to portray a woman living out that fantasy? Does her presence decouple the association between violence and manliness, or is living out a male power fantasy a kind of drag? Is performing that fantasy performing masculinity? Is every action heroine, in a functional sense, a Vasquez? Is the action film too thoroughly encoded male to be reclaimed?

Can movie violence ever truly be feminine?

I don’t think I, or any single movie, can answer that question. However, if you said, “Let’s just assume the answer is ‘yes’ and imagine what that movie would look like,” you might imagine Fury Road. And I’m going to explain why without using the phrase “Deleuzian corporeality.” Let’s talk about the two bags.

When Max lets Furiosa and the wives into the war rig, he does not yet trust them, so, for safety, he collects all the weapons in the cab and puts them in a bag that he keeps with him. A satchel full of Chekhov’s guns, and you will see every one of them fired. Later, after Angharad’s death, the wives take stock of its contents. [“anti-seed” clip]

When the wives stay the night with the Vuvalini, a woman called The Keeper of the Seeds has this exchange with The Dag: [bag of seeds clip]. She shows this to The Dag after a conversation about murder: [“thought you girls were above all that”]. And here’s what the bag means to her: [“there was no need to snap anybody then”]. This bag symbolizes an idealized vision of the past, when the savagery of the post-apocalypse wasn’t necessary. When peace was, at least, possible. This is the bag that is pointedly taken with them when they go to overthrow Joe’s society, being the only place around that could actually sustain plant life and abundance.

So there you have it, a bag of seed and a bag of anti-seed, one full of weapons from the Citadel and one full of sprouts from the Green Place of Many Mothers, one representing the toxic masculine warmongering directly implicated in the fall of civilization, and one representing a potential rebirth of society spearheaded by a pack of moms and highly symbolic pregnancies. Fury Road ain’t good because it’s subtle.

So, yeah, Joe fights to maintain the savagery of the post-apocalypse, because it’s where he’s amassed his power, and the Vuvalini fight to bring and end to it. That’s the difference between toxic masculinity and egalitarian feminism, right? Women represent peace, so we should put them in charge, and a little blood must be shed along the way. That is a reading fully supported by the text. And you might well respond, “Hey, most every action movie insists that The Good Guys’ violence is justified and will lead to peace and only The Bad Guys’ violence leads to continuing violence. There’s nothing particularly subversive about that.” And you’d be right.

But let me give a different reading.

Joe’s power derives from controlling the water supply and arable land and, thereby, agriculture. His power dissolves if someone else can provide his people with resources. So a bag of seeds can represent a feminine rebirth, or it can represent liberation at the hands of women from the existing power structure. Not an end to violence, but an end to unjust violence. Not an end to scarcity, but an end to false scarcity. And end to subjugation. And end to autocracy. Violence as a tilling of the soil, destructive of what was but generative for what will be.

It’s not about “violence good” vs. “violence bad,” but “what is your violence in service of?” I don’t think anyone’s under the impression that violence will not exist in their new world, because, in Fury Road, violence is often justified. As in the real world, people rarely earn their freedom without getting a little bit rowdy.

It’s about who gets to wield violence and to what end. Is your violence about consolidating power or distributing it? Is it possessive or protective? Does it enforce a vertical power structure or a lateral one? This is why I feel saying women represent peace is too simplistic. This is where I feel the movie crosses from ignoring the “violence = masculinity, peace = femininity” coding at the root of so many female characters to countering it:

Furiosa was born to a clan of warrior women, kidnapped, enslaved, and put into service of a warlord. And the wives she fights to liberate have been kept in a cell to keep them from revolting against their captor. Violence - power - is not a thing Joe possess that women learn, or absorb through contact. It’s something he’s expended considerable effort to keep them from. Something he controls their access to the same way he controls the water.

Violence is something he stole from them.

In Fury Road, violence is egalitarian, and any imbalance between who is its owner it and who is subject to it is an unnatural state imposed from without. Joe, patriarchy itself, forces women into subservient roles to dissuade them from reclaiming what is theirs by rights. Violence is human, the vicarious thrill of watching violence is human, and empathy with those who enact violence in service of a righteous cause is human. The idea that any of these things are male is a product of men - warlords, movie producers, audiences - overly-invested in a narrative, because the narrative benefits them.

I would like to dub Furiosa The Avenging Feminine, a new trope: The woman who takes back what’s hers. The woman who fights because it’s her right to fight and against men who tell her it’s not. The woman who makes no affordances to men in the audience and implicates them in her struggle if they don’t like it. The woman who fights to bring the same freedom to other women. I would like to dub this a new archetype, because I think it’s one the action film sorely needs, and I selfishly want another Fury Road. That’s what I would like to do, but wishing doesn’t make it so.

I can, if I try, point to a few characters who have some of the necessary qualities, but it’s not enough to make a pattern. Tropes aren’t tropes just because I say they are. The Avenging Feminine remains, not unprecedented, but all too rare.

Fury Road cannot, on its own, reclaim the action movie… but all it takes to make a trend is volume. If people keep asking, “What if the answer to this question is ‘yes?’” and keep imagining what that movie would look like, maybe folks can get their heads around the idea that violence is not masculine by nature, only by custom.

And, with enough time, enough guns, enough cars, enough explosions, customs can change.

[theartofmedia]

Kotaku and the Art of Game Leaks

(Full disclosure: this piece was commissioned by a friend. The topic has changed from the initial pitch, but still. I don’t know how that may or may not affect your view on this piece, but I still feel it’s important for me to be transparent about this.) On May 30th, 2019, Laura Kate Dale announced her departure from Kotaku UK. Dale is a controversial figure among the games journalist community for... multiple reasons (please note the latter link lacks any actual evidence and how she apparently didn’t report this Uber driver for ‘nearly kidnapping her’ despite posting it publicly on Twitter, hence the controversy around it), but that’s not what we’re talking about today. What we’re going to be discussing is what she is known for the most: video game leaks.

LKD is most known for leaking video game information prior to their release, from information about Dark Souls Remastered, to unboxing a PS4 Slim before Sony itself even announced its existence, to Switch software. It got to the point where LKD was blacklisted by Nintendo UK, most likely for leaking so much information.

Now as I was researching LKD, there was something I noticed. A lot of people supported LKD’s leaks, calling it “real journalism,” and commending her for doing her job so well. As shown by the link above, many people mocked Nintendo UK for blacklisting her for “doing her job too well.” People are always scrambling for new leaks, new information, though in many cases, this can lead to fake leaks, misinformation, and confusion among players.

And it got me to think: how do leaks really affect both the devs and the consumers of games?

The conclusion I’ve come to about it is: it does more harm than good on both sides, but especially to the devs.

Here we will be defining four categories of leaks (three of which are explained here by Griffin Vacheron of Game Revolution), though our main focus will be on two.

Accidental leaks are just like they sound: they’re accidents. Something happened, something went wrong, and people got a hold of information before they were supposed to. Like when Capcom put all the pictures of the roster of Ultimate Marvel vs. Capcom 3 on their website when a good portion of the roster hadn’t yet been announced, and the unannounced characters could be found via a small URL change. Or when Walmart’s Canadian site revealed around 40 unannounced titles due to a(n alleged) glitch in their system just weeks before E3 2018. Or when Bethesda accidentally streamed their E3 2015 rehearsal which ended up confirming the existence of Dishonored 2. Yeah.

The main component of accidental leaks is just that--accidental. Someone did something wrong, something in a system went wrong, someone didn’t think through the consequences of what probably seemed like a good idea at the time--it happens! Nothing is perfect, people included, and shit happens. But the key part is that it’s not intentional. Someone may (or, really, will) be reprimanded, punished, or even fired depending on the leak, but there was never any intention to reveal this information.

Company leaks are... not entirely proven, from my research. This is the idea that the developers themselves leak information in order to draw attention to their game and hype it up. Often, this will be the other determination of certain leaks--was it an accident, or a PR stunt? There’s no real definitive proof and seems to simply be rumor, but the possibility still exists, as there’s no real way to disprove it, either.

Ethic leaks are generally the exception, not the rule. These are leaks of working conditions, such as an employee from NetherRealm talking about the toxic work environment, or Rockstar employees opening up about how they were mistreated and underpaid and burned to ashes, or Blizzard’s layoff of 800 employees. (Further reading here on the abuse of game devs, as well as what can be done about it.) These are things that need to be talked about, because these relate to the treatment of actual, real people. These aren’t issues then of game content or development, it’s an issue of ethics in the workplace. Same with the leak of this document that details how AI can be used to encourage microtransactions, though that is an issue related to the consumer rather than the workers. Shady tactics and the maltreatment of workers is something that needs to be shown and discussed and talked about, because these things affect the actual workers, as well as the quality of a product and the company’s integrity in relation to the consumer. (Basically, if you intentionally make your game in such a way that players have to use microtransactions to make any significant progress, you’ve ruined your integrity as a company by trying to drain your player base of more money, regardless of the base price they paid for the game anyway. It’s a scummy business practice, and that kind of thing should be revealed to the public that you’re going to try to bleed dry.)

Intentional leaks are just as they sound: they’re the intentional leak of information. This is when people outside the company hack in and reveal secrets, or when people inside the company reveal information (whether directly or indirectly via being sources for journalists) before they are to be officially announced. The information given is given with the knowledge that yes, someone is going to reveal it to the public.

So let’s talk about the ramifications of intentional leaks on game devs.

Remember Mario + Rabbids: Kingdom Battle? The cover image had been leaked before the team had a chance to actually showcase the game. Nobody knew anything about the game other than the cover, and universal reception at the time was: “This is going to be terrible.” Because of a leaked image, the public already had a strong negative opinion about it. However, the showcase that showed off actual gameplay was well-received, and the Metacritic score is 85. So the game itself was pretty damn good, according to the critics. An unlikely crossover turned out well! But the initial reaction was incredibly demoralizing to the team. It’s one thing to have criticism given to a game based on a trailer or gameplay showcase; it’s another to get criticism based on a single image and the concept alone with no other information given. As the director and music composer explain, the dev team was very worried and stressed not just about the game reception but about the showcase, as they were afraid that the reception to the showcase was going to be bad due to the already-negative opinion on the game.

Let’s also talk about how CD Projekt Red had demo gameplay and audio of Cyberpunk 2077 leaked by a journalist (who later complained about not being credited, about how his relationship with CD Projekt Red and the PR person he was friends with) after being asked not to. The company had their trust in the journalists--someone who they had a fifteen year relationship with--used and abused, leading to secrets being leaked. The devs had politely asked the journalists not to do so, but one did, and apparently saw nothing wrong with leaking private information and posting it to the public.

Or let’s talk about how, way back in the day, the entire source code for Half-Life 2 was revealed to the public and Valve (allegedly) lost $250 million dollars. The article actually states some of the effects of the leaked source code: “Meanwhile, the team at Valve, which had been in crunch mode for months, was left reeling by the leak. The game was costing the company $1 million a month to build and the end was still far from sight. The leak had not only caused financial damage but had demotivated a tired team. One young designer asked Newell, "Is this going to destroy the company?" (found under the heading “A Red Letter Day”).

Or we can talk about the Sm4sh leaks back in 2014 and how it led to an employee (allegedly) being fired and sued due to leaking this information. Now, this can very easily be viewed as justice being served to the leaker, and I would agree. But what is the issue here can be summed up by PlatinumGames producer JP Kellams:

The people working for years and years on a project suddenly have parts of their project--that they wanted to surprise players with, this particular instance being the Sm4sh roster--given out to the public before they wanted it to be. Imagine working for years on your life on a project, and then having someone reveal your work to the internet without your knowledge or permission. I know I would feel dejected, exhausted, hopeless, hurt, regardless of any positive reception to what was revealed. You, as someone who has worked so incredibly hard--and, in many cases in the game industry, been thoroughly abused--apparently don’t have the right to reveal the thing you’ve been working on the way you want.

I want to make this clear: I am not talking about “the Big Corporation” here. I don’t care about the higher-ups who put the pressure on the workers. I care about the workers, the little people that are being trampled on and forced to work in abusive, toxic conditions in order to meet a deadline and the outrageous demands of the higher-ups. They are the ones suffering.

Case in point: the Blufever leaks for Final Fantasy XIV. The details are a bit murky, as is with most leaks, but the story as I understand it is: user Blufever is/was an employee at Square Enix who leaked massive amounts of information on upcoming expansions/patches for FFXIV. Then, their account went dark, as they apparently feared for being found out by Square Enix. Vergeben, a known reputable leaker within the Smash community, had this to say about the situation:

Now, of course, there is no way to truly verify these claims. However, due to Vergeben’s reputation as an accurate leaker (and the fact that he was right about one of the upcoming DLC characters being from Square Enix) leads me to believe him. Assuming that his claims are true, someone leaking all of this information to the public put a lot of innocent people in the line of fire--and it’s very possible that these

So, what does this have to do with Kotaku?

Here’s something interesting.

When known E3 leaker WabiSabi was given a cease & desist warning from Nintendo for leaking information, take a look at some of the top replies. (Note that a lot of them are ninja gifs, here’s a sample so I don’t have to do it for every one.)

Not all of the replies are against WabiSabi, however, though a majority seem to be:

(About the above: I can’t really find anything suggesting that LKD was leaking things for “customer advocacy,” other than confirming that the next gen console (now known as the Switch) was not using the Wii branding like its predecessor did, thus easing some fears because of the bombing of the Wii U. Other tweets about that are here, but don’t really sway me in terms of “consumer advocacy.”)

As shown, the replies seem to be pretty divisive on whether or not it was a good or bad thing that WabiSabi got hit with a cease & desist.

However, let’s have a look at some of the replies to LKD’s tweet about how she was blacklisted by Nintendo.

And again, not all are supportive of her:

I actually had to look quite a bit to find any negative comments. Many were supportive of her.

(I would like to take this moment to get unprofessional for a second and unleash my full opinion of this: NO FUCKING SHIT YOU GOT BLACKLISTED, SHERLOCK. THEY TRUST YOU WITH THEIR SECRETS AND THEN YOU DISRESPECT THEM BY REVEALING THEM BEFORE THEY DID. I DO NOT FUCKING UNDERSTAND WHY PEOPLE WOULD SAY IT’S A COMPANY BEING “SHADY” WHEN IT’S JUST INFORMATION ABOUT UPCOMING PRODUCTS. NOTHING ABOUT ETHICS OR CONSUMER TRUST OR PRODUCT QUALITY. anyway,)

Now, you can say, “But Sakra! That’s a three-year difference!” And I rebuke with: people still support her to this day in spite of this. Kotaku UK kept her on though all of this and then some. It wasn’t until a kerfuffle happened in April with the “Persona 5 OST Has A Disability Slur” thing happened, and soon after, LKD left. It seems that the immense backlash with that was what fully pushed her off. (Now whether she was forced to resign or legitimately wanted to leave, that’s something only Kotaku UK and she know for sure.) The point is, her departure from Kotaku UK seems to have been completely unrelated to her leaks.

And why would it when Kotaku themselves--not just the UK chapter--are clearly very supportive of video game leaks of this nature?

Just have a look at their recent posts. All I did was put “leaks” in the search box. You may say “they’re just reporting the news of leaks!” But they put some of the leaked information IN the articles. The one on Watch Dogs Legion even confirmed the leaks. “Kotaku can confirm that this one’s real, as we’ve heard the name from several sources plugged into the company.”

Oh, and let’s not forget this lovely fucking article from 2015 where a Kotaku writer apparently speaks for the site and basically victimizes themselves for being blacklisted by Ubisoft and Bethesda. In fact, we’re going to dissect it, just because there is so much bullshit in here from the author, who is clearly speaking for Kotaku as a whole!

Buckle up, kids, your local Sakra is about to get fucking pissed.

The author describes how the Bethesda blackout came after “we reported insiders’ accounts of the troubled development of the still unreleased fourth major Doom game. In May of that year, we reported that Arkane Austin, the Bethesda-owned studio behind Dishonored, would be working on a new version of the long missing-in-action Prey 2 and that some at the studio were not pleased about that. When top people at Bethesda started making statements casting doubt on our reporting, we published a leaked internal e-mail confirming that those statements had misled gamers and that Arkane had indeed been working on a version of Prey 2.”

However, Kotaku at that time had also posted “our December 2013 report detailing the existence of the then-secret Fallout 4.” Reporting on troubled development isn’t an issue. Leaking emails just to confirm a game when Bethesda was desperately trying to preserve their secrecy that you had broken (probably not first, but Kotaku has a lot of mainstream reach) is an issue. I don’t like Bethesda, don’t get me wrong, but they were trying to salvage the secrecy of a project. Do I think trying to lie to the audience in order to keep the existence of a project secret is okay? No, not really. But I understand what they were trying to do. And whether you agree with their choices or not--no shit you would be blacklisted, especially if you have insiders as described here! You can’t go crying victim and martyr yourselves when you do this kind of shit. Especially if you were reporting on Fallout 4, a major fucking entry in a popular franchise!

As for the Ubisoft blackout...

“The current Ubisoft blackout is actually the second in as many years. The company tried a similar approach in the spring of 2014 after we published early images of the then-unannounced Assassin’s Creed Unity—images that had been leaked to us by an independent source. That article confirmed news about the company’s extraordinary plans to release two entirely different AC games in the fall of that year, one for new consoles and one for old. Ubisoft had warmed back to Kotaku by the summer of 2014, several months after the Unity report, but has cold-shouldered us since the Victory story one year ago. It’s possible other articles angered them, too. But that Victory piece is a safe bet.”

Ubisoft actually gave Kotaku another chance after leaking Unity, and the Victory (now Syndicate) story was, guess what, more leaks. You broke Ubisoft’s trust once, then you broke it again. Frankly, it’s fucking disgusting, knowing about how these leaks really affect devs, that Kotaku would dare to turn itself into a “journalism martyr,” as it were, because they were ignored by the devs whose trust they broke.

Now, you can say that maybe they didn’t know the information of how it affects devs--but a) the Sm4sh leaks and the fallout had already happened by then (it was 2014) and the Half-Life 2 source code fiasco had happened in the previous decade. Also, if they had insiders, wouldn’t they know just how serious leaking this information was and how it puts their sources and other devs at risk? Maybe Ubisoft and Bethesda aren’t as strict on their leak policies as Square Enix and Nintendo are--we don’t know. But I can’t imagine that they like it at all.

“I’m sure some people will sympathize with Bethesda and Ubisoft. Some will cheer these companies and hope others follow suit. They will see this kind of reporting as upsetting, as ruining surprises and frustrating creative people. They will claim we are “hurting video games,” and, as so many do, mistake the job of entertainment reporting for the mandate to hype entertainment products.

“We serve our readers, not game companies, and will always do so to the best of our ability, no matter who in the gaming world is or isn’t angry with us at the moment. In some ways, the blacklist has even been instructive—cut off from press access and pre-release review copies, we have doubled down on our post-release “embedding” approach to games coverage. We’ve experienced some of the year’s biggest games from street level, at the same time and in the same way as our readers.”

No.

It isn’t just about “spoilers” and “ruining the surprise.” In some cases, yes, a lot of people don’t like or actively avoid leaks because they do want to be surprised. But that’s not the only thing.

By “serving your readers” and trying to dig for this information, you’re putting devs at risk. You’re putting your “sources” at risk. Now, if you were reporting on development or shady tactics or awful work environments or specific negative incidents behind the scenes or things that should be talked about, I would absolutely agree with you that you should continue digging deeper. But that’s not it. The companies trust you not to reveal something until a certain time, and you go and do it anyway.

By claiming victim and demonizing the “big bad corporation” for blacklisting you, you minimize the actual stress and hardships it put on the smaller guys in the company that the entire company is built on. You completely brush it aside and paint the entire company as irrational. You completely neglect the plight of the actual people working on it, and disrespect them by revealing their information before they do, when they have worked for SO LONG on whatever project it is. Like JP Kellams said, devs earn the right to talk about their product because they worked on it for so long. You haven’t.

And then... this paragraph.

“Too many big game publishers cling to an irrational expectation of secrecy and are rankled when the press shows them how unrealistic they’re being. There will always be a clash between independent reporters and those seek to control information, but many of these companies appear to believe that it is actually possible in 2015 for hundreds of people to work dozens of months on a video game and for no information about the project to seep out. They appear to believe that the general public will not find out about these games until their marketing plans say it’s time. They operate with the assumption that the press will not upend these plans, and should the press defy their assumption, they bring down the hammer. We make our own judgments about what information best serves the news value of a story, and what our readers would prefer not to know—which is why, for example, we omitted key plot details from the Fallout 4 scripts that were leaked to us. We keep covering these companies’ games, of course. Readers expect that. Millions of people still read our stories about them. The companies just leave themselves a little more out of the equation.”

I never thought I’d see the day when video game companies were being victim-blamed.

Frankly, by leaking information, it ruins the relationship between the companies and the journalist, because then the company will start to make generalizations about journalists and not trust them, thinking that they will reveal whatever information they give them, which makes journalists like this press harder for information, and can you see where I’m going with this? It’s a cycle of mistrust, perpetuated by journalists like these who go against the wishes of a company that just wants to keep something a surprise until a certain date.

And then this motherfucker has the audacity to frame companies blacklisting reporters that leak information as bad! “They operate with the assumption that the press will not upend these plans, and should the press defy their assumption, they bring down the hammer.” Why are companies wrong for trusting journalists? Are you implying that all games journalists are untrustworthy, because they won’t respect the wishes of a company that gives them the information in good faith that they won’t leak it? You do say that “it is nearly unfathomable to me that a reporter would sit on true information about what’s really happening in gaming, that we would refrain from telling our readers something because it would mess with a company’s marketing plan,” so I don’t know, maybe you DO think that all games journalists should immediately report on confidential information that the game companies are going to eventually reveal anyway and while only really receiving clout in return. Oh, whoops, got a little bitter there.

“They appear to believe that the general public will not find out about these games until their marketing plans say it’s time.”

Maybe because people like YOU are the ones who leak it! You can just as easily, you know, not fucking do that! This feels more like an excuse to not accept responsibility/deflect criticism, because ‘the companies shouldn’t have expected us to stay quiet!!!’ This is just straight-up victim blaming. Like it’s actually kind of scary.

It’s this ideology that Kotaku seems to stand by, as LKD once stated that higher-ups look over the written articles to approve them, and to my knowledge, Kotaku hasn’t redacted any of these statements, so I’m assuming that they still stand by it. Them spreading this ideology is what perpetuates the idea of game leaks (of the non-accidental, non-ethics-related kind) being “good journalism,” and with how much reach Kotaku has, it has the power to be legitimately damaging.

“They have done so in apparent retaliation for the fact that we did our jobs as reporters and as critics. We told the truth about their games, sometimes in ways that disrupted a marketing plan, other times in ways that shone an unflattering light on their products and company practices. Both publishers’ actions demonstrate contempt for us and, by extension, the whole of the gaming press. They would hamper independent reporting in pursuit of a status quo in which video game journalists are little more than malleable, servile arms of a corporate sales apparatus. It is a state of affairs that we reject.”

And here it is: Kotaku was just the humble, underdog reporter just doing their job, and the publishers show off contempt for the entire industry (rather than just Kotaku itself, I guess blacklisting one site means you hate all of games journalism) for Kotaku simply doing their jobs!

No, you ignorant twat, you broke their trust, so they don’t want to talk to you anymore. You don’t get to play victim when YOU were the one who blew the whistle.

Now, I cannot stress this enough: I am only talking about leaks related to game announcements, content details, etc. that are deliberately leaked to the public from an inside source. I am not talking about leaks related to ethical violations or troubled development or other negative things within companies. Those are things that should be reported on. But that kind of thing isn’t primarily what Kotaku is talking about and promoting; they are promoting the reveal of information because it’s “just good journalism.”

Except, as shown above, it has some very dire, very real consequences for the people you don’t see, and maybe that’s why Kotaku is so adamant about defending themselves in this regard. Maybe they don’t see the living, breathing people who get affected by their leaks, and so they think they’re fighting against the Big Bad Corporation when, in reality, it’s much more complicated than that. It doesn’t feel real to them. Or, maybe they do and they just don’t care. I genuinely cannot say so one way or the other.

I really, truly hope that by reading this, you the reader have a new perspective on how leaks of that kind affect the industry, and the little people whose backs the companies are built on.

As for the article and Kotaku as a whole...

“Kotaku readers always deserve the truth. You deserve our best work. It doesn’t matter which company is mad at us today, or which companies get mad at us in the future. You’ll continue to get it.”

Fuck yourselves.