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yumespooki · 4 months ago

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☆Why Gregor is so important than you think and the series' relationship with tone

Im obsessed with an old man and I have all reasons to be also I have to sleep but I really need to make a colleague of gregor photos as the header image-

◇Part 1 - How The Tonal Shifts happen to be

Episodes 1 to 3 was all silly fun, though we have the idea that the series is gonna have a progression to having a consistent plot and story since Episode 2 setting up the episode formula of events/segments:

Skid and Pump doing mischief around town, there's separate segments of major characters that they come across and the villain that sets up the plot - who are in concept supposed to be parodies of horror villain stereotypes.

And its all fitting in Pelo's style except its actually understandable and not have characters turn cartoonishly eldritch every 2 seconds.

Yknow we got SM 1 was an average pelo video then SM 2 is where we got the formula, everyone were just trope templates and the one that sets up the lore

SM3 is where things get normal but it's still silly, you can tell by the soundtrack, Moloch's theme is on dubstep it bangs BUT also introduces the Episode ending set up for its next villain.

Then SM4 happened. Oh Deadly Smiles my beloved, still my personal favorite

This where the good shit happens with different segments under 20+ minutes with finally having a grasp on how the episode formula works

Though this episode is kinda.. the chillest one among the episodes???

Everytime Skid and Pump goes around town with Spooky Swings playing, it's always fast paced and they immediatly go to the next in a few seconds but in Deadly Smiles, they take long stops before going to their next location. Most Characters also spend most of if not any of their screentime without Skid and Pump in it. [especially Kevin] it has its own unique tone and its cozy solely for it being winter themed.

Other than the more chill pacing, You got the rabid doll running place to place and getting thrown around to people to people to show what hes suppose to parody that when Dexter actually shows that he can be a threat is a really effective moment and really got me going "Oh shit OH SHIT"

But the scene that truly shaped Spooky Month the way it is now is the scene where he snaps at the kids, that moment is so important to the series because of the sudden change of tone to spooky/silly to scary. We couldn't see Dexter as a threat before this because the tone and plot prevents him to be one especially to poke out the trope of Doll killers but at this moment, the moment he expresses his situation and conditions, he went specific. and from there you don't see Dexter as a simple parody for the sake of being a parody anymore, Especially being a parody based on Chucky --who uses dolls on his advantage-- but For Dexter, below the surface is a man doomed from the circumstances that he desperately wanna get out of.

Episode 5 immediatly tells you its meant be atleast scary from the get-go since it was already established seconds into the episode, and only in the last minute with Lila it left us with an ominous note

Ok to be for real, I consider Episode 5 kinda standard compared to Ep 4 and 6 but is more better than the early 3 eps and I appreciate as the middle ground between Deadly Smiles and Hollow Sorrows. And also more cop screentime my luvs

And mainly the reason why I said this because of Bob. The villains of Spooky Month is always tied with the tone because they are the guys that bring the tension. Bob's kinda monotonic because his behaviour pattern in this episode is repetitive: He slowly approaches people, give them meat fact, dosent or fails to kill them, gets slapped with slapstick. Even at the climax where he's actually at his most effective by being actually terrifying, he still gets disrupted for comedic purposes.

He has a balance of being actually terrifying and being a parody by his slow movement trying to set up tension.

Incomparison to Dexter, yea he gets thrown around but they get to take him seriously at the right moment and being thrown around to different people showing this disadvantage will show you the wide range of what the characters will do with the doll, Bob just scares them throughout the episode.

And I can't be mad about it because Bob purposefully is doing that to distract the cops from the cult case especially thinking he can't die.

But Bob is still effective as a villain. He manages to get you on edge and also opens questions to more lore stuff. And this episode is also the most creepiest because of Bob's behaviour along with that Lila encountering him along with finding out he's in her photo book probably shaped Lila to her behaviour in episode 6.

Still a good ep. Alot of insight of other characters' lives is my main highlight of this ep

Then Episode 6 has Father Gregor finally established as a proper character now that's where the interesting THING starts;

◇Chapter 2: Why is he weird in a weird show

When Father Gregor is on screen, do you feel.. put off especially when he's first introduced into the episode? Like when we were first introduced to doll Dexter with actual spinechilling ost and visuals we were already accustomed to this to be something expected through the Newgrounds endings with its ominous tone, expecting to transition it to the main story especially in with Tender Treats being almost that except more heightened.

But with Gregor, I don't have the exact words to explain the tonal dissonance he gives us. He has a very clear leimotif soundtrack throughout the episode everytime he's on screen even disrupting themes of other characters or locations [like the candy club like what the fuck gregor excuse yourself] that it even turns to a more epic variation of itself with Moloch's exorcism.

since this guy has seconds of screentime on his 1st debut,he's unpredictable especially when each episode has a formula of events with characters that we are familiar off. and we know that there is atleast something goofy going on with them - except for the cops but for them they act silently or accompany moments with the characters - But Gregor dosent accompany character moments he's the goddamn spotlight, the emphasis on his scenes are on HIM like out of nowhere we got this guy coming along. Its kinda of a new breathe of air to have him around because we never got anyone else to come along with the Spookeez all around town and setting up their dynamic with the kids.

Oh and finally we simply state the whole point of Gregor and why he's so out of place -- his seriousness. He was never associated with the series' shenanigans, and questions his surroundings. He dosent enable himself with the series' comedy and at somepoint that it tries to bring him along for a second with the spooky dance. Hes not only unfamiliar in story wise but by environment wise. there was a little analysis essay I made a while back with how Gregor as a person in the setting is off to the townsfolk as they are mostly unfamiliar with Religious figures as the church was newly built, and everybody else never acknowledges his presence as a priest — Kevin and Frank calls him an old guy/man Radford dosent take him seriously because he mostly seen priests through movies, Jack has to ask if Gregor is one and Skid and Pump dosent know how the term father works in the church that even tells something. Only a few characters recognizes his role as a priest being Michelle, John, and Evermore.

Now let's move onto Gregor not following the goddamn script of being part of a parody

Ep 6 has the basics of a parody of exorcism movies: demon - check, priest - check, the victim check that's your main elements, but they never utilises these as.. parodies, because when one of the core elements acts like a normal guy and has a standard behaviour of a priest in those kinds of movies that wasnt exagerrated for the parody and has never been that early into the series to being so associated with the silliness of it making fun of horror. We had time with Moloch since Episode 1, 2 and 3 We witness his time from being just a gimmick character to being one of the mysteries and coming back as a serious threat.. or is he? Because on the 2nd half of the episode, Moloch's running away from Gregor, and attempts to fight back by trying to possess anyone on his way but in the end Moloch is defeated and the kids seeing this breaks their relationship with Gregor. At this point he himself is also an antagonist.

With Gregor breaking the law of parodies, and also breaking the traditional set up of villains for this series, he also differs alot of the standard priest character that he's supposed to be because usually those characters cannot exist outside of being the guy battling the supernatural forces—they are not the main focus. With Gregor, he's more than just an exorcist as for the most part we see him as a normal priest first, exorcist second. he's so determined in his job that any threat given to him makes him more motivated and half of the episode he spends his time teaching the kids to behave.

◇<Gregor and Tension>◇

We already established Gregor as a villain so what else is weird about this bald fuck

From Episode 4 we now get ourselves a consistent line of villains with Dexter being a strong start with the earlier mentioned being the guy responsible for the main story's tonal whiplash

Dexter, Moloch and Bob are villains with their main thing and concept as something terrifying — Dexter's an insane doll, Bob's a cannibal butcher and Moloch's a child eating demon who gives terrible side effects at something he possessed dead or alive.

Horror villains always relied in creating tension to make anyone scared. Dexter creates tension with his uncanny presence as a doll, along with his fast movements contrasting this with Bob, being slow and uses psychological intimidation than being fast, and watches his victims reacting to the situation their put into. Then for Moloch, he is tied with Gregor because how he creates tension is in complimentary with him.

The scary thing about Moloch comes from the ARGs mostly since that's where they build him up as a serious thing to handle in the series after Episode 3, but unfortunately for him as his debut as a serious threat has to be shared with just a dude

OK Moloch's scenes relies on a psychological effect because of his ability to possess people which he possess characters we seen before and are individuals. If you think about Dexter, we saw him killed off for a fucking joke then proceeds to be a threat for a whole episode by the result of his decreasing sanity of being stuck inside a doll. then you realize he's also someone's son. Both got killed by Moloch and used their images as his best attempt to manipulate Gregor which only angers him and makes him more determined to finish him off. Even psychological moves dosent work on him. Now at that point, Moloch lost the hold of the tension's weight. Rather than heightening a terrifying scene like a typical spiritual fight scene, Gregor steals it and heightens it by what made him unnatural since the start – he's constant seriousness that defies the the overall tone that it becomes a keypoint from the episode onwards, making Moloch run away.

Their last confrontation has Gregor on the upper hand with a successful exorcism and a banger of an ost that I still think about to this day, and it was never something to replicate horror. They were no terrific aftermath or a good ending, only the tears of children that comes after it, a dislikeness to the religious figure, and an awareness to how the series' main thing of silliness and chaos was all from an unsupervised kid and a bit carefree mother.

◇Chapter 3: the old man has a hold on the narrative

At the start of Episode 6, We were dismissed with a moment with Skid and Lila, about her situation arranging the house and Skid's Dad with her distracting Skid to go play with Pump. We know somethings off but this was already delivered from the ending of Episode 5.

Gregor states himself at the start as a guide to the children to reflect and be better, but how he delivers this wasn't clear to Skid and Pump and goes around apologising with no single thought other than this being important to their parents. The episode's main point was because of Father Gregor assisting the kids.

then the second that they got the parent thing shoved to their faces is with the cops, also one of the more grounded characters in the series but again they enable the goofiness of the series especially with Jack and his lowkey high kill count- Now that's when the themes of family are very stressed with the whole thing now about to ingrain in Skid and Pump's head.

Now to the scene where Skid and Pump cries for Moloch and now hates Gregor. It's all on him – he leaves without the need of approval but get his message and judgements clear. As he leaves the main cast and onto the church, he's finally at his most vulnerable. the tension spotlight is not on him anymore and has no control of the atmosphere as the Cult comes into the scene.

But what he does have control of was the effect he gave on the kids as his message of apologising and reflecting was the episode's ending note. Not only that, We got the tonal shift to scary, serious to bawling our tears out?? It was implied throughout the episode that the themes of family, especially broken ones are strong and the last scene of Skid apologising and hugging his mom was the perfect completion to build all of that. Not only the tension between Moloch, and Gregor is there the other important thing was the emotional tension.

This signals that Gregor's presence was such an impact that it still lingers, like the piano at the last scene that he's always accompanied with in the soundtrack. in the end it shaped the kids that gives a significant emotional weight into the narrative from now on.

And what do we do now if Skid and Pump finally reflected?? Will things change? Will they not go out and do havoc anymore? Will things lose the general comedic feel to something more serious? We don't know

But it's all really thanks to Father Gregor Raguel.

Conclusion:

Tldr: Gregor is so odd to the show because of how serious he is that it extends to him breaking in series and horror traditions to the fucking narrative of making the series have some emotional weight

#father gregor #father gregor raguel #spooky month father gregor #skid and pump #spooky month

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literaryvein-reblogs · 5 months ago

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Writing Notes: Literary & Character Tropes

The word trope comes from the Greek word tropos, meaning a turn or change of direction.

Tropes

Figures involving substitutions of predictable words with terms that deliver nuanced meanings serving an argument.

Now used in cultural studies in a much broader sense as a recurring cultural signifier.

Traditionally the four ‘master tropes’ are regarded as being: metaphor, metonymy, synecdoche, and irony.

Modern Definition: Themes, motifs, plot devices, plot points, and storylines that have become familiar genre conventions.

PURPOSE: All writers manipulate language to create certain effects. At the level of individual phrases and sentences, the skillful use of tropes is key to creating writing that’s fresh, memorable, and persuasive. Poets might spend hours trying to find just the right metaphor (i.e., a figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them, as in "drowning in money") to capture a mood or sensation, while marketers might use antanaclasis (i.e., the repetition of a word within a phrase or sentence in which the second occurrence utilizes a different and sometimes contrary meaning from the first; often found in slogans) to create a punchy catchphrase for a new product.

5 Examples of Literary/Character Tropes

1. all lowercase letters - a stylistic choice in which all text is in lowercase letters. it can be thought of as the opposite of writing in all caps when emphasizing a point, in which case it can be used to give a melancholic feel to whatever you're writing. it is not generally thought of as orthographically correct, giving it (if only in the eyes of advertisers) a casual, hip feel, as if to say you can't be bothered to use the shift key. also used in a visual narrative sense to indicate childishness or, in some cases, idiocy. on a darker note, however, this trope also has a tendency to show up in many an apocalyptic log where it usually is used to denote the point where the unfortunate author has gone insane or otherwise given up all hope.

2. Anti-hero - A character who lacks a handful of the traditional attributes of a hero but is ultimately heroic. They may be bewildered, ineffectual, deluded, or merely apathetic. More often an anti-hero is just an amoral misfit. While heroes are typically conventional, anti-heroes, depending on the circumstances, may be preconventional (in a "good" society), postconventional (if the government is "evil") or even unconventional. Tony Soprano, Walter White, Don Draper, and the grittier versions of Batman are all prime examples of modern antiheroes.

3. Byronic Hero - A character notable for being sullen, withdrawn, hard to like and hard to know, but usually possessing a rich inner life and a softer side accessible only to a special few.

4. Chekhov's Gun - Anton Chekhov, master of the short story, gave this advice: If it's not essential, don't include it in the story. The term has come to mean an insignificant object that later turns out to be important.

5. Unreliable Narrator - In most narratives, there's an element of trust that the person telling you the story is telling the truth, at least as far as they know it. This trope occurs when that convention is discarded. The narrator's facts contradict each other. If you ask them to go back a bit and retell it, the events come out a little differently. Example: Franz Kafka. Due to his famous style, he's able to directly contradict himself within the same sentence, AND make it so subtle that a casual or superficial reader will scarcely notice. The Metamorphosis and The Judgment stand out in this respect.

Sources: 1 2 3 4

If these writing notes helped with your poem/story, please tag me. Or leave a link in the replies. I'd love to read them!

More: Literary & Character Tropes

#writing prompt #literature #writeblr #writers on tumblr #poets on tumblr #writing #literary tropes #character development #poetry #creative writing #writing reference #dark academia #light academia #studyblr #langblr #tropes #writing resources

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essayofthoughts · 4 years ago

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🎤fave line in a fic you wrote, 💎 fave trope to write, and 🌍fave type of au to write? :D

🎤fave line in a fic you wrote

Man, that's a hard one. A lot of my favourite lines are ones that hit the best in context, due to repetition or how they’re used in that story.

But all in all, if it came down to it... probably not what anyone would expect. If it came down to it, my current absolute favourite line I’ve written across all of my fics would be from Another’s Hand:

The arm is this to Bucky: A tool. A thing not his own. A thing given to him, yes, but it doesn't belong to him any more than he does.

Which ties and mirrors to a later line:

(It was never his, even as they bolted it into his bones. Another man's arm controlled by another man's will to serve another man's purpose.)

Another’s Hand is one of my three Bucky-centric short study fics, of me playing with the lines between Bucky and the Winter Soldier, the violation and trauma of it and the knockon effects. The fics are in specific: Another’s Hand, a patient etherized, and Puzzle Pieces and I am very proud of them. In this specific case, it’s Bucky’s questions about what the metal arm is, given it’s place in the trauma and violation visited on him. It is hugely representative of all that, but it’s also useful, and it has, over that time, become a part of him as well - it informs who he is in the present. It’s not unlike how our experiences, good and bad, become parts of us, and we have to find ways to reconcile ourselves to the the changes those experiences have wrought on us.

If you want a runner up favourite line, it’d be this, from one of my more recent Critical Role fics:

There’s a twinge in his back - he probably pulled something in his fitful sleep - but he stretches his arms out, feels everything click into place like the bolt and barrels of his guns.

This is from even his worst, which is a Percy character study set immediately after Crimson Diplomacy. My friend @chamerionwrites most accurately pinned why this is one of my favourite lines - I love analogies and like them, I especially like analogies that reveal something about the character. I use a lot of structural analogies in my Maximoff fics when talking about mindscapes, but Percy’s a much more mechanical individual - there’s a reason why that balance may return talks about carriage springs as a comparison for tension - but this allows you to infer much more about who Percy is and how he perceives himself and I’m very proud of it for that.

💎 fave trope to write

Oh well all know this. Pain! Of some kind. I like emotional hurt/comfort as a means of character study, or just character hurt as a means of character study. Geode method of writing - to see what a character is made of, first you must break them. Hence: angst.

Also I just... I really like seeing how people respond to pressure. We’re all very different people in the world and where pressure encourages some people to strive, in some cases it breaks people, or twists them into a terrible, painful shape. It creates something new out of them you wouldn’t find in other circumstances and I enjoy writing the struggle of that, as well as a final recovery and... coming to terms with the changes the world puts you through. I like doing it for characters I relate to and characters I don’t much relate to, characters I like and characters I dislike, and even sets of characters I like but which don’t much like each other in the source canon.

Mostly because I think it’s worth while to look at all of these different perspectives and different ways people respond and accept that they’re all allowed to have these complex and very different attitudes to things - that there’s no one perfect way to do things and that sometimes, through no fault of anyone, people may fall apart or come together. Sometimes someone clicks with someone in a way they didn’t before, and sometimes they become so different they no longer click as they once did. That doesn’t mean either person is terrible for it - just different. And that can be hard to accept with IRL people, but fiction is there as a trial run for reality, in a lot of ways. It’s a safer space for us to explore uncomfortable emotions, so I try to offer that opportunity in my fic - cases where no one is right but no one is wrong either.

Or... or sometimes, another favourite: where someone is wrong, terribly so, but you can understand why they’re doing and/or believe the terrible and objectively wrong things.

We’re all capable of terrible things. We’re all capable of justifying or excusing things. And I deeply like leading readers slowly towards something that horrifies them but that the story allows them to completely understand the motivations of. It’s a tricky path to tread but I firmly believe reading things like that, learning to see how people justify those things to themselves, allows you to better catch yourself in the act of those things and keep yourself and your actions in line with your morals.

🌍fave type of au to write? :D

Okay, this is going to be terribly specific but: I like AUs where I change a very small thing which doesn’t affect plot or overarching, externally-caused events so much, but still allows me to really dig into the meat of a character’s personality, nature and problems, as well as the themes they pull at both in canon and in the context of the fic.

This is what I mean when I talk about using meta in fic - I’m not talking about writing meta and posting it as fic (that’d be mistagging, bitches), I’m talking about using what you read in what you write. Using what you learn to make your creations better. There’s a lot of observations you can find in meta that it’s worth trying to incorporate into your fic to give the characters and the story a greater degree of nuance and depth - to make the story overall more interesting and engaging.

Send an emoji from Here to have me answer questions about fic!

#sorry this took so long rosie #life has been just. busy #ramblingredrose #fic things #ask games #asks

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laureviewer · 4 years ago

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Persona 5 Royal: A Review

It’s finally time to review one of my all-time favourite games.

I first played Persona 5 around 3 years ago, and I’ve really grown since then in a few ways. A few thoughts before I begin: a) since my first playthrough, JRPGs have cemented themselves as one of my favourite types of games; b) I don’t hate all turn-based RPGs except Pokémon anymore!; c) after my first playthrough I went to Japan, and as Persona 5 is set in Tokyo, playing Royal was a lot of fun as I knew a lot of the locations, which meant I could dive into the setting deeper than the first time; and d) my 250 hours of playtime in total across both playthroughs can most likely be attributed to the incredible writing and masterful character development.

Warning: HEAVY story spoilers

I’m not trying to sell you a game. I want to give you an in-depth analysis of the story, characters, gameplay and all other aspects of this brilliant game, spoilers and all. I want a discussion. So, dive in and see what I really thought, no holds barred.

The Silence is Deafening

‘…’ – a direct quote from our protagonist, there. Our silent hero, codename Joker, is a victim of circumstance. Wrongfully accused of assault by a mysterious man who is angered that a kid prevented him from forcing a woman into his car et al., he must move away from his hometown to wait out his probation period and live a normal student life. Why must he live above a failing café under the guardianship of the cranky owner? Not to mention: why is he banished to Tokyo of all places, somewhere very likely much more exciting than wherever his hometown is?

Either way, Joker isn’t going to tell you. He’s quiet and lets the other many, many other characters do the talking for him—a usual trope of JRPGs, but it is still an issue as he is also put on a pedestal as an incredibly special, talented, empathetic and all-round great guy. He’s the only one capable of saving the world, as he has abilities no-one else has, for some reason.

But this isn’t as bad as I’m making it out to be. Sure, it doesn’t really make sense why you have such a huge following when you don’t have much of a personality, but that’s the beauty of the silent protagonist. You, the player, are the protagonist. The fact that you can even put your own name in as his name is telling. You make the decisions, you make the friends, and you carve out your own destiny from the choices you make. It’s always these kinds of games that, when I talk to my friends, I say ‘I messed up with Sojiro’ or ‘I went to the arcade today’—and it is me. Because even though I’m not a woefully silent Japanese male teenager with glasses, for the time I’m playing Persona 5, I am.

So, you are the protagonist. You learn that there are mental shutdowns all over Tokyo, making people go crazy and kill lots of people, such as a conductor crashing his train, or simply killing people on the spot. It’s weird, but what can you do? You’re just a student with his own problems: not only do many of the students avoid you because you are a delinquent, but the volleyball coach, Kamoshida, seems to be harassing students, from the ones on his team who seem terrified of him, to girls that are being hit on. When a strange app appears on your phone, you accidentally find yourself in the metaverse, along with Ryuji, who also has a good reason to get revenge on Kamoshida.

I Am Thou, Thou Art I

What teenager doesn’t have a rebellious self hidden deep within their subconscious? Well, these teens can utilise that hidden self past its usual constraints to overcome the crappy adults that suppress them and make detrimental decisions for them. Once Joker and Ryuji, and later many other young adults, realise this potential and recognise that these adults need to be stopped, they are awakened to their Personas. A Persona is a manifestation of a persona user’s personality, which the individual can use to face hardship and overcome injustice, even if just in the Metaverse, the collective unconscious world.

But, really, there’s no ‘just’ about it. Here in this world, which take the form of Palaces, the Phantom Thieves (you and your friends) can defeat the ruler of the Palace (the adult with a distorted desire) to convince them to change their heart. In this way, the ‘real’ them in the real world will atone for their actions and justice can be served. So, really, your actions are vital to solving crimes, dealing justice and, eventually, saving the world.

These Personas are like Pokémon for adults. You are special, as you can catch and wield multiple Personas, allowing you to have a whole array of powers, but your friends have one that they train and evolve throughout the course of the story. Catching them is a skill: you have to learn their weakness, and use a skill that takes advantage of it to ‘down’ the Persona. This gives you a chance to either: perform an ‘all out’ attack which sees all your allies fight them at once for increased damage; ask them for money or an item; or negotiate with them to convince them to become a part of you (and thus catch them for use later). This gets harder when there are multiple different Personas to battle at once, all with different weaknesses and strengths that means you must time your combat precisely to ‘down’ them at the same time.

Personas are one of the best parts of the game, as you can see.

Not happy with a persona’s moves, or you want to create stronger ones? Go to the Velvet Room, where Igor and the Twin Wardens Justine and Caroline will fuse two or more Personas together to create new ones.

This is where the Pokémon element is better and worse. You can get completely new and stronger Personas immediately, which is cool, but if you are particularly drawn to one it doesn’t make sense to keep using them as they will level up far quicker if you fuse them than if you keep them. I struggled with this at first, as Arsene is your first ‘official’ Persona, and I couldn’t quite believe you are only meant to have him for the first few hours. It’s like Ash giving up Pikachu after defeating Brock!

Also, have you seen how you have to fuse them? It’s so dark and unnecessarily vivid! You have to guillotine, electric chair or hang them in order to create these new Personas, which is so different to Persona 4 where the Personas are cards, making it less gruesome to get rid of your companions. It definitely made me feel bad for fusing them, but that didn’t stop me!

Essentially, the Persona franchise wouldn’t be the same without all the incredible Personas you fight and capture along the way. It really encapsulates what the games are like: stylized and deeply considered, exuding character and imagination throughout.

Take Over, It’s Time to Put You Down

Using these Personas are a lot of fun, too. The moves are elemental as well as physical, they can inflict ailments such as ‘sleep’ and ‘fear’, and evolve as you and your Personas level up. Personas all have strengths and weaknesses, and by fusing them, you can create Personas with stronger moves and resistances that, as you get towards the end of the game, means that you can fuse some incredibly powerful Personas that can fight any and all enemies, if you’re smart with the moves you inherit.

This all sounds very similar to Pokémon, right? Well, there are other more showy, fantastically fun elements that integrate beautifully with the stunning graphics to make every battle (which have the potential to become very repetitive) exciting and challenging. When a character manages to ‘down’ an enemy by using a move that is strong against it, they can either do another attack or choose to Baton Pass to an ally, chaining super-effective attacks to down multiple enemies in one round, which is useful if there are a lot of different enemies with different affinities and weaknesses. Then, once all enemies are downed, all allies can come together for an All Out Attack for an extra boost of damage.

As much as this is useful for the player, if the enemy downs one of your allies, they can also do a secondary attack, which means that they have the potential to wipe out your team very quickly. Plus, some moves are one hit kills, which may have low accuracy but is still extremely frustrating sometimes, particularly in regular 5 where I found the combat more challenging. The worst boss fight was Haru’s dad, where I actually had to change difficulty for the only time throughout the game—who decided it was a good idea to revive the robot shadows if you didn’t kill them in three moves?!

The Showtime moves, new for Royal, bring a fresh new element to the game. As you progress through the story, your allies start forming bonds, which will then be reflected in combat. At seemingly random times, they can join up with fantastic new animations (such as Yusuke cooking Ryuji some yummy food at a bar, who get interrupted by a shadow coming in the door, and they both take it out) and inflict massive damage. I was sad that Joker doesn’t get one, until the Royal section where baes Akechi and Sumire both team up with you respectively for new Showtimes. It made me wonder whether Joker just wasn’t as close to the rest of the team as he becomes to Akechi and Sumire, which actually also made me glad that I focused on both of them heavily in my playthrough!

Every song that plays throughout the game, including combat, is a banger, so even though my husband got annoyed hearing it coming out of my TV for 120 hours, this soundtrack will remain one of my favourites to date. Overall, the combat is great, and thankfully not too repetitive after so many hours of gameplay.

Adulting is Hard

The story of Persona 5 is deeply gripping, and keeps you invested and interested the whole way through. It didn’t absolutely destroy me like other JRPGs have done (see: Final Fantasy XV), but fun, emotive and has huge repercussions if you don’t succeed in your mission, including people dying and the world ending. No pressure, then.

Your actions, then, are crucial to making the world a better place: and the villains that you encounter are integral to succeeding. In true revolution fashion, it’s the kids that need to stand up to the adults to rid them of their distorted desires—but it’s not all random. The adults are truly abhorrent (the first one, Kamoshida, sexually assaults female students and physically abuses members of his volleyball team) and they continue a running thread from first to last—that is, the ones who you think aren’t connected at all seem to be connected to the final villain by the end. It’s very clever, and kept me gripped the whole way through—something that’s needed with 80+ hours of gameplay.

The writing is absolutely fantastic. All characters have their own distinct mannerisms, personalities and stories, which you get to explore with the Confidant mechanic (see below). The voice acting is great, and as I progressed through the Confidants, I really started to feel like they were becoming my friends, and that every time I turned on my PS4 I was hanging out with my pals again. It’s the way games should make you feel—like you actually care about what will happen to them.

This does make the game quite stressful (in a good way), as what you do has actual repercussions. It’s a bit frustrating sometimes that some of your dialogue doesn’t affect the game at large, as well as your romance choices. None of the characters acknowledge you have a girlfriend, and if you date Ann, for example, she won’t act any differently than if you decide to not even become her friend. While that’s disappointing, other dialogue choices can completely affect your game so that you always have to be very careful with your decisions. Will you get the ‘bad’ ending, where you fail to stop the final villain; the ‘good bad’ ending, where you accept his distorted view of the world; or the ‘true’ canon ending, where you revert the world to normal? A lot of choices throughout this lengthy game affect what ultimately happens, so you do feel like you’re affecting the story a lot more than, say, Pokémon. In fact, in Royal, you can even miss out on a whole section of the game…

Ascending to Royalty

As long as you max your Confidant links with Akechi (the renegade teen detective), Kasumi (the new gymnast freshman at your school) and Maruki (the school counsellor), you get to experience the 30+ hours that Royal adds to Persona 5. And—major spoilers here—once you’ve defeated the God of Control and exposed Akechi for the unhinged betrayer that he is, you should go to juvenile detention and your ability to use Personas should be gone for good, as Momentos has been destroyed.

However, in Royal, Maruki has figured out how to use cognitive psience—and you’re the reason why. His sessions with you has helped with his research, and so now he can make the world a better place by granting everyone’s desires in the collective unconsciousness.

As you can see by his actions, he’s not your typical antagonist. His heart is completely in the right place: he wants to make everyone happy by granting their desires for them, such as bringing back Futaba’s dead mother and helping Ryuji recover so he can get back on the track team. I resonated with that, and actually wondered whether it would be worse for certain characters, particularly Futaba and Haru who get to spend time with their respective dead parents, to reject the “blissful ignorance” reality that Maruki had created for them in favour of the truth.

By this point, I had grown rather fond of the deranged but entertaining firework that Akechi has revealed himself to be, and once I learned that Akechi would die (as he did in regular 5) if Maruki’s reality were to be revoked, I almost chose to accept it. But Akechi being adamant that he was going to stop Maruki no matter what as he didn’t want to live under anyone else’s rule helped make that choice for me. It was difficult, though. Akechi’s is a motive that is simultaneously selfish and noble: selfish as he doesn’t want anyone else to control him, even if that means other people are happy, but noble because he values the truth above all else. Plus, the fact that he was one of the main villains throughout the story up until this point made me question whether we should continue to trust him, even though he had decided to help us, even if it were primarily for his own gain. I think my fondness for him (perhaps because he is a fully-fledged Confidant in this game, unlike regular 5) and the wildcard elements he brought to the game made me feel a certain brand of loyalty towards him, and so I chose to honour his “dying wish”. And, of course, this path led to the ‘true’ ending!

This indecision is shown most clearly in Maruki’s palace, where you have to deduce what decisions in certain situations Maruki would think is the ‘right’ one. It really helps you understand where he’s coming from. For example, his question ‘if your friend is being attacked, and you don’t have much time before they get seriously hurt, would you a) run to get help but you might not make it back in time, or b) join the fight to help but you might get hurt yourself?’ Neither answer is necessarily wrong, but b) is correct as Maruki simply wants you to look out for yourself over others. The crux of his viewpoint is that you should endeavour to make yourself happy or safe, even if that means others may not be. It’s a very interesting conundrum, and one I enjoyed debating philosophically whilst playing.

The concept of right and wrong and mental health was also tackled in this game through Kasumi/Sumire. Ultimately, even though Maruki wanted to help her by allowing Sumire to pretend to be her dead sister, as she blames herself for her death, he ultimately did her more harm than good. With the support of Joker and the others Sumire was able to overcome her delusions and grow into a strong, confident young woman. This cemented for me how backwards Maruki was and that reality is the most important thing, even if it’s not always what we want, because that’s life. In this way, I feel that Royal added something to 5. Even though going into someone’s mind palace was about mental health, I never really considered it until Royal dealt with an innocent traumatised girl and a misguided man attempting to heal her. I applaud Atlas for tackling something so difficult pretty well.

Confident in my Confidants

It’s a good thing the player can really get into the story, because it’s heavily dependent on personal decisions and making friends.

In order to get stronger within the Metaverse, Igor, the man inside the Velvet Room, tells Joker that he needs to strengthen the relationship with his friends first. This is absolutely true—not just with your teammates, but with other individuals who live in Tokyo too, in the form of the Confidant mechanic. For example, while your teammates all get skills such as curing afflictions and taking fatal hits for Joker, others give just as much if not more valuable perks, such as Kawakami giving you more free time or Mishima allowing all teammates to gain experience even if they don’t contribute to the battle once you max them out.

The way you level them up is through socialising. This passes time, but is also incredibly interesting, as each Confidant has a gripping story (except Ohya!). You can’t downgrade a Confidant, but picking the right dialogue choices can make leveling them up much quicker in a game where time is everything. It’s also necessary to level up your stats, such as knowledge, kindness and charm, to allow you to progress with some Confidants and be empathetic or charming enough to deal with the situations thrown at you. I loved the dual play style of dungeon battles and social simulation—in a lengthy game, it broke up gameplay and kept it fresh.

As this was my second playthrough, I already knew that maxing certain Confidants would yield the best results, such as Kawakami and Yoshida who eventually allows you to negotiate with and catch shadows of a higher level than you. But in Royal, the new additions of Counselor, Faith & Justice—Maruki, Kasumi & Akechi—freshened things up. Technically, Justice isn’t new, but you can now hang out with him instead of his progress being facilitated purely by story.

Time to rate my friends from worst to best!

21: Ichiko Ohya Devil Arcana

I found this alcoholic journalist very annoying. Her story isn’t that interesting, she isn’t very nice, and the skills that she gives you to allow you to sneak around Palaces easier aren’t worth it either. I only maxed out her story near the end as I had time, but honestly, she shouldn’t be a priority.

20: Iwai Munehisa Hanged Man Arcana

Didn’t think anything of him until Royal, where I had more time to learn about his time in the Yakusa and his son. Useful for guns (which aren’t even an integral part of combat, really), but other than that I barely used his shop—plus you have to have high Guts in order to progress. Definitely better Confidants out there.

19: Tae Takemi Death Arcana

The fact that this doctor is a sexy goth is probably the best thing about her. You can level her up quite early on, so she is quite exciting at the beginning as she’s one of the only adults you can turn into a Confidant at that point, but after a while she stopped being interesting to me. In my Royal playthrough I found I didn’t need many healing items—SP was far more important!—and in the end I didn’t max her out. A fun outfit, but can leave her.

18: Shinya Oda Tower Arcana

Definitely annoying (but what little brother isn’t?) but there’s a sad reason for that—his mum is emotionally abusive, even if she doesn’t mean to be. In the end I wanted to max him out to save him from that life, but I never quite got that far. At least I managed to change his mum’s heart before I finished the game.

He’s also quite useful in buffing gun attacks and bonuses for downing and negotiating, so definitely useful for combat. I just ended up feeling bad for him, but he was also a bit of a shit, being a bully to his classmates; his big bro Joker helped with that!

17: Hifumi Togo Star Arcana

I never got to know her in my first playthrough, and I didn’t realise how useful she is for battles. She eventually allows you to swap players in combat, hastens escapes, improves money hauls, and allows back-up members to do follow up attacks. I’d definitely give her a shot for just those bonuses, even if you don’t want to romance her—but she is sweet, if very detached from the rest of the story.

16: Chihaya Mifune Fortune Arcana

I maxed her out pretty quickly so I could get the fortune readings; affinity was especially useful, as you can level up Confidants a tiny bit quicker, for a price. And, after she takes 100,000 from you near the beginning (!) and eventually gives it back, she’s lovely. Nothing special, and definitely not one to romance, but nice.

15: Twin Wardens Justine & Caroline Strength Arcana

Their Confidant path was slightly different: you have to show them Personas with specific moves, and they will level up. This was very interesting, and also put a natural brake on their relationship, as some Personas can’t be made until you are a certain level. They are also very useful as you eventually unlock group Persona fusions and can fuse Personas of a higher level than you, for a price. Always fun to get the ridiculous Personas a bit earlier on! Also, their story was super interesting, due to the mystery that surrounds their identities…

Also also, Royal gives a new element to your relationship with them. You can now take them out of the Velvet Room to show them ‘human things’, like aquariums and cinemas. I didn’t utilise this much as you only get skill cards, and no actual level progress, but I wish I had more time, as the dialogue in these sequences is hilarious as they try to understand why humans would do certain things. The fact that I’ve ranked them so low is telling—there are so many fun and useful Confidants that mean they rank this low.

14: Yuuki Mishima Moon Arcana

I actually think you’re a bit mean to him—he’s definitely your friend, but every time you are asked to clarify this the dialogue choices make you seem like a dickhead when you say he’s only ‘sort of’ your friend! He’s helped you so much, stop being such a dick, player. Plus he helps increase EXP, as well as allows EXP to be given to back-up members so it’s definitely a good thing to max him earlier. Plus, he’s sweet, and gives you Momentos requests. Justice for Mishima!

13: Takuto Maruki Councillor Arcana

Lovely. What a gent. Shame he turned out to be distorted by deciding to change people’s realities by interpreting their vague wants instead of actually asking people if they’d WANT their realities changed or not. Sounds a bit like Thanos to me, but with a better reason to be evil.

The bonuses of Maruki though are: he’s interesting; he’s lovely; and his bonuses are mainly SP based, which is always hard to recover in Persona, especially in the early stages of the games. He raises your SP, gives you a chance to instantly recover ailments, gives you a chance to become focused and therefore raises your attack, and gives you a chance to recover your SP when low. Very useful, and you can’t play the Royal storyline without maxing him out before November 18th anyway.

12: Haru Okumura Empress Arcana

Again, I wasn’t too much of a fan of Haru on my first playthrough (perhaps because she’s quite a late addition to the team), but this time round, I had more time to get to know her. I really wanted to save her from her awful fiancé, and hoped I’d be able to say ‘don’t marry him, marry me!’ if I chose to romance her, but alas. I was also quite surprised with how business-orientated she is, which was a surprise. However, she was just too prim and proper for me, and even after her story showed her to be evolving into a confident woman, she didn’t evolve quite enough for me to be interested.

She’s useful, though, as all the Confidants are who are your team members, so leveling her up is a must, for help in combat and to evolve her Persona.

11: Morgana Magician Arcana

Morgana was the most useful as the support hero—I always wanted him in my party, particularly in hard battles, just to keep me and my allies alive. Plus, who doesn’t love a talking cat? Though, at one point, he does get moody and very annoying. While Morgana as a character was never that exciting past being the initial reason they can become Phantom Thieves and the mystery surrounding where he comes from, Royal switched that up by turning him into a dreamboat with piercing blue eyes when Maruki made his dream of being a human come true. They kept saying throughout this sequence how beautiful he was, which was amusing. A nice twist on the original game.

10: Toranosuke Yoshida Sun Arcana

I learnt to level this fallen-from-grace politician up quickly from my first playthrough as, once you max him out, you can negotiate easier with shadows of your own level, and negotiate with higher level shadows and add them to the compendium—absolutely necessary. Also, he’s basically a massive socialist leftie, so he rocks.

9: Yusuke Kitagawa Emperor Arcana

I didn’t like him much in my first playthrough, but now I appreciate him far more—he’s flamboyant, artistic and, best of all, happy to be in his own mind and be himself, no matter what people think of him. He’s a bit stuck up sometimes, but all in all he’s an outsider who fits in better than he really should. And he provides funny dialogue, particularly when interacting with Futaba. I also love his Showtime moves with Ryuji and Ann.

8: Ann Takamaki Lovers Arcana

I’m quite surprised she’s this low down for me, but even though she’s the first girl you befriend and she’s hopelessly beautiful to everyone who meets her, she doesn’t quite push past the ‘ditzy girl’ trope. The story does try to make her more nuanced, and to an extent it works—she’s also fun, thoughtful and empathetic—but there’s just too many misogynistic and ditsy jokes that even only a few years later don’t land anymore. Saying that, she literally uses her sexuality to break free of the misogyny that surrounds her body and the sexual abuse and prejudice she experiences, at the most from the volleyball teacher, and at the least from everyone around her. It’s a steep hill to climb, but she’s doing it.

I drew the picture below!

7: Sadayo Kawakami Temperance Arcana

Kawakami’s your teacher—what could possibly go wrong? Well, she’s also a sexy maid who comes over to clean up, though she won’t go any further as you’re her high school student. Yet. It’s a bit dodgy, especially as she acts like your mum, but even so, the forbidden fruit angle is fun. Her story is also compelling. Not only is she an interesting Confidant, but one of the most useful ones for the amount of extra time she gives you when you level her up. Why on both my playthroughs did I not level her up immediately?

6: Sojiro Sakura Hierophant Arcana

He’s your guardian who takes you in when you have to move from your hometown after your alleged assault to live out your probation. He starts out cranky, but has an absolute heart of gold. He ended up being one of my favourite Confidants—plus, he’s one of the most useful, as he is one of the only ways to get SP in the early game by making coffee and curry. You need to understand the pride I got from making coffee that met his expectations!

5: Futaba Sakura Hermit Arcana

Sojiro’s adopted daughter is so much fun that I romanced her in the first game. While some may think she’s more like a little sister, she’s just a bit more immature because of her hermit lifestyle and Arcana. She’s funny, loves games, and has great references; she is one of the only instances of a game that has a young girl who doesn’t sound like 40-year-olds trying to sound like teenagers. She has a heartbreaking story, but her personality keeps it light. She says it how it is, no matter what anyone else thinks. She’s great.

4: Kasumi/Sumire Yoshizawa Faith Arcana

I chose to romance the gymnast honour student in Royal, because how can you not romance the new girl? Though I wasn’t sure at first, as I found her quite twee at the beginning. However, she became a lot more nuance when she became Sumire, which is to be expected. Plus, she is really well integrated into the story and really makes you feel she cares about you. She has an amazing costume when she is Codename: Violet, and gives you some truly useful abilities, such as ambushing from a distance and avoiding being surrounded by shadows. She’s a great addition to an already great game.

3: Makoto Niijima Priestess Confidant

She’s bestgirl in terms of smarts, badassery, and simple relatability. She is Student Council President, an honour student, and has been manipulated by evil adults for their own distorted desires. Her parents have died, which instils her with deep guilt for being a burden on her sister. She’s also the only one whose Confidant story doesn’t actively revolve around herself: she changes, but it’s through helping her friend who may be a victim of trafficking rather than her own self-interests. She’s sharp, poised and even more badass when she awakens to her Persona, Johanna—it’s a freaking motorcycle!

2: Ryuji Sakamoto Chariot Confidant

Your best buddy. I’m always drawn towards these ones, who are treated a bit dumb but are loyal to the end. He’s also hilarious, like when he complains the Phantom Thieves are in the shadows and not getting any credit, and I chose the option ‘I like the shade’, he says ‘what are you, moss?!’ I really do wish I could romance him, because I can see a lovely storyline where he’s unsure at first but the fact that they’re soulmates transcends gender.

1: Goro Akechi Justice Confidant

I’m almost hesitant to admit I find him the most fascinating and fun. Not only is he dangerous, exciting and unhinged, he's at the centre of an incredible twist. He’s one of the most interesting characters, and you never know what he’s going to do next. I would definitely date him if Japanese games let gay relationships happen; he has all the best attributes for a crazy romantic relationship. Not IRL, but in a game, why not?

I love that he didn’t die and teams up with you in Royal, and that . He’s also the first character that Joker gets a Showtime move with, which made it quite special. When it is revealed just how evil and crazy he is, his whole character changes, including his Persona, his Phantom Thieves outfit, and his demeanor—it’s scary how excited he is by killing, but at the same time, he is absolutely certain of his viewpoints and won’t compromise for anyone. Many of these points would be a reason why he shouldn’t be my number one, but I can’t help it.

Honourable Mentions: Igor (Fool Arcana), Sae Niijima (Judgement Arcana) & Jose

Igor is the ruler of the Velvet Room, and the person who facilitates your rehabilitation in changing peoples’ hearts. However, ‘person’ isn’t quite right for Igor: he’s the God of Control, born from the desires of the collective masses who want to be controlled and be told what to do rather than make difficult decisions. It was a cool twist to realise that the God of Control had been impersonating the real Igor; I don’t know if Igor was lovely in the previous games, but he certainly is once you restore him at the end of 5. Despite him being interesting, I never felt like I had a connection with him, as you level up his Arcana automatically throughout the story, and he never tried to have a personal relationship with Joker.

Sae has her own palace and Arcana, but she’s not quite the same as the others. Like Igor, you level up automatically throughout the game when you confess to her the whole Phantom Thieves story, and while she does have a Palace, she doesn’t through any huge transformation other than realising that learning the truth is better than trying to win at any cost. She’s cool, and her outfit in her Palace is sexy, but you can’t romance her and can’t change much of what you say to her. I wish in Royal she could have been a fully fledged Confidant instead.

Jose counts even less. A new addition to Royal, he helps you change the cognition of Momentos by collecting stamps as you go further down, and he gives you items in exchange for flowers, so he definitely makes Momentos better. However, his addition is nothing world-shaking, and he only shows up randomly, which makes him quite annoying. I could have done without him, but at least he made Momentos more interesting than in the base game, which, compared to Palaces, was quite boring.

All in all, my main issue with the Confidant system as that you still can’t date boys. We’ve been saying for years ‘that’s just the Japanese way’, but considering the crazy hentai they bring out (still with only very little amounts of yaoi/gay hentai) it may be time to stop excusing them for not being with the times. Catherine: Full Body aimed to dispel that somewhat—perhaps Persona should too.

A Momentous Game

Overall, this is one of my favourite games of all time. The gameplay keeps me entertained for 100+ hours (though, to be fair, I do love long games) and the characters and writing makes me emotionally connect with the story they are telling. I’d suggest playing for at least 8 hours, as it’s a slow burn, but once that hurdle is jumped the real obsession begins.

Time to go and play Persona 4 Golden, as I’m not quite ready for the fun to be over yet.

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plays-the-thing · 4 years ago

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The Mandalorian S2: Style Over Substance – A Companion Piece

This is a companion piece to this video where I examine the strengths and weaknesses of the first two seasons of The Mandalorian. It’s a collection of ideas and evidence that were cut for time or focus reasons from the main video. I’ve included both timestamps and quotes of what section of the video each idea refers to. Under a cut for length.

[1:48] Akira Kurosawa, whose movies would be very important in the western genre was very big on complete and realistic sets and effects because it helps the quality of an actors’ performance.

“The quality of the set influences the quality of the actors' performances. If the plan of a house and the design of the rooms are done properly, the actors can move about in them naturally. If I have to tell an actor, 'Don't think about where this room is in relation to the rest of the house,' that natural ease cannot be achieved. For this reason, I have the sets made exactly like the real thing. It restricts the shooting but encourages that feeling of authenticity." – Akira Kurosawa, Something Like an Autobiography

[2:27] Like the original trilogy, The Mandalorian has its fair share of humor. The sequel trilogy also had a lot of humor, and was criticized for it, but it wasn’t the humor itself that I think people had a problem with, it was how the humor was done. See, in the original trilogy humor never changed or undercut the overall tone of a scene. If a scene is tense humor might lighten or even break the tension but never undercut it. The original trilogy would never, ever, make fun of the plot, character, or scenes in its own movie. The Mandalorian follows this mold of lightening or breaking tension without undercutting the scene itself which also helps it feel like the OT.

Just Writes video on Bathos is a good expansion on this idea. Personally, I find that particular brand of humor, popularized by the Marvel movies, extremely off-putting because it just screams at me to not take the story seriously and that makes it pretty hard for me to stay immersed in it. My three favorite marvel movies are Guardians of the Galaxy, Black Panther, and Thor Ragnarok because Black Panther doesn’t really do that kind of humor and Guardians and Ragnarok manage to make it seem natural by genuinely being comedies.

[7:18] This brings us to Episode 4. Last time I criticized this episode, but I wasn’t very specific, I just mentioned that we were starting to get away from showing and towards telling. Let’s take a closer look.

The first part of this scene, where the kid was being a nuisance, was actually really good. It kind of seemed like it was going to lead into some genuine frustration with him being a nuisance and therefore maybe some drama in their relationship.

[9:51] Cowboy Bebop is another space western with a strong style and a mix of vignettes and episodes which advance a characters story. But every single episode builds up the themes of the overall story even if the plot has nothing to do with it.

To be fair, not every episode builds up *Spike’s* story and themes, but Cowboy Bebop has four main characters and every episode works towards at least one of the characters’ stories, characterization, or relationships.

[12:20] Mando’s mistrust of IG, when they really have quite a lot in common, speaks to something about his character.

What does it speak to exactly? Well, everyone might have their own opinion about that but here’s mine:

IG-11 used to be a hunter, but now Queel has reprogrammed him. Mando still sees the droid as the hunter and is adamant that it can’t be trusted no matter how much Queel insists that Mando must trust his work reprogramming the droid as an extension of trusting Queel himself.

Now, why does Mando hate droids so much, and particularly this droid? Well, that’s an open question, but I have my theories. Part of it is the trauma he experienced when he was young, but I think it runs deeper than that. You know how sometimes the traits that really bother you the most in other people are the things that you don’t like about yourself? The IG-11 that Mando met is a lot like the part of Mando that I’ve been calling “The Professional.” IG is efficient and ruthless, just like Mando on a job. They are deaf to moral and personal appeals in the face of a contract. This is also the part of Mando that took the kid to the Imperials in the first place, the part that he conquered and redeemed by the end of the third episode.

But IG has been reprogrammed. Just like Mando, he has changed and now cares for the child over himself. IG even develops a personality, and at one point attempts to tell a joke. But because IG reminds Mando so much of that part of him he had to defeat, he can’t bring himself to trust him. The tension between them persists pretty much up until IG fully demonstrates to Mando that he is there both to care for the child, and for Mando. In this moment Mando begins to really see how similar they are.

This connection makes it hard for him to let IG make his sacrifice, and he even appeals to this by telling IG that he thought his old core functionality was gone. But by reactivating his old functionality as a part of his new core function, IG is also giving Mando a template to incorporate his Professional self into his new self. He shows Mando that those two halves of his self that came into conflict back in the beginning can be synthesized into one new whole. He doesn’t need to reject any part of his identity.

Then the newly synthesized Mando dons his jetpack, fulfilling his only stated desire in the entire season, and defeats a scenery chewing villain to win the day.

But that’s just my interpretation, and I’m willing to haggle over what exact interpretation the evidence best supports.

[15:29] Speaking of Luke, let’s talk about fanservice. Now to be clear, there’s nothing intrinsically wrong with fanservice, what matters is what always matters: how you use it.

This also applies to the other two “Trademarked Star Wars Problems” I mentioned in the last video: repetitiveness and hamfisted merchandizing. These things are not necessarily bad. For example:

I would bet Baby Yoda is the most successfully merchandized product since the OT, but there’s nothing wrong with that because they’re part of the story being told. Baby Yoda doesn’t distract from the story, they are part of the story. On the other hand you have Ewoks, which were originally going to be Wookies. I would bet they went with Ewoks at least in part to sell more cute toys…but at least they still sort of work with the story. In TLJ the penguin things are there for no other reason than to be cute and sell toys. Same with the crystal dog. They have literally no purpose in the story, and their obvious and prominent inclusion only to sell toys distracts from my immersion.

Obviously repetition is part of stories. That’s why we have tropes, and the Hero’s journey, as tools for a writer to communicate information quickly. Just from his outfit we know a lot about Han before he ever opens his mouth, same with Obi-Wan. In RotJ, the heroes need to blow up the Death Star again. It’s kind of annoying that we’re literally doing the same thing we did two movies ago, but at least it’s a little different. In TFA Han Solo reassures us that the Starkiller Base isn’t that big of a deal by saying “don’t worry, there’s always a way to blow it up.” This is an example of a character reaching out from the script and telling the writer to change their story because the repetition is getting ridiculous.

[18:32] So…why is it here? Yeah, I know who Thrawn is. I don’t know why Ahsoka does, or why she cares, or why I should care. If the writer had cared about that they would have made her talk to Mando about it so she could give some sort of story or character-based explanation for why she cares, instead of just dramatically saying his name.

I mean I know the most likely reason it was here: to build hype for her solo show, but they could have done that without punching my immersion in the kidney.

[20:20] So it was no surprise that in the end the Expanded Universe’s greatest hit of all piloted his X-Wing into the show. But, I didn’t mind this. They had been seeding that a Jedi would be coming to collect Groghu for a while now, and if you had been running through the timeline in your head you were probably at least half expecting this. It’s foreshadowed well, it’s part of the story, and it triggers our emotional climax.

The reveal is quite well done too. First it’s an X-Wing, then we see a Jedi dressed in Luke’s RoTJ gear but it’s over the security cameras so there’s no color, then we see it’s a green lightsaber, then they clearly show that it’s Luke’s lightsaber hilt, then they finally have him peel his hood back. Each small reveal builds up the suspicion in your mind that it’s Luke until it’s confirmed.

That being said I would totally understand if someone thought it was obnoxious and hamfisted to shove Luke into another story, even though it did work for me.

[29:12] Parts of it even connect back to Mando’s story and character, though not in a new way because it’s mostly a redo of Mando’s relationship with IG last season.

I understand that Mando breaks his rules a little bit more here, but it’s still a riff on the same theme of: Mando has a conflict with a character, the he sees the similarities between between them, and then circumstances force Mando to take his helmet off in front of the character.

However if his arc with the other Mandalorians was functioning properly than this could work as a synthesis of a change in ideology and a reassertion of his willingness to bend the rules, but instead it just comes across as another redo of stuff in the last season. It’s still halfway functional because by this point it’s easy to forget that Mando had a character arc last season and it reminds us of that right before they pull the trigger on his and Groghu’s separation…but redoing the development from last season doesn’t count as a real character arc.

[31:08] There is so much more I could say about all of the bad writing, plotting, and characterization in this season. There are so many things that just don’t make sense, waste our time, or just plain don’t work.

I’m still confused over what the writer was trying to do with the snow planet. Like they crash land there and Mando decides to go to sleep inside his hull-breached freezing ship and the fish chick is like “Mando this is dumb you should fix your ship” and then he just fixes it. What was even the point of handing Mando the Idiot Ball there? Why not just have him fix the ship without trying to commit suicide by hypothermia first? Like…what?

[31:27] Why are you just listing off a bunch of names that mean nothing to us like she’s a video game character telling us where we need to go next?

I want to point out that even though I’m using this footage of Delphine as a reference she’s actually managing to tell you something about Malborn and why he is trustworthy, so it’s actually better than what Bo is doing. Though to be fair the tidbit about “the forest planet” is cute since it will be a deforested planet when we show up, that line needed some character connection to not sound so weird.

[33:13] That’s what the point of Show Don’t Tell *really* is, it’s not about how much dialogue you use or whether a character is explaining something. It’s about using exposition to tell us something about a character at the same time. It’s about putting the camera in a place that shows us something about the character or the action, not just what’s happening. It’s about packing as much of the story as possible into every choice you make.

In Avatar, the way that Zhao tells us about Zuko’s banishment tells us a lot about both Zhao and Zuko. The camera angle here emphasizes Katara standing encouragingly over Aang’s back as he stares dejectedly at the ground (contrasted with Toph’s angry stare) and tells us about the nature of Katara’s relationship to Aang as his teacher and friend as opposed to Toph’s. In the opening shot of A New Hope, the low angle of the camera implies dominance and the length of the Star Destroyer shows us the long reach of the Empire. Every single time Zuko is on screen it is worth paying attention to which side of his face is dominating the shot: scarred or unscarred. Exactly what each side represents is up for debate: I tend to think of it not as good Zuko vs. bad Zuko but more as Zuko’s feelings of obligation to his family and people and Zuko’s obligations to his own sense of what he believes is right and what he needs to self-actualize.

Show Don’t Tell is just a saying. It’s a saying to encourage writers, particularly new or inexperienced ones, to focus on the *art* of telling the story instead of focusing solely on the plot and facts. I am using it somewhat liberally here to say it’s about “using exposition to tell us something about a character at the same time” but since that is about the art of telling stories, and not just a recitation of facts, it does technically count.

[34:32] With television shows and the way they can go on forever, and with how much money there is in going on forever, it seems like they always become a sagging mess at some point. Some of them manage to bring the quality back, but some of them don’t. So to a certain extent, these problems with the Mandalorian are kind of normal for television shows.

I can’t remember exactly where I stopped watching How I Met Your Mother, the last thing I remember is Ted dating some crazy girl and swearing off relationships. I abandoned The Expanse midway through season 2 earlier this year…maybe I’ll go back but boy was I bored. I made it all the way through the Wire. Season 2 had its problems but eventually got back on the right foot midway through or so, but the problems came roaring back in season 5 which it took me almost a year to finish because it was so agonizing.

Avatar is probably the most controversial choice here of a show in which the quality slipped but I firmly believe that if they cut out the second half of season 2 and the first half of season 3 the show would have been much, much better. Most everything in Ba Sing Se is tonally weird and the whole idea of a city with too many rules and bureaucracy is way too complex an idea for this show to tackle. Avatar does tackle incredibly complicated and adult themes for a kids show but in my view this was one step too far. They get Zuko to a place where he’s ready to join the Aang Gang but then have him backslide temporarily. There’s this whole idea of an invasion on the Day of the Black Sun but it would be such a story cheat to allow Aang to beat the Firelord without actually mastering the four elements and so obviously isn’t going to work. All of these things together just make it feel like wheel spinning where the story and characters aren’t actually growing or developing but just being padded out.

Except for “The Tales of Ba Sing Se” and “Appa’s Lost Days” obviously, those are great.

It’s actually pretty funny because the episode before Aang is supposed to fight the Firelord the first time (the Black Sun time) he’s a nervous wreck and everyone is trying out different psychological techniques to try and make him feel better which is…I guess sort of valuable for kids to see that nervousness is normal. But when you compare it to the second time he’s going to fight the Firelord, for real, it’s *so obviously* for real this time because Aang is having a *character* based crisis about the conflict between his pacifism and his duty to stop the Firelord. The comparison of the two is telling in terms of what was going on in the story of each.

[35:03] Now they are spinning it out into not one, not two, not three, but FOUR different shows all based on the Mandalorian. It’s almost gross how hard they are milking this.

Okay apparently they fired Gina Carano so I guess it’s not four anymore. Or maybe it is who knows. Listen, the point is they *intended* to make four shows okay.

[35:06] Thanks for watching all the way through to the end. These videos take a ton of time and effort so that means a lot. Even though I’ve reset my subscriber count to zero now that I’ve criticized the Mandalorian, I will continue to work on the channel as much as I can, so subscribe if you want to see more videos like this.

I promise to always give you my honest opinion.

Also I know I was shooting for one video a month and, well, I still am but these videos are really time-consuming. I want to make sure I maintain a really high level of quality and so sometimes I get halfway through a video, realize it’s no good and have to start over with something else. Sometimes it takes months of rewrites to get it to a place where I’m happy with it. This one came out pretty quickly, it was about 6 weeks from when I started the script to when I uploaded. Hopefully I’ll only get better and more efficient at it as I get more practice.

#star wars #the mandalorian #plays the thing #video companions

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x0401x · 5 years ago

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Hey miss wonderful taste in everything, can you recommend us some of your favorite KyoAni productions?

Sure! I love doing recs and I’m literally taking any sort of positive content related to KyoAni lately because we truly need it at the moment. Long post alert, though. Here goes my top 10:

1. Hyouka

This one will probably be my first choice forever. It’s KyoAni’s most brilliant work so far and easily one of the best animes I’ve ever watched, hands down. It’s also their finest novel-to-anime adaptation in my opinion, and one of the very few animation series that actually turned out better than their source material.

The books are extremely interesting, but they’re also bland. The alterations made to the anime added visual value to it in order to make it more alluring and appealing, turning ordinary situations into rather unique and thought-provoking settings, while managing to never deviate from its novel counterpart. The changes on the characters’ designs were also a very good choice in my opinion, as they fit more into the character archetypes and the impressions they give off.

This one is honestly an example for the whole anime industry and a timeless gem. I’m pretty certain that it was one of the studio’s turning points in terms of animation style. Surely will become a classic in the future.

2. Koe no Katachi

KyoAni’s most well-done movie, as far as I can tell. I’m specially fond of the symbolism of every scene and the effort put on the scenery, which gave an effect of depth to the frames. The studio managed to portray the mangaka’s art style while staying true to its own trademark traits as well.

Animation quality and sound design aside, it’s also loyal enough to the manga. There were cuts in order to fit the story into the time limit, but KyoAni made up for the gaps with later released specials. The movie is also considerably less dramatic than the original, yet I’m certain that the alterations in that regard were made so that the transition between the phases of the story wouldn’t feel rushed. Albeit in a much more uplifting way, it nevertheless managed to transmit the characters’ essence and emotions.

What caught my attention the most in this movie was the soundtrack, though. There was a lot of care in its production, and it was clearly made to be gentle and almost imperceptible, with glitch-like repetitions here and there, as if it means to put the viewers in the shoes of the deaf heroine. It certainly did its job well.

3. Full Metal Panic? Fumoffu!

First anime from KyoAni I’ve ever watched, aside from the Inuyasha movies. Easily one of their funniest series, if not the actual funniest. It has a very special place in my heart. I dropped Amagi Brilliant Park on the first episode, but I’d cry internally every time I saw Bonta-kun in it. The nostalgia is strong, kids.

It’s got excellent animation for the year it was made, and I dare say it’s more decently animated than many current animes. The pacing is dynamic and the jokes vary from over-the-top to smart and witty in a smooth way. I also give this one kudos for not relying nearly as much on fanservice as more recent titles.

For the people who didn’t watch the first Full Metal Panic, I suggest doing so before trying this one out. Anyone who enjoys the two should also watch the second season, Full Metal Panic: The Second Raid, which comes right after Fumoffu and was also animated by KyoAni.

4. Clannad

This one I deem as the best out of KyoAni’s most notorious classics. I also recommend the other titles related to this one, such as Clannad: Another Story.

Much like Hyouka, it’s a masterpiece in every aspect. It has a very non-cliché and unconveninent plot that deals with delicate themes in a sensible way and tears your heart apart at the same time. Frankly exemplary to the drama genre and exceptional as a visual novel adaptation.

5. Free!

The franchise became lackluster after the first director left, but the first two seasons were fun enough in their own right. Unlike most novel-to-anime adaptations, Free! started with original content through creating a future for the main story, which was turned into the not-so-distant past in the anime. This is unusual enough, but it worked out well as the anime maintained itself as loyal as possible to the first book and never went off the rails with the plot. The main characters’ personalities did suffer many alterations, yet it’s obvious that they meant to make the two more charismatic and likeable. As far as fan responses went, it worked.

I find very interesting that the creators were aware the story took itself too seriously at times, and they made this clear by compensating the heavy melancholy with heavy comedy. They also compensated the overdramatic atmosphere of the first season by picking up the pace and getting a little more serious in the second season. Everything was intentional and designed to be a hit amongst women, which I think had served the purpose until the first movie came out.

To be honest, I’m not fond of the exaggerated fanservice, but it gets easy to ignore it after a while if you only pay attention to the storyline. I don’t consider myself a fan of Free!, and I actually took very long to start liking it. I only did get into it at the last scene of episode 8, back when the first season was still airing. It was only by this time that I could see the true value of the series, so I recommend anyone who tries it out to go at least that far with it. I know it might be a lot of work, but in my honest opinion, it’s worth the trouble.

I deem the High Speed! novel awe-inspiring because of its nostalgic tone and the awfully realistic depiction of childhood crises. The most serious situations of it are a little out of reality, but the rest is absurdly relatable in levels that I myself don’t know how to put into words. Yet I also appreciate Free! for its strong tone of encouragement. It feels like the creators are trying to cheer up the viewers.

6. Kyoukai no Kanata

It starts becoming a mess from episode 4 onward, yet the beginning was quite promising. This one relies heavily on fanservice, often makes use of nonsensical tropes for the sake of comedy and sometimes goes overboard with the jokes. However, it doesn’t fail to deliver emotional value and the action is pretty neat. Anyone who hasn’t read the novel will definitely be able to enjoy it as a standalone.

I don’t think I need to mention it, but the animation is stellar. I in particular love the blurry movement effects of when the characters draw their weapons and the geometrical spectrums in the colorful power barriers. I also recommend the OVA, as well as the second movie I’ll be Here, although the latter is 100% original content. It was actually cute and fun to watch. The first movie is merely one huge recap.

7. Hibike! Euphonium

Truly dazzling take on slice-of-life. It’s healing and heartrending at the same time. The way that characters are portrayed allows the viewers to feel their passion and dedication without it occasionally feeling unrealistic. Everyone has their own problems, but none of them are taken out of proportion. Miscommunication happens, just not in a frustrating shoujo manga way.

The soundtrack and scenery are breathtaking, yet the forte of the animation in this one was the huge amount of detail put into the eyes and hair. Everyone’s hairdos are remarkably glossy without ever looking weird, and I especially like how their eyes all glinter in different colors.

The author published another volume of the novel after the anime, saying it had inspired her to write more, and it’s no wonder. I also recommend season two and the OVA. The first two movies are just recaps and the third was to me a disappointment, so I leave those to people’s own discretion.

8. Tamako Market

Rather odd but nice story. It blends iyashikei elements with a peculiar plot and actually manages to do that in a cute way. All of the characters are likeable and the visuals do a good job in transmitting what they have to transmit in a very relaxing manner.

This show caught me off-guard by how unproblematic it was. It has trans, gay and dark-skinned characters, but none of them is ever used for fanservice or jokes and their respective circumstances are portrayed as 100% normal, which is sadly still rare in anime even nowadays. The romance is pretty not-dramatic and filled to the brim with fluff, and I very much like that the main guy treats his female love rival as a serious threat.

I recommend the specials and the movie as well. Especially the movie, which is basically the same as direct sugar injestion and gave me diabetes.

9. Munto

Also has a special place in my heart. Cheesy but good, actually. I’d be lying if I said there aren’t some surprises in it, though, but I’ll refrain from giving too much info on the story itself.

It was firstly an OVA, but then got adapted into three movies. The animation was done finely enough, but there’s a drastic change in style from the first to the second half, though I myself didn’t really mind it. The characters are all well-stablished and the plot is consistent. There’s a present quality of feminist shades in it and the relationships are very endearing.

10. Nichijou

Not really one of my favorites but certainly one that I recommend for people who are in need of a laugh. It’s got some pretty creative and iconic humor. Its imaginative retakes on routinely affairs manage to transform the most trivial real-life situations into Oscar-worthy wit. It also gets nonsensical every so often, but this fits within the show’s own narrative.

It has a very unique animation that sometimes mixes different styles of art, which only makes every scene a hundred times funnier for being so soft and adorable. It varies from hyperrealistic to surrealistic at the speed of light and sometimes even becomes abstract as hell. It’s full of notes on Japanese culture, not only about daily life but also about media, which adds up to the fun.

#kyoani #kyoto animation #hyouka #free!#koe no katachi #full metal panic #nichijou #hibike euphonium #tamako market #clannad #kyoukai no kanata #munto #i could totally do more of these!

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letterboxd · 4 years ago

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Survival Mode.

In ten recent coming-of-age films, Ella Kemp finds the genre thriving—and looking very different than the 1980s might have predicted. Film directors and Letterboxd members weigh in on the specific satisfactions of the genre, especially in a pandemic.

There have been jokes, some more serious than others, about the art that will come out of this time. How many novels about a fast-spreading disease are you betting on? Will Covid-19 be better suited to documentary or fiction? But the art I’m most looking forward to, and revisiting now, is the art made about teenagers going through it.

Physical school attendance, so central to the John Hughes movies of the 1980s, is up in the air for so many. Sports practice, theater clubs, mall hang-outs; the familiar neighborhood beats of a teenager’s life are more confined than ever. All of us have had to tweak our reality to make the best of invasive changes forced upon us during the pandemic. In a sense, it feels like we are all coming of age.

Teenagehood, though, is a particularly tricky time of transition, and we don’t yet know the half of how the pandemic is going to impact today’s young adults—and, by association, tomorrow’s coming-of-age films. But in the last two years alone there have been enough brave new entries in the genre, about young people so enlivening, that there’s both plenty for young film lovers to lose themselves in, and plenty for us slightly older folks to watch and learn from.

So I sought out ten recent coming-of-age films (and several of the directors responsible) to see what these stories teach us about teenagers, and how we might empathize with them. The list—Jezebel, Beats, Zombi Child, Blinded by the Light, Selah and the Spades, The Half of It, Dating Amber, Babyteeth, House of Hummingbird and We Are Little Zombies—is by no means exhaustive. But it allows us to look at several things.

Firstly, that the genre is thriving, considering these titles barely scratch the surface. Secondly, these ten films look a whole lot different than their 1980s counterparts. Six are directed by women. Four tell queer stories or, at least, feature queer characters in a prominent subplot. Seven tell stories about Black people, Asian people, Pakistani people. Only three are from the US.

And: they’re really good. They understand teenagers as angry, energetic, passionate, confused, desperate and deeply intelligent beings, echoing the nuances that we know to be true in real life, but that can often get watered down on the screen.

Blinded by the Light (co-written and directed by Gurinder Chadha) We Are Little Zombies (written and directed by Makoto Nagahisa) Beats (co-written and directed by Brian Welsh)

The protagonists in these first three films use music to feel their way through panic, brought on by both internal and external circumstances. Screaming another’s lyrics, furiously composing their own anthems, dancing along and sweating out their fear to the beat, the ongoing beat, and nothing more. It’s salvation, it’s release—when you’re left with your own thoughts, the only way to fight through them is to drown them out.

Music acts as a source of enlightenment in Blinded by the Light, directed by Gurinder Chadha (who made 2002’s coming-of-age sports banger Bend it Like Beckham). In Thatcher’s Britain, Pakistani-English Muslim high schooler Javed discovers the music of Bruce Springsteen, and his world bursts wide open. The wisdom and fire of the Boss helps Javed to make sense of his own frustrations; that the film is based on a real journalist’s autobiography makes it all the more potent.

Meanwhile, in Beats, a real-life law enacted in Scotland in the 1990s temporarily banned raves: specifically, the gathering of people around music “wholly or predominantly characterized by the emission of a succession of repetitive beats”. As the UK struggles to contain a youthful, exuberant new counter-culture, the central characters face what it means to enter adulthood. The answer to both: a forbidden rave.

“I have to say, there’s probably no such thing as teenagers without complicated emotions,” We Are Little Zombies writer-director Makoto Nagahisa tells me. The Japanese filmmaker—who loves the genre, known as ‘Seishun eiga’ in Japan—wrestles with the frustration and hopelessness of the world by giving his film’s four orphaned teens the tools, and the permission, to find solace in something other than their everyday life. Following the deaths of their parents, the quartet create their own catchy, cathartic, truth-bomb music; it’s an instant hit with kids across Japan, but the adults miss the point, of course—that the cacophony of superstardom is filling the silence of their mourning.

Nagahisa-san’s film is named after a fictional 8-bit Nintendo Game Boy game that the main character is addicted to. “I used to get through my day relatively painlessly by pretending I was a video game character whenever bad shit happened to me,” he explains. Teenagers “are constantly feeling crushed by reality right now… I want them to know that this is a valid way to escape reality. That reality is just a ‘game’. I want them to know they don’t need to face tragedies, they can just survive. That’s the most important thing!” Who else needed to hear that right now?

Jezebel (written and directed by Numa Perrier) Zombi Child (written and directed by Bertrand Bonello) Selah and the Spades (written and directed by Tayarisha Poe) House of Hummingbird (written and directed by Kim Bo-ra)

Our next four films turn to technology, mythology, hierarchy and education to animate their protagonists’ lives with a greater purpose. In Jezebel, nineteen-year-old Tiffany finds her way through mourning with a new job, earning money as a cam girl and subsequently developing a bond with one of her clients. There’s a magnetic aura, one that harnesses grief and turns it into something more corrosive as this teen puts all her energy into it. Similarly there’s mysticism in the air in Zombi Child, in which Haitian voodoo gives a bored, heartbroken teenage girl a new purpose as she searches for a way to connect with the one she lost—and with herself.

Selah and the Spades and House of Hummingbird understand the third-party saviour as more of a structure, that of a school or an inspiring teacher. Selah finds herself by doing business selling recreational drugs to her classmates in a faction-led boarding school. Nothing mends a sense of aimlessness like power. This same framework lets Hummingbird’s Eun-hee, a schoolgirl in mid-90s South Korea whose abusive family invest their academic focus in her useless brother, search for love and find connection in her school books—and from the person who’s asking her to read them.

The films on this list are not perfect; some might be criticized for specifically following a formula, the tropes of the coming-of-age film, a little too well. Jezebel lets its protagonist rise and fall with familiarity, while Selah suffers the consequences of her extreme actions, and even Eun-hee reckons with a few recognizable pitfalls. But still, the fact that these films exist is “innately radical”, says Irish writer-director David Freyne, whose queer Irish comedy Dating Amber is covered below. The filmmaker describes the coming-of-age genre as mainstream, but in the best possible sense: “It’s a broadly appealing film,” he says.

This is why, to see these stories reframed with minority voices, with queer voices, is so quietly revolutionary. “The more you see them, the more broadly we see them being enjoyed—the more producers and financiers will realize these stories don’t have to be niche just because they happen to frame a minority voice. Everyone can enjoy it.”

Film journalist and Letterboxd member Iana Murray, a coming-of-age genre fan, echoes Freyne’s thoughts. “Representation is absolutely not the be-all end-all, but I’d love to see more coming-of-age films that reflect my experiences growing up as a woman of color,” she says, before introducing what I’d like to call the Rashomon Effect. “I see it as like one of those films that tell the same events from different perspectives, something like Rashomon or Right Now, Wrong Then,” she explains. “A story becomes even more vibrant when told through a different set of eyes, and that’s what happens when you allow women, people of color, and LGBT people to create coming-of-age narratives.”

Dating Amber (written and directed by David Freyne) The Half of It (written and directed by Alice Wu) Babyteeth (directed by Shannon Murphy, written by Rita Kalnejais)

Which brings us on nicely to our last three: wildly different titles, each with young protagonists at war with themselves, trying to make sense of their bodies and minds as best they can. In this context, companionship is everything. Finding a platonic soulmate in Dating Amber, a sexual awakening in The Half of It, a first love to make a short life worth living in Babyteeth. Each film is directed with a verve and passion that you know must be personal.

The story of a frustrated boy in the closet in Dating Amber aches with care from Freyne behind the camera, while Alice Wu directs Ellie Chu, the main character in The Half Of It, with patience and the kind of encouragement that quiet girls who live a life between two cultures are rarely given. And with Babyteeth, Shannon Murphy returns Australian cinema firmly to the center of the movie map, with a quintessentially Australian optimism and sense of humor, which Ben Mendelsohn called “delightfully bent”.

These perspectives are specific to each teen, but the intensity transcends genres and borders. It manifests musically, verbally, visually, aesthetically. These teens connect with their favorite music and means of entertainment, but also simply to their favorite clothes and accessories—blue bikinis and green wigs, red neck-scarves and floaty white dresses. These details give the characters ways to reinvent themselves while standing still, which certainly feels apt for a life lived, for now, at home.

‘Pretty in Pink’ (1986), written by John Hughes and directed by Howard Deutch.

Many argue that the coming-of-age genre peaked with John Hughes, who defined the framework in iconic 1980s films that have his stamp all over them, whether he wrote (Pretty in Pink, Some Kind of Wonderful) or also directed them (The Breakfast Club, Ferris Bueller’s Day Off, Sixteen Candles). Hughes’ world view was of a specifically suburban, white, American corner of the world, which he filled with misfits and ultra-hip soundtracks. “John Hughes was to the genre what The Beatles are to rock and roll,” confirms Letterboxd member Brad, maintainer of the essential coming-of-age movie list Teenage Wasteland.

After Hughes, the genre tumbled, Dazed and Confused, into the 1990s—notable voices include John Singleton with his seminal Boyz n the Hood, and Gus Van Sant’s My Own Private Idaho and Good Will Hunting. This was also the decade of Clueless, which informed the bright, female-forward fare of the 2000s, like Mean Girls, The Princess Diaries and the aforementioned Bend it Like Beckham. The last decade has seen new American storytellers step into Hughes’ shoes, including Greta Gerwig (Lady Bird and Little Women), Olivia Wilde and the writers of Booksmart, and the autobiographical voices of Jonah Hill (mid90s) and Shia LaBeouf (Honey Boy, directed by Alma Har’el).

It’s interesting to note—whether it’s the 1860s or the 1980s—that many coming-of-agers from the past decade take place in an earlier period setting. Social media has demanded the upheaval of entire lives, but it seems some filmmakers aren’t yet ready to grapple with its place on screen.

The audience, on the other hand, is far more adaptable. The way we’re watching coming-of-age films has shifted, and it’s more appropriate for the genre than we could have imagined. On the last day of shooting Dating Amber, Freyne recalls one of the young actors asking, “So, is this going to be on Netflix or something?” This is when cinemas were still open.

“That’s often how younger people are devouring content now,” Freyne reasons. His film, in the end, was snapped up by Amazon (a US release date is yet to be announced). “It’s creating a communal experience with the intersection of social media: live streams, fan art, daily messages… It’s made us feel incredibly connected, moreso than I think we would have got with a cinematic release.”

Streaming platforms also cater to one key habit of a younger film lover: the rewatch. The iconic teen films of the 80s embedded their reputations thanks to the eternal allure of the Friday night video store ritual, and constant television replays. These days, it’s only with a film finding a home on Netflix, on Amazon or on Hulu, that a younger person (or, in times of global crisis, any person) can both financially and logistically afford to devote themselves to watching, again and again, these people onscreen that they’ve immediately and irrevocably found a connection with.

It’s always felt hard to be satisfied with just one viewing of a perfect coming-of-age film—observe how many times Iana Murray has logged Call Me By Your Name. What is it about the slippery, universal allure of the genre? It’s possibly as simple as the feeling of being seen in the fog of intergenerational confusion. Says Nagahisa-san: “Grown-ups think of teenagers like zombies. Teenagers think of grown-ups like zombies. We’re never able to understand what others are feeling inside.”

“The reaction is always emotive rather than intellectual,” adds Freyne. “There’s something quite visceral and instinctive about coming-of-age films; it’s an emotional experience rather than an analytical one.” That emotional experience is tied up in the fact that we often experience coming-of-age movies just as we ourselves are coming of age, establishing an unbreakable connection between a film and a specific period in our lives. MovieMaestro Brad explains it best: “There is a bit of nostalgia in a lot of these films that take me back to my younger days, when life was simple.”

But that’s not to say only those coming of age can appreciate a coming-of-age film. On her favorite coming-of-age film, Mike Mills’ 20th Century Women, Murray explains, “It doesn’t see coming-of-age as exclusive to teenagers, because that process of growth is really about transition and change.” (In a similar vein, Kris Rey’s new comedy I Used to Go Here, in select theaters and on demand August 7, meets Kate Conklin, played by Gillian Jacobs, in a sort of quarter-life-crisis, needing to grow down a bit in order to grow up.)

Natalia Dyer in ‘Yes, God, Yes’ (2019), directed by Karen Maine.

There is endless praise, conflict and wonder to be found in the ten films mentioned above—and all the ones we haven’t even gone near (Karen Maine’s orgasmic religious comedy Yes, God, Yes, now available on demand in the US, deserves an honorary mention, as does Get Duked!, Ninian Doff’s upcoming stoner romp in the Scottish Highlands). The thing about this genre is it’s raw, it’s alive, and it’s always in transition. Just when you might think it’s gone out of fashion, it emerges in a new and fascinating form. And yet, there are still so many filmmakers who haven’t tackled the genre. I asked my interviewees who they’d like to see take on a story of teens in transition.

“I’d love to see Tarantino’s take on a coming-of-age tale,” says master of the genre himself, MovieMaestro/Brad. Murray gives her vote to Lulu Wang, saying, “I love the specificity she brought to The Farewell, I think it would transfer well to a genre that needs to escape clichés.” Freyne, meanwhile, wants to see if Ari Aster might have another story about young people in him. Maybe something a bit less lethal next time.

Ultimately, “you write from empathy, not from experience,” says Freyne. I think the same goes for watching, too. It won’t be tomorrow, and it might not be this year, but eventually, the world will emerge from Covid-19. What will we have learned from the films that we watched while we were waiting? From the sadness, the angst, the determination, the rage and the passion?

Nagahisa-san already knows, and his advice is everything we need right now: “You don’t need others’ approval of who you are, as long as you understand and approve of yourself. Do whatever pops up in your mind. Live your life without fear or despair. Just survive.”

Related content

See where most of the recent releases mentioned here are virtually screening, in our Art House Online list.

Shannon Murphy talks to us about Babyteeth, and shares a list of her favorite Australian films.

Makoto Nagahisa’s 25 favorite teen movies

David Freyne’s 25 favorite LGBTQIA+ films

Growing Pains: The Ultimate Coming of Age Movie Challenge

(Happy) Queer Coming of Age Movies

Coming of age—but make it diverse

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fireflysummers · 6 years ago

Text

Delta Rune: Addendum

People have asked me if my opinions have shifted at all in light of Toby Fox’s FAQ.

The answer is yes and no.

Also, I’ve gotten a fair amount of...unasked for feedback on my other post, which was mostly just my own musings and opinion? So I might as well just kinda...address a bunch of things here, based on a couple observations over the last 48 hours.

What People Didn’t Like (And Why)

The Repetition of Plot Elements from Undertale in the Dark World

This one’s pretty common, and very justified given that, when the demo first launched, we had no idea that it was a demo. For all we knew, it was some kind of finished product.

Although I didn’t want to believe that this is the case, it’s not uncommon for creators to accidentally fall into a sophomore slump of sorts, where under the pressure of measuring up to their freshman fame, they end up creating something dull and uninspired.

Despite that, there wasn’t any level of self-awareness that indicated that the Dark World was supposed to be a cheaper version of Undertale. And then it ended by falling into the “it was just a dream” trope (not entirely, but close enough), which is one of my least favorite tropes, so I was just turned off altogether.

The Battle System

I didn’t really enjoy the new combat system (that’s definitely a personal thing though...turn-based jrpg games have always been a struggle for me, and I straight up don’t have the time for the strategy that it often takes). That aside, Fox himself admits that the system is rough and really unbalanced.

Also, I get the sense that he wants to bring home that theme of your choices mean nothing, but isn’t exactly sure how to do that yet, which explains a lot of the issues with ACTing in the demo.

Even after he gets it fixed up, I’m not sure I’m really going to enjoy the battle system, although I do commend him for his creativity and the attempt to integrate Undertale’s bullet hell into a turn-based game style.

Underdeveloped Characters

This one I can forgive almost entirely, by nature of it being a demo rather than a finished piece of work. I can relax my criticism of the Dark World NPCs as a result.

That said, I still failed to really feel anything other than aww...cute a couple of times (usually as Ralsei)

Oh, that and a shit ton of existential horror at Undyne and Alphys not knowing each other, the world being generally indifferent to whatever made Susie the way she is, and that everybody is turning a blind eye or actively punishing Asgore for some unknown crime.

But I’ll talk about that a bit more in the next section.

The Vague Relation to Undertale and the Re-Use of Characters

Okay so like. I understand that Toby Fox insists that it’s Not Undertale.

Except that like.

I don’t buy that for a second.

Like, it’s Not Undertale only in the sense that it’s not related to the pacifist ending, but doesn’t disqualify it from being a follow-up to the genocide run (and therefore a direct sequel of sorts).

That aside, if it truly was Not Undertale, then he wouldn’t have named it Delta Rune, brought Gaster into it, and drawn visual and flavor text metaphors to the original game. It’s related, it might be an AU, but that doesn’t make the OOC meanness of the familiar faces easy to swallow.

It could easily interpreted as “unsettling and OOC to show the player that their expectations will be subverted and that there is something Seriously Wrong with this world,” and a lot of people have interpreted it that way! I’m on the fence there myself, but you gotta understand that not everybody shares that interpretation.

For others, including myself to some extent, the message was:

In the absence of dire circumstances, the characters that you were led to believe cared deeply about each other and you, are indifferent, apathetic, and downright mean.

I mean, even if Kris on their own is a total dick? That doesn’t justify the way that the other characters treat each other.

And that lack of warmth in the story was felt like a gut-punch to a small number of people.

On top of that, the weird twist ending didn’t do much to subvert that message. It gave no sense of whether or not the entire thing indicated a fundamentally sick world, or disprove that sense of they only cared about you and others out of a mutual need.

And if you can put yourself in that mindset, you can understand how that could be painful.

What People Didn’t Like About Me (And Others) Not Liking It

You’re Complaining Because it’s Not Undertale

No, I’m complaining because it’s Too Much Undertale. Because my personal prerogative is that Undertale is perfect the way it is and any additional content would only detract value from the original.

I was sincerely hoping for a totally new game, with maybe cameos or nods to Undertale, because I didn’t want to risk that horrible sequel syndrome.

And while we, as fans, can opt to ignore horrible sequels (see: the entirety of the Harry Potter fandom), at the same time...sometimes you can’t unsee what you’ve seen. Sometimes sequels are enough to mar your affections and feelings for characters, especially because it comes from The Voice of God Dog.

You’re Can’t Complain that Things are OOC When It’s an AU!

-rubs forehead-

Look. I don’t know if you know this, but I adore AUs. Not every AU, of course, but I loved the concept and how the community came together to create some kind of semi-cohesive multiverse.

I mean, I literally drew over 100 different AUs: SET 1 || SET 2 || SET 3 || SET 4 || SET 5 || SET 6 || SET 7 || SET 8 ||

But there’s a difference between fandom AUs and canon AUs--namely in that fandom AUs can be as out of character as they want, because it’s a fan creation.

There are multiple series that play with that multiverse theory as well, within their own canons, starting with the entire body of Osamu Tezuka, but also including the works of CLAMP (most notably XxxHolic and Tsubasa: Reservoir Chronicles), Adventure Time, the Final Fantasy series, and so on.

And the key to making an effective multiverse? The thing that makes it work?

Keeping the characters in-character. There has to be that kind of consistency, otherwise it doesn’t function on a narrative level. You’re just reusing character designs and assigning new personalities, because you’re too lazy to design new characters.

Or worse, you’re baiting in previous players on a sense of nostalgia which is a trick I do not appreciate.

You Shouldn’t Rely on Fictional Works to Aid Your Mental Health

Screw you.

Everybody has Real Issues in their lives. Sometimes we need a hand from something or somebody else to keep moving.

Fine, But There’s No Reason To Be Publicly Upset by DR

It’s okay to dislike additional material, for whatever reason, so long as you’re not attacking others for liking it. It’s okay to be upset by something, even if it’s not rational, and you don’t need to force others to like what you like, nor should you feel guilty that somebody else doesn’t ‘get it.’

Will You Play Chapter 2?

I will purchase it to support Toby Fox on his endeavors.

But you gotta understand, I straight up don’t play video games most of the time. Don��t have the time or the energy.

I only played Undertale after I’d had the whole thing spoiled to me, and knew it was worth the investment of my time. I should’ve waited on this one too, but I was too eager, and instead lost 4-5 hours of critical time for my graduate coursework (which definitely contributed to my annoyance).

TL;DR

You guys realize it’s okay for people to dislike deltarune? It’s okay for them to have been hurt by the characterization in deltarune? And people don’t have to write an essay in order to hold those opinions?

And that you don’t have to aggressively convert people to it like you’re some kind of church missionaries?

-sighs- At any rate, beginning to feel a bit more optimistic overall, and after that interview I can feel Toby Fox’s enthusiasm (he had something cool and he couldn’t wait to show it off!!), and I can get excited for him and others, even if as a whole the entire game experience fell flat.

Some day, I might even warm up to the game well enough to draw some stuff some time. I’ve got some fun ideas and theories, but still refuse to be hopeful that it’ll actually shape up.

Because I am made of salt.

#undertale #undertale spoilers #deltarune #deltarune spoilers #delta rune #delta rune spoilers #text #long post

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brynwrites · 7 years ago

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All About Writing Fight Scenes

@galaxies-are-my-ink asked,

“Do you have any advice on writing fight scenes? The type of scene I'm writing is mostly hand to hand combat between two experts. I'm definitely not an expert so when I try to write it, the scene ends up sounding repetitive and dull.”

Fore note: This post is coauthored by myself and one of my amazing critique partners, Barik S. Smith, who both writes fantastic fight scenes and teaches mixed martial arts, various artistic martial arts, and weapons classes.

I (Bryn) will tell you a secret: I trained MMA for seven years, and when I write authentic hand to hand fight scenes, they sound dull too.

The problem with fight scenes in books is that trying to describe each punch and kick and movement (especially if it’s the only thing you’re describing) creates a fight that feels like it’s in slow motion.

I write...

Lowering her center of gravity, she held her right hand tight to her face and threw a jab towards his chin. He shifted his weight, ducking under her punch. His hair brushed against her fist, and he stepped forward, launching a shovel hook into her exposed side.

But your brain can only read so fast. In real life that series of events would take an instant, but I needed a full eight seconds to read and comprehend it, which gave it an inherent lethargic feel.

So, we have two primary problems:

How do we describe this fight in a way the reader can understand and keep track of?

How do we maintain a fast paced, interesting fight once we’ve broken down the fight far enough for readers to understand it?

(We will get back to these, I promise.) But for now, let’s look at...

Different types of “fight scenes:”

Because “fight scene” is a broad term, it can be helpful to break it down into different types, each having their own strengths and pitfalls. Some are better to use more frequently than others, but each has their own circumstances to shine, and figuring out which one feels most natural for the part you’re writing can be very helpful for gaining direction.

Type A – Movie Epic

Spells out what’s happening in a more step-by-step fashion.

Doesn’t progress the plot during the scene (usually).

Doesn’t develop the character during the scene (usually).

Has well thought-out fighting choreography.

Highlights the “awesomeness” of the fight.

Personally, I am not a fan of these in books, and generally find them to be slow and rather boring to read, but since some people do really like them, I won’t tell anyone not to write fight scenes this way.

This is usually the sort of fight scene you write when you just have to write a fight scene, even if you couldn’t integrate character growth or development into it, because the plot simply demands two or more characters duke it out. For instance, you might have written yourself into a corner, and your climax ended up being nothing but a final battle. You can use these to create some really awesome scenes with memorable set pieces, choreography, and powers, but have to be extra engaging, as action like this can never quite come across on paper as well as it can in a movie.

The most important aspects of this type of fight scene are well described settings, understandable individual actions, and a fight with goes from ‘least threatening situation’ to ‘most threatening situation.’

Type B – Dramatic Tension

Progresses the plot and/or characters.

Has lots of dialogue.

Does not have a lot of fighting.

Focuses on a few key actions instead.

A well-known example of this “fight scene” is the good old fashion stand-off, where characters are pointing guns at each other’s head while they argue something out.

This is a great type to use to get the tension and threat of a fight scene even if a long, drawn out duel doesn’t make sense for the story at that point. It’s all about the drama of what’s happening here, and nailing the buildup is generally key for these types of scenes to work.

The most important aspect of this sort of “fight scene” is to build the character’s emotions, and/or the information being revealed by the plot so that the characters become more emotional and the reveals more shocking as the scene goes. The suspense should be highest in the moment just before the climactic quick burst of action and/or resolution.

Type C – Parallel Conflict

Physical confrontation is mirrored on an emotional level.

Usually only spells out a few key fighting moves.

Mixes combat with dialogue and/or internal conflict.

Focuses on the connection between emotion and action.

This is the most difficult fight scene to get right, but in my experience, it is generally the best combination of action and drama, and should (usually) be used most frequently. Each moment of the fight should be a crucial moment within the scene, because the point of the fight is how it effect the characters – how they interact, react, develop, and adapt. It can be the most rewarding by far once you make it work.

The most important aspect of this type is how the physical conflict parallels the emotional conflict. Characters should have their beliefs or resolves challenged, come to revelations about themselves, or be forced to make hard choices that help define who they are.

In order to accomplish it properly, however, you have to solve the two problems we touched on earlier:

How do we describe this fight in a way the reader can understand and keep track of?

Setting. First off, you want to make sure you’ve described every part important of your setting. You can find out how to do that and why it’s important in this post.

Research. Before you write fight scenes, you should decide what style of fighting you’re trying to mimic (if one or more characters have combat training) and do a bit of research. There are videos of basically every type of fighting style which exists. Trying (easier) moves yourself (slowly and carefully) gives you a new perspective.

Keep in mind: Many martial art styles practiced today are for show, and not much use in combat unless against either someone of the same style or an unskilled opponent. If you’re trying to write a style of martial arts, make sure you know the reason that particular style was developed and what it’s most used for.

Don’t use too many technical terms. Now that you’ve done all that research, don’t actually write about it. The point of researching fighting isn’t to wow your reader with how many little facts you know, but to create a cohesive, broader picture. Words like attack, block, swing, kick, stance, stab, punch, etc, are all solid words which every reader will understand no matter their own personal experience.

Keep POV. If you’re writing is first person or limited third person, then your pov character won’t always know everything that’s going on. Maybe they’re reading their opponent well, and can block everything that’s being thrown, or maybe their focus is split or they aren’t skill enough to do that, and they don’t see a kick coming or a knife drawn until it’s sinking into their stomach.

Keep character. Everyone fights a bit differently. What tweaks does your character make to their fighting style in order to adapt it to fit them? Are they quick and mobile? Do they hunker down and take the hits? Do they like unusual combos? Feigns? Do they have honor or do they cheat? Have they brought in skills from another style of fighting or physical activity? Do they laugh and smile while fighting or are they stoic? Which hand do they use? This is especially important if you’re writing a Type C fight scene, because you can really characterize the turmoil with how your combatants fight. For example, a character who is enraged or desperate might attack viciously with no heed for their own safety, whereas a character who is timid or calm might fight in a much more cautious, reserved fashion. This kind of subtle characterization goes a long way to sell the emotions.

Feel the burn. Fighting hurts. It hurts as your muscles tire, it hurts when you get hit, it hurts when you block (especially in certain fighting styles of hand to hand combat). You sweat, you stink, you injure yourself when you get sloppy, and, depending on what you’re doing, you get blisters and burns and bruises. Don’t forget to let your characters feel these things too!

Realism is best. Know what unrealistic tropes are popular in fight scenes and learn how to avoid them. Some random things to keep in mind:

Most weapons are made to fight against themselves.

The ways you utilize your stance and environment, as well as how you “outplay” or counter your opponent, are more important than how large or strong you are and how many attacks you know.

The large majority of close combat fighting styles require just as much defensive training as offensive. (Let your character block attacks! No real human can take solid blows all day long.)

The basics are the most important part of fighting. When two highly skilled combatants battle, the winner is often decided by who has the best mastery over their fundamental skills. No matter how long they’ve trained, they can always improve on these fundamentals.

Hitting people with your bare fists hurts, especially if you hit other bones/hard surfaces.

Adrenaline only helps you if you finish the fight in the first 20 seconds. After 20 seconds, it actually exhausts you.

How do we maintain a fast paced, interesting fight?

In most cases, a fight scene filled with interesting moves and well described action is still just a dull series of actions played out in slow motion. You can combat the slow-motion feel by alternating between action-by-action and conceptual sections.

Action-by-action, in which you see each move as it’s thrown: (This was used already in the introduction section.)

Conceptual, in which the basic idea is more important than any individual move:

For every block he threw, she attacked all the more viciously. Moving like a serpent, she sprung from the directions he least expected. His arms ached and he stumbled as he took step after step backwards. He would not win this. That truth weighed him to the ground like lead.

But fight scenes should be more than simply the fighting. Every scene, paragraph, and sentence in your book should have a purpose for being there. If you can skip through most of the fight scene without consequence, the fight scene is nothing but a fancy bit of useless words.

A good fight scene should include (as many of) these core concepts (as possible):

Character emotion: The feelings and thoughts your characters have throughout the fight.

Character development: The character’s actions, conclusions, and choices, especially as they relate to and differ from those the characters previously believed or acted upon.

Plot growth: The information revealed, actions made towards directly achieving the character’s primary goals, and changes in those goals. Most importantly, all components of the fight scene should (like in every part of a story) build on each other.

Action creates emotion, which creates character development, which creates more action, which changes the plot, which creates action, which creates more emotion... And the whole cycle runs again.*

This cycle of growth should help you choose which actions to cover action-by-action because they will be the ones which either result in a non-action development, or which came as the result of a non-action development. They are the snapshots throughout the fight scene that have to be specifically shared with the reader. If you don’t have to share it for the reader to get context or understand the character, it’s generally best left summarized.

* The cycle of growth can run in any combination so long as one aspect is building off a different aspect, and none are left out for any huge length of time.

TL;DR -

For the best results when writing fight scenes, alternate between specific, necessary action-by-action portions and summarized portions, and revolve the entire fight scene around key points of emotion, character development, and plot growth in a way which forces that each aspect of the scene to be dependent on every other aspect.

#writeblr #writing tips #writing sdvice #writing help #fight scene #conflict #action #writing action #writing fiction #writing resources #amwriting #Writing tag: scenes #scenes tag: fight scenes

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omgkatsudonplease · 7 years ago

Note

Same anon. Agree with everything you said. I love mafia au but I think I can count on one hand the number of YOI fics I would really consider dark. I’d actually love to see your thoughts on angst at some point! It’s something I’ve been thinking about recently. My idea of it seems to be a lot heavier than what often gets labeled as angst now. I wonder if that’s partly influenced by how extensive tagging is now? Author’s tagging every bit of conflict/sadness in their fic as angst? Idk

Okay so this is a week or so late but @exile-wrath and I are here to talk about angst in YOI fandom (you didn’t ask for his opinion but he let himself into my house to Loudly Complain anyway):

(note: the following rant is all Wrath haha)

The quintessential angst fic has to not just be founded on something like a ‘misheard conversation’. It has to cause conflict, it has to drive people apart. It needs to have a meaningful impact on the characters in order for it to have a meaningful impact on the readers. Angst has to be tailored to the story, or it’ll be like you are just hitting checks on a list in an attempt to make the reader sad. That’s not how you make good angst – good angst comes about organically. It comes from characters’ motivations going against each other: character A wants something, character B wants another thing, but only one of them can have what they want. Like how some characters just wanna live, and others want them dead – or for a more real-life example, character A needs money to live, and so does character B, but character B’s job will negatively impact character A in some way.

You can’t just slam things down, pull out classic “tropes” like sudden terminal illness, rape, homophobia/transphobia, racism, etc in order to make the reader sad. The problem with a lot of “angst” fics, especially in this fandom, is that they utilise those “tropes” as cheap angst tactics to shock and upset the readers. The reason why they elicit reactions is because they’re common in real life. It’s easy to make someone indignant because of real-life prejudices or tragedies intruding upon what we take to be an escapist, feel-good canon like YOI. After all, those are popular ideas that mainstream media feeds upon to add drama to their stories.

But fanfiction cannot just rely on just on popular ideas, or they fall flat. People read fanfiction primarily out of an emotional attachment to the characters, so in order to write effective angst, you have to create a conflict that is borne out of those characters’ personalities or circumstances. We don’t want to read about things that we could also experience or hear on the news; we want to read about struggles that have been personalised to these characters and the setting they’ve been placed in.

The problem with YOI fanfiction specifically is that it is prone to cheap angst. And due to the content of the show, people do feel disproportionately affected by that. Because people are so ecstatic over the representation and the lack of homophobia in the show, they also do tend to place on a pedestal the sanctity of Viktor and Yuuri’s connection, and express (sometimes very shoddily) discomfort at the merest hint of dissatisfaction or conflict between them.

This is definitely a result of the fact that the most serious conflict in the show is from Yuuri and Victor Just Not Communicating Well, so that’s the route that most of the angst takes. Hannibal fic angst goes along the lines of manipulation and murder and betrayal, Kingsman angst plays with the high-risk life that spies lead and classism, all of which are present in their canon stories.

So in comparison to those media, Yuri on Ice’s conflict is very low-key and can be solved fairly easily. Thus, the fanfiction reads the same, and it can come off as dissatisfying. Conflict makes the resolution feel more satisfying. When characters go through their lives getting everything they want with little conflict, it can get quite boring because it’s the journey that makes reaching the destination worthwhile. No one can mature as a person if their life is always smooth-sailing. A protagonist needs to struggle and experience difficulties in order to obtain a happy ending or it inherently feels cheap because their payoff was bigger than the price they paid. A problem with ham-handed angst is that they’re just there to make the reader sad, instead of letting characters grow. When it’s just angst for angst’s sake, the narrative suffers as a result.

So many stories that I have read in Yuri on Ice (AND I HAVE READ MANY) cannot bear to hurt Victor and Yuuri and the rest of the cast in any way. So as a result, they barely have much conflict that can change their dynamic, as people are attached to their existing canon dynamic, and they don’t mature as people, much less as a pair. And simply, that grows tiring pretty fast. I want to see these characters change from what they are in canon, or change from who they were at the beginning of the fic.

That’s Wrath’s two cents, and my own views generally align with him, with some things that he is too pissed to articulate. I believe people have varying tolerances of angst, and that YOI fandom in particular is full of newcomers to fandom, who may not have had the same exposure to classic “tropes” of angst fics such as terminal illness, sexual assault + its fallout, dealing with prejudices, etc. Someone’s first exposure to those topics, especially in a fandom with a feel-good canon like YOI, can understandably be upsetting. But eventually the tropey stuff starts to get repetitive, and so readers can get densitised to them as a result.

This entire rant is not to say that fluff is inherently weaker or bad or any of that. It’s just a reaction to the fact that the fandom is actually 90% not-dark, if you take tags such as mafia au + rape/noncon + abuse + incest + underage + dark Viktor + dark Yuuri + darkfic and compile them together against the rest of the YOI tag on AO3. The amount of fluff in this fandom is astounding, and honestly, I applaud anyone who consistently consumes all of it, because I personally (we, actually) can get a bit burnt out after a lot of a good thing like fluff. For us, variety is the spice of life, and sometimes we look for that spice in darker themes, or in angst. For me, the hallmark of a good fic involves the writer deciding to take the initiative to give Yuuri and Viktor some conflict that they can resolve and come out stronger for it. That shouldn’t necessarily amount to angst, but the generally conflict-averse nature of YOI fandom (which is kind of a generalisation, but it is definitely a trend I’ve seen) means that even the slightest hint of trouble in paradise gets people scrambling for the tissues (case in point, my allusion to a breakup in RH au has people side-eying me for angst when I don’t fully intend on going into actual angst territory – or as Wrath puts it, mistaking water for vodka).

TL; DR: there is a difference between conflict and angst, though good angst originates naturally from conflict, and should not be forced in via ham-handed authorial intent trying to check off a list of Things That Upset Readers.

#anonymous #ask #wank for ts #writing #angst #wrath broke into my house

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sambinnie · 6 years ago

Text

This week’s wonderful & worthwhile things:

[All links repeated at the end]

1. Our kitchen ceiling caved in, due to a major leak from the bathroom. But there’s nothing like children dancing around in helpful excitement to make a small catastrophe feel like a minor adventure. (It’s only when a secondary leak floods the initial repair that I cry.)

2. The courgette seeds we planted have become fat leaves on dark stalks, budding again and again. I’m currently debating whether I need to cancel all trips away from the house, so I can be here to care for the tiny kitchen garden of sprouting herbs and craning, fur-bedded vegetables. I feel like a god. I started with a bag of soil & seed compost, an old tupperware box, and seeds; accessible to lots of people, I hope, and I cannot recommend it enough.

3. It’s difficult to measure love, and it’s irresponsible to discount the effects of our parents’ inherited trauma. I can safely say, however, that I have never once felt loved by my mother. I disliked her through my childhood and teens with the kind of gut-instinct a child has for grinding quotidian injustice, then found a peace with her in my twenties. Friends with similar parents had said over and over, ‘It’s just about accepting that they’ll never be who we need. We just have to decide whether we want to have a relationship with who they actually are.’ And I did, so we saw each other frequently, and I swallowed that sense of always being manipulated and unheard. (When I told her news of my job redundancy, or my pregnancies, or my cavernoma, I was cut off each time with more pressing anecdotes of her own. It was almost funny, in the way family jokes are, except for all those times when it wasn’t.)

Last summer, four years since the cancer treatment and death of my father — appointments and notes and visits, my efforts to ensure distant family were kept informed about each change in condition, each suggestion from the care team — I had a similar nerve-wracking few weeks with my mother, this time in a French hospital. This time I couldn’t visit, but found myself the initial point of contact, responsible at first for telling her neighbours, siblings, and my sisters, as well as calling her and the hospital each day for updates. Some weeks after her return, I received a typed letter informing me that I was subsequently being removed as one of her executors (my sisters though would remain) as well as having my power of attorney revoked. I have never uncovered why. She didn’t contact me on my birthday, nor on Christmas Day (I, like all children in these circumstances, still contacted her on her birthday and at Christmas. We always want to prove that we’re better than they’ve told us). All of this wormed inside my brain, constantly, painfully, until sudden clarity hit: Jackasses Gonna Jackass. (Before I was declared the Most Terrible Person, my sister held the title; before her, my father; before him, my uncle; before him, probably me again. This realisation also helped.)

As my children grow older, my anger returns. As they grow past milestones I remember from my own childhood — the age I was when calmly told to choose what I was going to be hit with after some behavioural infraction; the age I was when she stormily cut my hair from past my shoulders to a boy’s dull, savage chop (I wept throughout — my father tried to intervene — she insisted afterwards that it was what I wanted); the many, many ages when she consistently told my embarrassed visiting friends to ignore me as I was ‘just showing off’ – such a trivial slight! such a shaping of my feelings about keeping her away from people I valued! –; the years and years where I wrestled with my unfathomable unhappiness in this nice, middle-class home where I was bought presents and taken on holidays — it seems horribly simple to avoid these things. Don’t humiliate your child. Don’t terrify them. Don’t constantly repeat the witless truism that you ‘love them, but don’t like them.’

I find it easy to admit making a mistake. I apologise freely and with thoughtfulness to my children, my partner, friends, because I am not perfect, because we are all human. Part of growing up is the difficult realisation that your parents are human too, and they make mistakes. But sometimes it’s even harder to accept that you really haven’t done anything wrong – at four, at seven, at 10, at 37 – and that you, like everyone else, deserve better.

Anyway, when I vanish down a Lucille Bluth-flavoured hole of anger and hurt, I remember that exercise helps everything. And it does! Do treat yourself to some, if you can. Also, I read this book while camping recently and it is wonderful. Dodie Smith writes with such understatement that I could read her books twenty times and come away with something different each go.

4. This programme (part 1 of 2) about Jeremy Hardy is so utterly wonderful. It also contains clips of brilliant Linda Smith and Humphrey Lyttleton, and I realise I spend vast portions of my time watching, listening to, or writing comedy because it’s how I understand, process, and communicate my own feelings to the world. (If that’s not turning your lemons into lemonade, I don’t know what is.)

5. I finally order prescription sunglasses, after years of balancing normal sunglasses over my spectacles, on the pollenous days I can’t hack contact lenses. Continuing my Squash And A Squeeze philosophy of life, it feels like a gift, delighting me at least six times a day.

6. Although repetition has somewhat rendered athletic ads featuring everyday girls and women a cynical trope, there’s nothing like watching a large group of girls play a sport they love. The variety of body shapes, the support they offer one another, and the sheer enjoyment of it. Really, don’t all joys boil down to enjoying our bodies while we can?

7. The day is bright today, and I took the dog on a longer walk than usual; watching that dog trying to run out a greyhound was hilarious, the sleek fool. At the time, I was listening to this episode of The Cut on Tuesday, on the topic of Spring Horniness and the weird trash we get hot over, which contains the immortal line “The bud is breaking through. But the soil that nurtured the bud was all fucked up, and now the flower is weird.” Also, the final line of the episode made me do an actual out-loud bark of laughter.

8. It’s several years old now, but I love how both Bad Neighbours 2 and this review scratch an itch in completely different ways. I love the film for everything it undoes of the first one, plus the sheer charm of Efron and furious optimism of Chloë Grace Moretz; also, Rose Byrne, who might be one of the most underrated comedic actresses of our time. But the review offers something else, and sates the library-card-carrying part of my brain that wants to read a thousand think pieces on Magic Mike XXL and Parks & Rec and The Windsors. I hope you enjoy both.

1. When Jeremy Hardy Spoke to the Nation here

2. The Cut on Tuesday – I Want to Put My Mouth on That here

3. Little White Lies review of Bad Neighbours 2 here

#hope #gardening #inherited trauma #comedy #podcasts #film #reviews #recommendations

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preserving-ferretbrain · 6 years ago

Text

Floating World

by Wardog

Tuesday, 06 September 2011

Like everyone else, Wardog has been playing Bastion.~

Kid sits down, tries to write a review, but the words ain't coming.

Let's try this.

A silent, nameless, white-haired protagonist wakes up one morning in a bed in a shattered room floating de-anchored in a swirl of coloured space. “Proper stories supposed to start at the beginning,” growls a narrator reminiscent of the cowboy in The Big Lebowski, “here a kid whose whole world got all twisted, leaving him stranded on a rock in the sky.” A tap on the gamepad and the kid is out of bed. “He gets up,” continues the Narrator, “sets off to The Bastion, where everyone agreed to go in case of trouble.” There's nowhere to go except a door-shaped hole in the hole so that's where the analogue stick takes him. Coloured paving stones fly into a path. “Ground forms up to point the way,” comments the Narrator. “He don't stop to wonder why.”

So begins Bastion, an isometric action-RPG, available for PC or Xbox for just under a tenner. It seems to be the game everyone is talking about at the moment (even a

surprisingly uncritical Yahtzee

) and I can see why. There's lots to love about Bastion, from its gorgeous presentation to the elegance of its mechanics, and, make no mistake, I do love it. Best “just under a tenner” I've spent for a while.

In terms of gameplay, it's a fairly standard action-RPG. You run along, gathering up XP, and laying the smackdown on a variety of rapidly spawning enemies but the various places you visit, are sufficiently streamlined and differentiated that the experience never grows stale. Everything is beautifully detailed and carefully contextualised: you start to recognise the various creatures, and learn something of their background. The places, ruined as they are, all have their own history and the visual device of the forming and breaking pathways creates a atmosphere of change, variety and transience. And there are so many exciting ways of tweaking your character, spending your XP and customising your weapons that you're always finding new ways of approaching the game's challenges. XP is a straightforward bar; every level allows you consume a new “spirit” created in your distillery. These have a range of interesting effects, as well as characterful descriptions and amusing names – my personal favourite being “Stabsinthe.” Over the course of the game the Kid acquires a small arsenal of weapons, ranging from his “old friend” (a big hammer) to a chaos cannon, all of which play slightly differently, and have a wide array of strengths, and weaknesses, and can be upgraded by collecting memory fragments, found by exploring the world and defeating monsters. You get a choice of two alternative paths per weapon, and a total of five upgrades, each requiring the appropriate material and enough fragments, but the game is wonderfully liberating in letting you change your upgrades around once you've paid the cost. This encourages experimentation and makes you genuinely fond of your equipment – since you're never just swapping one generic longsword of the badger for another generic broadsword of the piranha. The Bastion serves as the main gameplay hub. From here, you'll explore the game map while bringing back the cores and fragments that allow you to build, and then upgrade, the various structures of The Bastion. The pattern is slightly repetitive, and the plot is basically a series of not very subtle MacGuffin hunts, but the pleasure of restoring The Bastion, and deciding whether you want to build a shrine or upgrade your forge, keeps the experience engaging. The emphasis seems to be very much on choice. You can choose to worship one of the Gods, for example, when you've built a shrine, which will make battles harder (in a variety of ways) but give you greater rewards. The point is, this offers you an extensive degree of customisation for your game experience, right down to how challenging, and in what ways, you want to make it. The thing is, the gameplay is sleek and non-offensive, but at its heart its a straight-down-the-line action-RPG. You go places, you collect things, you kill stuff, you get more powerful, you make your equipment more powerful, you rinse and repeat. But there's been such an amount of love and attention poured into the game that playing is a constant delight. I absolutely loved the colourful, shifting world, the charming descriptions of pretty much everything you encounter, and the soundtrack is a little piece of a perfection all on its own, contributing such a lot to the mood of the game. There's even a song:

youtube

This song absolutely typifies Bastion: you have the juxtaposition of the country guitar and the Eastern strings, melding two unlikely traditions, deceptively simple lyrics underscoring a theme of racial division, and that poignant combination of beauty and melancholy, bitterness and hope.

The story of Bastion, which I will shall try to explain without too much spoilering, concerns the mysterious “Calamity” which has led to the shattered world in which the Kid first awakes. As you progress through the game, your goals are simple enough: find survivors, restore The Bastion, stay alive. But the Narrator mixes commentary with memory so that the further into the future you get, the more you understand about the past. I've mentioned the Narrator already – you meet him soon enough, a old man called Rucks – and he is the primary mechanism through which the story is delivered and filtered. And it works astonishingly well, bridging the gap between ludo and narrative (ouch, can't believe I wrote that) in a coherent and cohesive way. Rucks tells you about the places you visit and the people you encounter, making the world, and its ruination, feel real, but he also validates and contextualises your in-game actions. For example, the first time I missed my step and plummeted off the edge of a path, he observed “And then he falls to his death. I'm just fooling” which made me chuckle and on subsequent occasions, he would throw out some circumstance-specific statement, such as “Kid had to watch his step in The Cauldron” or whatever.

He also makes your game-play choices feel like genuine in-world choices, as the narration seems to dynamically react to how you play. For example, early on you come to a crossroads while searching for one of the cores. I set off randomly in any old direction because there didn't seem any reason to act otherwise: “Kid figured heading down would take him to the core...” explained Rucks. I loved having my gamerish disregard transformed into strategy by the alchemy of narrative. Rucks will also comment on your weapon choices and combinations, and on your general approach to the game, among other things, which, once again, embeds gameplay in storytelling, providing a diegetic framework for the decisions you make. There's also an extent to which it functions almost as a meta-commentary on the tropes of gameplay. As I mentioned earlier, the first weapon you find in the game is your trusty hammer. And, like any action-rpg player, the first thing I did on discovering a weapon was run around in circles, mashing the attack button, until I'd pretty much smashed up every piece of scenery on the screen. “Kid just raged for a while,” said Ruck, darkly.

It is possible, of course, to overstate the value of this device. It is assuredly one of the most successful marriages of gameplay and story I've ever encountered, but not every game can be narrated by a whiskey-voiced cowboy. It's something that works beautifully in Bastion – and makes the game truly something remarkable – but it's not, y'know, the great gameplay/story revolution or whatever.

The other thing that took me by surprise was the decision that hit me at the end of the game. Actually, there were two but the first was a relatively simple one. The second, however, was so vast and morally complex that I actually had to put the gamepad down, walk away and think about it for a bit. That probably sounds either mad or pretentious, or mad and pretentious, but firstly I wasn't prepared to have to make a decision in a “simple” action-RPG and secondly the decision was literally world-changing. And I realised suddenly how much I had come to care for the four companions I'd met in this broken world. They are not voiced, they don't join your party, there are no complicated dialogue trees, or lengthy textual descriptions but somehow they'd become my friends. I was, when I finally made it, happy with my final decision. I don't think, on consideration, I would have done otherwise given the choice again (although, of course, I could always play the game again to see). But it has nevertheless haunted me for days.

I'm going to talk about this decision, and some of the game's stylistic choices, after a massive honking spoiler spoiler spoiler spoiler warning. But if this is as far as you're going to read: I will simply urge you to the play the game. It's delightful. I would probably also recommend you play on Xbox, or with a gamepad, if you have the option since the diagonals are a killer.

So...

yeah...

spoilers...

spoilers....

....

The Calamity comes about because the Caelondians (your people) basically try to genocide the Ura (some other people). Essentially the Caelondians come up with a device that will seal the Ura forever underground, except an Ura sabotages it and this causes the Calamity.

On a very basic level, the Caelondians live in the sky, the Ura live underground but there seem to be massively complex ideological differences underpinning all this as well. The Caelondians seem all into tech, and the Ura are more naturalistic, the Caelondians comercialise their religion, the Ura are offended by graven images (at one point you pick up an adorable Pyth plushie – Pyth being the bull-God of order and commotion, and Zulf, one of your companions, disdains it), and so on and so forth. The thing is, I think the Caelondins are very broadly meant to be associated with the the west and the Ura with the east. They way the Ura dress (long robes) and look (pale and dark haired) suggests this to me, as well as the slightly higher-pitched sound effects and the weaponry they use (like the naginata and the repeating crossbow). I don't mean to get my minority warrior freak on, but I think when you stylistically set up an east-west dichotomy like that you're opening a can of worms that you might not entirely want to be opened. Or rather that you might not be able to deal with appropriately within the limitations of a computer game.

The thing is, there's plenty of evidence that the Caelondians were not so great actually. As a Caelondian, Rucks' narration generally communicates nostalgia and affection, and a yearning to go back to the way things were, but there's plenty of darkness in there too. There's a general suggestion of moral and social decay, and the lives of the Kid, Zia and Zulf have been far from happy in the city. But both as a westerner, and as the gamer behind the Kid from Caelondia, the Ura are portrayed as being, in many ways, profoundly other. Of course, you transcend this perception of otherness through your friendship with Zia and Zulf but there comes a point when you go up against hordes of interchangeable Ura, waving naginata at you, and I genuinely felt like I'd been sent forth to kill the nasty foreigners. I don't know if it was meant to be making me deliberately uncomfortable but I would have been more at ease with the moral message if there'd been less of a real world race correspondence. As a game about racial division it's interesting and at least reasonable subtle (since the cultural hostility is deep and endemic and nobody at any point says how much they hate those white-faced Ura), but as a game about how we should be nicer to Japanese people it's a bit embarrassing. I just think it's inherently problematic to use stylistic markers associated with the Western perception of the East to denote “the exotic other.”

The Ura, incidentally, are trying to stop you from restoring The Bastion and, once Zulf discovers the truth about the Calamity, he betrays you to rejoin his people. It's hard to really blame Ura for being a bit pissed off about the proposed genocide, but, again, I felt the moral pendulum started swinging a bit awkwardly at the point at which, once their plan fails and you overcome them, they turn on Zulf and attack him too. Those foreigners, eh? No loyalty or honour. Again, I understand that the situation is meant to be morally ambiguous, with good and bad on both sides, and the tragedy being ultimately a very human tragedy of individuals making mistakes rather than a specific villain ruining the world – but, once again, that ambiguity would be more meaningful if hadn't ended on a gigantic cop-out. Having Zulf's own people turn on him when things go wrong essentially undermines his motivation for trying to save them in the first place. Also, this leads to the noble-hearted Caelondian saving the Ura from his own treacherous people.

The reason Rucks is so eager to restore The Bastion is because it contains a fail-safe device that essentially re-sets time, putting everything back to how it was before the calamity. But, you also discover, The Bastion has one other function: it can jettison the city core, transforming it into a sort of fully functional floating city that could take you anywhere. The choice you face, therefore, is putting the world back to the way it was, saving thousands upon thousands of morally degenerate genocidal racists (or “lives” if you prefer) or live in the world as is, with your new found friends in your floating city. Okay, I've been slightly harsh on the morally degenerate genocidal racist score: there is no real evil in Bastion, just mistakes, humanity and bad choices. The point is, it's a city full of people, and there's no evidence the Calamity is an inevitable consequence of, well, anything . Also, on the eve of the calamity, Zulf had just proposed to the woman he loved (a Caelondian) so going back to the past would not be a future without hope or happiness for some, perhaps for many.

I have to admit, race concerns aside, I found this decision genuinely fascinating. It came slightly out of left field because the fluid, emergent form of the game in general hadn't led me to expect a sudden either/or, but it was embedded so well in the context of everything preceding it, that I was stymied. I've been reading around in the Internet since I made my decision and one popular (but stupid) opinion seems to be that it's about personal selflessness, putting the needs of others above your own, saving thousands of lives at the cost of maybe three. How Peter Molyneux. Thankfully, I believe the decision is much more interesting than that and, in the end, I jettisoned the core. I will not lie: love did play a part in my decision. I wanted the Kid to be with Zia, and Ruck and Zulf. But one of the major themes of the game seemed to me to be the importance of memory: Ruck's narration, the act of constructing memorials for the lost, the literal collecting of memory shards to upgrade your character, and, of course, the constantly shifting, reforming and re-shaping of the world itself. From the old ruins, come new paths. This is how the past shapes the future. And if we do not remember the mistakes we have made, then we are doomed to repeat them.

Of course that's just my take. It's deliciously arguable either way. And it's possible that I'm just over-compensating for the unbearable guilt of having sacrificed thousands of imaginary people to fly around a world with my friends: the cowboy, the singer and the survivor.

Either way, it was deeply refreshing to play an RPG in which I neither defeated a villain nor saved the world.Themes:

Computer Games

CRPGs

Minority Warrior

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~Comments (

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valse de la lune

at 06:39 on 2011-09-07I'll post more thought on this later; like you I found the ending quite moving and I have Many Thoughts about Bastion. But--what did you think of Zia getting a voice (literally!) to speak with only at the very end, when hitherto you only heard her in the song and the narrative is entirely shaped by Ruck?

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Wardog

at 09:11 on 2011-09-07I, too, found the ending very moving - and I've been thinking about the game a lot since I've finished it, which is comparatively rare for me.

I wasn't actually mad keen on Zia getting a voice, it was a bit sudden and incongruous and I felt it impacted too much on the final decision. I mean it seemed to setting it up to be Rucks versus Zia, and whether you want to save lives or shack up with a girl you fancy. I mean I think there are many interesting philosophical reasons to jettison the core; because it Zia's life was sad before is not necessarily one of them.

Looking forward to your thoughts :)

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valse de la lune

at 14:01 on 2011-09-07It's kind of irritating that she finally gets to say something for herself and it's mostly to confirm her role as a kinda-sorta designated romantic interest.

Anyway, about the Ura, I'm... very touchy about fantasy analogues for racial minorities, for obvious reasons--and doubly so when the analogue in question is so fucking pasty I thought they were vampires. It's intellectually dishonest and doesn't read to me as anything like a serious attempt to tackle the issue of colonialism. The final bits where they show up to do their noble savages thing made me

really angry

(what the hell is this even supposed to be? A mix of Roma and what, Zulu warriors? They didn't read as Chinese to me; the style of dress is way off; see Zia's head scarf. If, however, they were meant to be an East Asian analogue, well, I'm going to mail Supergiant rotten fish). It's out of place for such a cute game and I wish the author(s) hadn't taken this angle at all. Please writers, unless you have the intelligence and perspective and insight of say Octavia Butler, stop it right the hell now with the race thing.

Stop it forever.

Fucking Minority Warriors.

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Wardog

at 15:41 on 2011-09-07For what it's worth, I don't think they were specifically trying to write an East versus West thang. I mean, it's clearly just a fantasy story with a racial division theme, not somebody trying to be insightful about the west being a bunch of big meanies.

I did, however, read the style of the Ura as being faintly Japanese but that could just mean the racist here is me - the way they dress suggested kimono, they seem to fight with nagainatas, and everything you learn about their culture suggests that it's quite Mysterious TM and Ritualistic.

I mean, for God's sake Kyra, it's just a game, and it's cuuuute, so I could have totally over-reacted but I just worry that every time a text wants to mark exoticism or difference they, consciously or otherwise, reflect perceptions of real world difference.

I mean they could have made the Caelondians bears and the Ura moles, y'know. Or whatever. I just sort of felt they were heading towards Cowboys Versus the Japanese without really being aware of it.

Loved the game though, loved it.

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valse de la lune

at 16:22 on 2011-09-07No, I'm not exactly commenting on the Ura bouncing off what you've said--my remarks are based on my own reactions (i.e. I don't think you're overthinking this etc), and the combination of "marginalized people" and "noble savages" hugely puts me off. Without that I could have liked the game without reservations. :/

I must say that the PC port was pretty well done, with higher-res art assets for PC resolutions and everything.

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Wardog

at 16:50 on 2011-09-07Like I say, it's really not my place to point at depictions of other races and made loud minority warrior comments; I just felt a bit uncomfortable and, as you've pointed out, the whole noble savage thing on its own is the ick.

I played on Xbox from the comfort of sofa - the graphics were lovely enough it probably didn't do it justice, admiring them from the other side of the room.

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valse de la lune

at 17:09 on 2011-09-10One more thing: I can't be the only one who's put the ending theme on repeat and listened to it like a gazillion times, right?

:'(

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Wardog

at 22:51 on 2011-09-10Guilty.

I was listening to it while writing the review.

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Bryn

at 17:18 on 2013-03-19

Look, new thing!

Female protagonist is a nice change, especially in light of some

points

raised about Bastion's use of gender. I hope they do as good a job writing for this character as they did for the guys in Bastion.

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Wardog

at 14:39 on 2013-03-23I am super excited for this. I loved Bastion.

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http://lalunatique.livejournal.com/

at 02:04 on 2013-10-22Confession time: I found out about Bastion through this article and played it just so I could get past the spoiler alerts. (Of course the game itself sounded appealing, otherwise I wouldn't have minded being spoiled.) The story is short and sweet, and gameplay was hugely enjoyable. The final choice left me boggled and thoughtful, too.

I also chose to dump the core, for several reasons. Like you said, without memory people will just make the same mistakes. Rucks himself admitted there was no guarantee the Calamity wouldn't happen all over again. And if it wasn't the same chain of events it would be something else, given the hatred that existed. The way I saw it, the least-worst choice in this utterly crapsack situation was to preserve the memories and mistakes of the four fatally flawed failures on board the Bastion so they can travel around telling people to avoid the pratfalls they and their civilizations made.

In the end I just didn't buy Rucks' idea for the eternal reset button, and I hated how it served as justification for the Kid's slaughtering countless creatures and people. With this ending they're all going to have to live with what they did--Rucks for being complicit in the Calamity in the first place and for cheerleading the Kid through the killing fields, Zulf for seeking mindless revenge in the shattered remains of his world, Zia for her selfishness in not giving a shit about the countless people who died, and the Kid for the destruction he caused to no account. I hope it hurts them all. I hope it hurts good, because pain is the only natural and moral reaction to all they've seen and done.

Perhaps paradoxically, I also wish all of them good lives, lots of adventure, companionship, and love. I hope their mistakes have made them wiser, and I hope they'll spread that wisdom to others so not only they but the world can grow and learn.

As an Asian woman I give my Official Minority Stamp of Approval to the awful handling of race and gender in Bastion, wonderful as the game and story are. The Ura did in fact strike me as Asian-influenced--their culture seemed interesting and I would have liked to learn more, but this external view didn't do much other than exoticize them in the tired old tropes. Also I really could have done without having to mow through hordes and hordes of them. At the end of all that, rescuing Zulf for me was more about tiredness than anything else; I wanted my Kid to be tired of all the death and destruction when there had been too much of both already, and no longer caring if he died without the almighty Ram (not the first Ura invention in the game to be appropriated by Caelondians.).

Also, Zia. Ugh, Zia. The character, together with Zulf, managed to combine Racefail and Genderfail into a giant ball of suck. Because obviously the males of the Other Culture (plus females who are not really characters but interchangeable, disposable sprites) are threats to fight against, but the females are harmless and docile love interests. OBVIOUSLY. At the very least she wasn't kidnapped, but it also seems (though it was vague) that she managed to get herself locked up anyway, because everyone knows Those People will turn on their own at the drop of a hat. I felt like throwing my keyboard across the room from the offensiveness of it all, all the more because the overall story is compelling and engaging--my frustration was all the greater because I'd gotten hooked, whereas if the story had alienated or bored me I would just have rolled my eyes.

So thanks for introducing me to this great, thought-provoking game. I might have spent too many hours of my life fiddling with the keyboard and mouse controls and given myself repetitive stress injury, but with the increased blood pressure from some aspects of the story, my body was probably tricked into thinking it was getting a much-overdue workout.

#Ferretbrain #Video games #Minority Warrior #Wardog #Bastion

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scripttorture · 5 years ago

Text

Torture in Fiction: The Umbrella Academy: Episode 1-6

I tried to start this saying I was only going to review episode 2 which has a prominent torture scene. Several hours later I am… significantly closer to the end of the series. So I thought I may as well include what I’ve watched.

The Umbrella Academy is a Netflix original series based on an independent comic book. With great acting, excellent music and a cast of deeply flawed characters it was (I understand) quite a hit.

I’m enjoying it a lot more then I thought I would. It’s violent but it’s also ridiculous in a way few stories but superhero comics tend to commit to. There’s a 60 year old man stuck in the body of a thirteen year old after travelling to an apocalyptic future and being in a thirty year relationship with a mannequin. And I just- I love comics.

This series feels very much like a superhero comic book on screen. With all the good and the bad that goes with that concept.

But I’m not here to tell you what I think of the superhero genre and it’s relationship with violence. I’m rating the depiction and use of torture, not the series itself. I’m trying to take into account realism (regardless of fantasy or sci fi elements), presence of any apologist arguments, stereotypes and the narrative treatment of victims and torturers.

Umbrella Academy is the story about a group of very damaged people with super powers. Adopted as babies (born in extraordinary circumstances) by a millionaire ‘adventurer’ six of the Hargreeve children were raised to be superheroes. The seventh, apparently without powers, was isolated in a world of talking chimps, robots and extraordinary abilities.

The story starts with Reginald Hargreeve’s death and the five surviving children (including one who’d been living on the moon, apparently for years) meet for the funeral. In the course of this ‘Five’, teleports back from the future.

While the story overall focuses on the way an emotionally abusive and neglectful upbringing effects all of the major characters I’m going to be focusing on the clear instances of torture in and solitary confinement in some of the episodes.

Both Luther and Five are subjected to extreme solitary confinement. Luther is isolated on the moon for four years, Five is isolated as the last person alive for several decades.

Five stops up in a donut shop late at night and sits next to a tow truck driver. They have a brief conversation and the driver leaves. An armed gang then attacks Five. He kills them and two more people (Cha-Cha and Hzael) are sent after him, apparently by the same organisation.

Believing they’re looking for a man in his 50s they go after the tow driver. They torture him and while they eventually believe that he isn’t Five, they continue to torture him to get information on Five. The driver tells them everything that happened the night before.

Later Cha-Cha and Hazel mount a raid on the Hargreeves estate looking for Five. They don’t find him but they manage to capture his brother Klaus.

Klaus is an addict (what he takes is not explicitly defined) and talks to dead people. The two are linked throughout the story with the heavy implication that Klaus avoids sobriety in order to escape his powers.

Klaus is tied to a chair for about a day and a half. He’s beaten, strangled and ‘waterboarded’. (Cha-Cha calls it waterboarding but didn’t actually carry it out properly. I’ve assumed that was for the safety of the actors).

Klaus escapes and shows no mobility problems after being cut off the chair. He then spends several months in 1968 (as you do). On his return his mental health problems seem to be no worse then they were before he was tortured.

I’m giving it 0/10

The Good

The actual forms of torture shown in The Umbrella Academy are reasonably realistic. They’re not always accurate to the time period or place, but when time travel is involved I’m willing to let that slide. The electrical torture shown, with a battery and bulldog clips, could be taken directly from Alleg’s accounts of his experience at the hands of French troops in Algeria. The stress positions and strangulation are shown realistically. And while the waterboarding isn’t shown realistically I think it was done this way to protect the actor and allow him to breathe.

The Bad

I’ve covered solitary confinement before. The estimated safe period for most people is about a week. While both Luther and Five has a strong sense of purpose during their confinement (and this seems to be a protective factor) that wouldn’t help a lot when they’re confined for such an unrealistically long period. At four years Luther should be a complete mental and physical wreck. At several decades including puberty, Five shouldn’t be able to interact normally with people and should be more obviously mentally ill then Klaus. Both of them are shown without symptoms and this downplays the damage of torture that’s routinely depicted as harmless.

Umbrella Academy shows torture ‘working’ with victims giving up accurate information if only you know how to hurt them. This isn’t true. Torture can’t result in accurate information. This kind of misinformation encourages torture in real life.

Klaus’ response to torture is to thank his torturers for inflicted pain with the strong implication that he’s enjoying being tortured. It’s implied that he’s turned on by pain so ‘can’t’ be traumatised or hurt by torture. This is ridiculous and insulting to both the BDSM community and torture survivors. BDSM practitioners don’t stop feeling pain and they aren’t immune to trauma. There is a world of difference between a consensual and non-consensual encounter. Personally I think this kind of portrayal is akin to suggesting that victims can’t be raped because they’ve previous enjoyed sex. It’s unacceptable.

Klaus is held in a stress position for at least a day. This is a survivable time frame but on release he should have significant mobility issues and should have needed help escaping. Instead he’s perfectly capable of making his way out with a heavy time-travel device. He can walk and move his arms freely. This completely ignores that the way he was held is torturous.

Neither Cha-Cha nor Hazel show any of the mental health problems typical of torturers. They’re portrayed as competent and able to investigate effectively, even though they torture. Torturers are not good investigators and torture consistently undermines effective investigation. Realistically a character can be one or the other, not both.

Cha-Cha and Hazel are also depicted as good fighters and generally skilled. In reality torture produces a deskilling effect in torturers, they get worse at what they do.

Cha-Cha and Hazel are shown as obedient to their superiors, only targetting people who have information or are ordered as targets. This isn’t how torturers operate. They disobey orders, ignore superiors and target a wide array of people who usually have nothing to do with anything the torturers are supposed to investigate.

No one in the series so far has shown any long standing mental health problems as a result of torture or isolation.

No one has shown any memory problems as a result of torture or isolation.

The end result is that the series suggests torture doesn’t have any long term effects at all.

Overall

I think this series really highlights something I’ve been saying a lot on the blog: It’s very easy to find realistic depictions of how torture is carried out and it’s very hard to find realistic depictions of the effect it has on people.

These episodes, and I suspect (from what I’ve seen) the series more generally handles torture terribly. It’s unrealistic and it’s parroting a lot of tropes that either excuse torture or belittle survivors.

That didn’t get in the way of me enjoying the series outside of these scenes. There are a lot of great characters and character moments.

But none of that excuses this senseless repetition of torture apologia.

For a series that works so hard to highlight the effect of childhood emotional abuse it downplays the effects of physical abuse at every turn.

It uses torture as a short cut in the plot. It portrays torturers as smart and restrained badasses.

It basically does virtually everything I advise writers not to do.

And this comes about simply by repeating the same old genre tropes without bothering to look up the subjects involved.

There are other ways to have your bad guys find out the information they need to know. There are other ways to establish them as terrible people.

There are realistic ways to show people resisting torture, which don’t diminish the pain they suffered.

I think what I want to stress most of all is that this apologia is unnecessary. It doesn’t add anything to the story. The fun stuff, the super heroics, the ridiculous time travel escapades and carefully choreographed fight scenes can all happen without apologia as the background noise.

For once- I’m not really mad. I’m disappointed. That these tropes creep into genre after genre, put down roots and keep coming back up. The mainstay of this story wouldn’t be any different if they took out torture or even used it in a more realistic way.

Five’s isolation in an apocalyptic wasteland doesn’t last. He’s picked up by an agency of time travellers and offered a job. This could have happened more quickly, especially since the time he spends alone and the time he spends with the agency are both poorly defined.

Luther’s trip to the moon functions to build a wall between him and his siblings. And again, that could have happened in a much shorter time frame.

Cha-Cha and Hazel could have just interviewed the tow truck driver for their information. They’re shown conducting successful interviews later.

Klaus’ resistance could have been framed as natural and there are several points in his dialogue already that could have supported that. The story could have used the fact that Klaus genuinely does not know where Five is.

In the end The Umbrella Academy’s use of torture is a waste of narrative space. None of these torture scenes are essential to the plot and every single one of them is handled badly.

It’s an example of a narrative that wasn’t prepared to commit to showing the consequences of torture.

We can all do better.

Edit: I forgot the full title. Oops.

Available on Wordpress.

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#tw torture #tw rape #torture in fiction #the umbrella academy #torture apologia #solitary confinement #mental illness #superheroes #writing victims #writing torturers #torture and memory #stress positions #electrical torture

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