#it was at the peak of its popularity and there were interesting elements to it so i gave it several shots but i just couldn't stand it lol

[petr1kov]

man, can anyone honestly tell me if attack on titan is pro-fascism/pro-genocide? i've been hearing this for a long time (as well as the author having pro-imperial japan leanings), but these claims are also equally disputed, especially when it comes to the ending. i see a lot of people saying that the series depicts genocide and fascism in order to condemn it, while others say it does the opposite and excuses it (either intentionally or just by fumbling the execution of the plot really hard)

[melatonin-melanin]

jirai kei as a trend and the inherent ableism and racism present within it

if you've been present in any japanese fashion or vtuber spaces for the past few years, chances are you've most likely heard of jirai kei. it's gotten major media attention in japan, and inevitably its popularity has spread overseas. what is still misinterpreted about it, however, is that jirai kei is a fashion style. jirai kei is a stereotype, as well as a subculture that features fashion elements. as opposed to the fashion aspects, the focus of the subculture is mental illness, and many people use the jirai tags and labels to find those with similar struggles and interests. you can learn more about the recent history of jirai kei as a stereotype here, and the fashions associated with jirai kei here.

jirai kei as a stereotype is bad for a multitude of reasons, but there are many people who seem to think that there's nothing wrong with the trend itself. i've seen many arguments in favor of it, ranging from "if brands are using it, that must mean the term isn't that bad" to "plenty of japanese girls are using it to only refer to the fashion, and they don't actually lash out at others or self-harm." its usage by brands and everyday people are true, and that much cannot be argued. the problem comes from assuming that, because it's something widespread in japan, it can't possibly be as bad as people make it out to be. if this trend were to come from anywhere else, i'm almost certain that people would immediately question the morality of it for several reasons. this is going to be a long post, so i hope you have some time.

TW for mentions of self-harm, alcohol and drug abuse, and child sex trafficking below the cut.

a brief rundown of jirai kei's origins

to start, jirai kei's original coinage before the trend has existed since around the 90s. it was used by misogynistic men to refer to women who they believed exhibited signs of emotional instability. this was applied to completely harmless traits, and the criteria for someone being a landmine has drastically changed over the years. for example, the first common identifier was simply "a girl who looks put together." this sexist usage still extends to present times, but now it's often conflated with the current aestheticized definition of the term.

the source of the current iteration of jirai kei

the modern-day jirai kei stereotype comes almost entirely from a gang known as the toyoko kids, who reside in kabukicho. this gang contains many members ranging from ages 9 to 24 who have run away from their homes and families. they have been known for several activities, but the most publicized ones are cutting themselves in public circles, papa katsu (underage prostitution), heavily drinking, and overdosing on over-the-counter medications. majority of the gang members also wear japanese alternative fashions, with girly kei being the fashion that's most often present in the jirai kei stereotype.

where does the ableism come in?

the rise of the aesthetic trend peaked somewhere in 2020, where a "landmine makeup challenge" gained popularity online and resulted in various people attempting to mock and mimic the stereotype for clout. people would wear girly fashion, act "wild" or "crazy" on camera, and, at worst, pretend to cut their wrists or even use makeup to create fake self-harm scars. i don't believe i need to explain why faking self-harm for views is ableist. however, the ableism is also present in the supposed "lighter" aspects of the trend, particularly its sudden association with girly fashion.

during the height of jirai kei's popularity in japan, many brands had begun to sell pink x black girly coordinates, advertising them as jirai kei fashion. it's incredibly important to note that girly as a fashion has existed for several years prior, and that multiple people had already been wearing clothing that's abruptly being labeled jirai. as a result, you have all of these random people minding their business suddenly being labeled as "crazy psycho bitches" because of the clothes that they wear. as if that isn't enough, some brands went as far as to promote the more dangerous aspects of the stereotype as well. with attempts to pander to girls who are deemed "yandere" and "highly explosive," many shops, online influencers, and companies had directly and indirectly capitalized on the suffering of the toyoko kids by encouraging people to cut their wrists, manipulate their partners, binge drink, and lash out at others to engage in the "full landmine experience."

mental illness in japan is almost never taken seriously because it's seen as a personality flaw rather than something that needs treatment. the jirai kei trend only set back any progress made for mental health acknowledgement in society, as people perceived as landmines began to be harassed for wearing girly fashion. more girls were approached by men on the street trying to scout them for prostitution, and people gave away their wardrobe because "others assumed they were troublesome" for wearing it. from another perspective, the anti-recovery nature of the trend has also taken lives. some people who felt that they identified with the term had fully embraced the lifestyle that was commercialized and promoted as something "cute and fun," resulting in more people running away from home to be like the toyoko kids. these people, who have essentially been failed by the system, are simultaneously fetishized and shunned for the fact that they're struggling.

well, what about the racism?

the racism present in the jirai kei trend, from what i've seen, mainly comes from overseas communities. the perception that many people have of jirai kei tends to have its roots in orientalism. if you've ever witnessed how people tend to glorify japan in almost every context, this shouldn't be too surprising. what's concerning, however, is that much of this glorification of jirai still goes unacknowledged by the western j-fashion community.

when jirai kei gained popularity in japan's mainstream, people mistook the name of the stereotype for the name of the fashion. this mindset also translated over to western spaces without a second thought. as a result, when jirai kei as a stereotype was formally introduced to overseas j-fashion communities, some were confused and oddly adamant. it seemed like people thought, "there's no way that japan would endorse something so horrible. there has to be different explanations!" regardless of whether this idea was conscious or subconscious, it had begun what people now call "jirai discourse" in the community. many arguments were made in favor of using jirai kei to refer solely to girly fashion, as opposed to recognizing its origins and continuous usage as a derogatory term. an especially common viewpoint that's perpetuated is that jirai kei has been reclaimed or is in the process of being reclaimed, which is something that has several things wrong with it.

problems with thinking that jirai is "reclaimed, so it's fine to use"

firstly, reclamation is subjective. the assumption that the entirety of a minority group makes the unanimous decision to reclaim a term is frankly just implausible. even more popular words that are thrown around more casually nowadays are still debated in some circles on whether or not they should be used. for a term like jirai kei, something fairly recently coined and undoubtedly controversial in most contexts, the mere idea of reclamation amongst anyone would have to take a much longer time, and that's only if the stereotype starts getting taken seriously.

secondly, the only people who have the right to consider reclamation are the people who are directly affected by the usage of this term, which would be feminine-presenting native japanese people who are mentally ill. people overseas have argued in favor of reclaiming the term despite not being a part of the group that the term is actually used against. this is not something where you can take apart the criteria and suddenly claim that you're also affected by jirai kei's usage. for a comparison that may be easily understood, that's like if a nonblack woman tried to advocate for the reclamation of the "mammy" stereotype, which stereotypes and therefore only affects the perception of black women. just because both groups consist of women, that doesn't mean they have the exact same experience with the stereotype in question, even if they happen to resonate with some aspect of it. unless you've grown up in japan as someone afab and/or feminine-presenting and have struggled with mental health, it's nearly impossible to fully identify with the extent of jirai kei's harm because it's occurred in such a specific set of circumstances to a specific group of people. the only thing that should be done in this case is doing your research on the affected group, which you can do by looking into the history of the toyoko kids and some of the individual stories of the members. that way, you can at least attain a better understanding of their perspectives and connect the effects of jirai kei to their struggles.

lastly, it is not reclaiming to simply use the term for yourself. this tends to be where the idea of jirai kei being reclaimed comes from, because many japanese girls on social media use the term to refer to themselves as well. in these instances, there are typically two separate reasons: one, the person is pretending to be a landmine for clout; or two, they genuinely identify with the derogatory meaning of the term. the latter is often the case, since there's not many other ways for people in japan who are mentally ill to find groups for themselves. when it comes to reclamation, it's important to remember that it's not simply using a word that was used against a group that you're a part of. reclaiming is about actively working to change a term's meaning into a neutral or positive context for the benefit of the group. none of these girls are doing that. there's no big effort in japanese landmine spaces to move the perception of being a landmine away from things like girly kei fashion, idol fan culture, or toxic behaviors, which leads me to the final section of this post.

it is not anyone's job to push for the "reclamation" of jirai kei.

i put reclamation in quotes because, although some genuinely may not have ill intentions, many people come off as having a "white savior" mindset as opposed to actually wanting to reclaim the term in any sense (which, as mentioned before, is not the right of just anyone), and it's usually for the sake of enjoying girly fashion without feeling bad for incorrectly calling it jirai kei. one of the defenses often used to propose that being seen as a landmine can actually be a good thing is that the people who do self-harm and abuse substances are simply "bad apples" in the landmine community. if they're not treated as the dirty underside, then they're seen as things to be pitied and sympathized with, but with the quick disclaimer of "don't worry though, not all landmines are like this!"

not only is this incredibly ableist, but this assumption being made by mainly white influencers is also rooted in the historical development of racism against asian people, particularly in the united states. if you've heard of the model minority myth, one of the biggest issues with it is that it heavily generalizes asian people as being well-mannered, good-natured, and upstanding citizens. as a result, anyone who seems to fall out of this generalization is deemed an "untrustworthy foreigner" and appears as nonexistent through a romanticized lens. this exact situation can be applied to how people tend to treat the issues surrounding the jirai kei trend. the japanese girls who are faking and/or making fun of mental instability for the sake of online popularity are suddenly being glorified as these ideal representations of jirai kei to be palatable to the western world. meanwhile, the people who are considered by many to be part of the lowest rungs of society and are actually getting this term thrown at them pejoratively are treated as an afterthought and not representative of what people overseas want jirai kei to mean. it's even to the extent where native japanese people using girly kei or being uncomfortable with jirai kei are immediately assumed to be faking their ethnicity or their japanese-speaking skills, something that many foreigners have actually done in an attempt to claim authority over jirai kei's usage. since the reality of the trend is so uncomfortable to many, people think that it's best to simply disregard it or dumb down its impact when that changes nothing. what has avoiding the topic of discrimination and fetishization ever done for anyone?

the last thing i want to point out is that, even if reclamation of the term was in progress, it would not be happening the way that some seem to think it is. if the term was being reclaimed, we would not have people (both overseas and in japan) still acting like the stereotype for tons of likes, namely by taking pictures of themselves in girly kei next to cans of pink monster while sitting on the sidewalk with someone handing them money. that is an actual image i've seen, and if that doesn't tell you that there's a problem, i'm not sure what else will.

[beevean]

https://www.google.com/amp/s/www.beyondgames.biz/43436/from-vampire-video-game-to-hit-netflix-animation-an-interview-with-the-castlevania-nocturne-creator/%3famp=1

This...should also be interesting

man you're having fun sending me peak :P

This got a bit long, so under the cut it is - I'm also afraid I'm annoying others with this lol

Castlevania, the long-running and influential platform game series launched by Konami in 1986, follows the generations-long battle between the Belmont family and vampire lord Dracula. The Castlevania TV show told that story across four seasons.

This is a lie. Not only the og show only adapted one adventure and not the entire legacy, but that adventure barely took half of the runtime.

Yes I'm being petty, but can you blame me? They can't even gush about Best Videogame Adaptation Of All Time right.

I didn’t know the games, but I’d seen the earlier [Castlevania] show and liked it very much.

I had no doubts 🙂

Even as a fan of the show, though, Bradley's knowledge is lacking. Dude forgot basic worldbuilding like Devil Forging and the effect of crosses on vampires.

"Konami also gets sent notes and the scripts." I find funny how there is zero mention of their input lol. "yeah they get kinda warned that we're doing stuff with their brand. just in case someone cares"

I did quite a bit of reading up about it, especially the two games in particular. One of the difficulties in terms of working out a story is that in many of the games, including these two, Dracula was prominent. But in the original TV series, the Dracula story is kind of put to bed! Dracula gets a happy ending after season four. So I had to work out how – or whether – to handle Dracula. I started looking into other villains. There were two. I researched the games and cherry-picked what I could use. Olrox is in the game, but he’s different. And there’s Erzsebet Báthory, who appears in a different Castlevania game with an Anglicised name. I knew who she was already: she’s a famous historical figure. I decided to treat her as the historical character (who’s supposedly the worst female serial killer in history – [folklore] turned her into a vampire).

Nice to see Bradley has learned from Ellis' school of thought of just randomly selecting elements you might recycle with no further consideration. I'm surprised he chose Erzsebet and not, say, Barlowe, who was definitely alive back then.

To be fair, though, I can understand his frustration at the absolute idiotic ending of the og show.

[The Deats brothers] know how to use things from the games creatively and in ways that will work even if you don’t know the games.

... no. Moving on.

There is a character called Annette in Rondo Of Blood who is Richter’s girlfriend. She’s trapped in Dracula’s castle, and he has to rescue her in the game. Now, I was never going to do an eight-episode season, never mind two seasons or more, of Richter running around a castle rescuing a girl.

I can just hear the scoffing.

Alright, fair, I understand his point. You want a more dynamic plot, I get it. But you basically went "this is shit, I'll just turn her into my OC", just like you did with Olrox and Erzsebet, and just like Ellis did with pretty much everyone in the cast. You all just take names and create your own stories by leeching off the popularity of the source material and then expect to be clapped for writing the Best Adaptation of all time.

One of the tasks in developing the show and its story is that, of course, the reason it exists at all is because of the game. So you want to please fans of the game. But it can’t only be for fans of the game. It has to have a broader appeal. There’s a significant fan base, but you need more to justify a Netflix show. You have to have something that will work for a wider audience. It has to be something on its own, and you have to find the logic of the story that you started to tell. Sometimes, the problem with adaptations (especially if they aren’t very complex stories to begin with) is that if you keep trying just to come back to that, you’re going to lock yourself into a dead end. What you do is you develop characters and then the characters have a logic. And the story has its own logic. And you have to allow that to happen, or it will fail on every level.

... so, what was I saying?

This speaks for itself. I have nothing to add.

The name seems to work for a Mexica background – although it’s not really Aztec

the fuck are you saying? Olrox is a mistranslation of Orlok. It's German! What, just because there's an X there suddenly it can pass off for Aztec? So much for hiring writers that can help you with writing other cultures

So we have a bunch of kids who are out of their depth. Richter’s too cocky. He thinks he can handle everything, and he can’t. Maria is even younger than Richter and Annette. They’re all very obviously out of their depth. And there’s something very Buffy about that, in a way.

And Annette is just perfect, isn't she :) it's not like her brash outburst lead to Edouard becoming a Night Creature and she, instead of blaming herself, kept snapping at Richter for wanting to make her reason :)

also lol that Maria is only described as "young". She really has no personality and contributes nothing to the story.

There’s a lot of that in Olrox, and Drolta also has a touch of Anne Rice about her. Those particular vampires are quite ambiguous – and sexy!

Drolta is literally what the fandom believes game Isaac to be, a shallow evil horndog simp, but with tits. Ambiguous my ass.

We knew that the vampires in this universe are aristocratic.

bro accidentally wrote a story about vampires infiltrating human nobility to the point of becoming an accepted part of their world because he forgot that not all vampires are inherently aristocratic. i'm shitting myself.

The Night Creatures are in the old Castlevania show, and the game. But they tended to be a bit gross-looking. In contrast, we wanted something a bit more beautiful. It fits with the story about [transformed singer] Eduard. It felt important that in his Night Creature form, you could still see the beauty of the character. He needed to be a beautiful Night Creature, preserving his voice, and you needed to see the sadness in his eyes and everything. And he couldn’t be stupidly different from all the other Night Creatures, so they changed a little, too.

... what?

So you fucked over the entire lore of Night Creatures just to have a pretty Edouard??

I. No. Moving on again.

(also this is an insult to abel, even the one in the show)

There’s been less complaint about the portrayal of the Church than I thought there might be!

Yeah, because the audience of NFCV is so anti church that they cheer at the sight of the Devil sending human-eating demons to slaughter peasants who did not stop one execution.

Talk us through some of the other characters, please. You’ve got some great voice actors! Alucard was always going to be in it right from the beginning of working on this. The question was just when. We decided to end it on a cliffhanger. If you’re going to have a cliffhanger, you might as well make it as good a cliffhanger!

question: hey would you like to talk about the voice actors

bradley, not containing his boner: OMG HAVE YOU SEEN ALUCARD ALUCARD IS SO COOL WE ALWAYS WANTED TO GO BACK TO ALUCARD THE ONLY CHARACTER PEOPLE CARE ABOUT

One of the things that was great with this – and it’s a credit to Kevin Kolde and to Netflix – is that it is a very ‘free’ adaptation. They were very open to that and okay with it. Nobody at any level was saying, ‘Hold on a minute! You can’t do that.’ With any adaptation, there are things which you probably want to be more faithful to, because the story is already so great.

... is it me, or does it seem like he's saying "we were free to do as we pleased, while usually we can't because the OG story is already great - which was not our case, RoB's story was so shallow that nothing was worth keeping"?

Like. I don't think it's what he meant because it would be rude as fuck. But it sure sounds like it.

But yeah, I can tell no one gave a shit about Nocturne being an actual adaptation.

[santoschristos]

The femme fatale is a myth, a projection, a construction.

"Elle" - Gustav-Adolf Mossa (1905) One of the sides of the Symbolism style at the end of the 19th century is to represent the femme fatale. The icon of this kind of representations is The idol of perversity by Jean Delville (1891), but Elle by Adolf Mossa (1905) is not so far from it.

As always, we should analyze the elements of the painting, including all the details to try to find an interpretation. The main figure is a female nude lied down over a mountain and with brown hair and big eyes.

Let’s start from the top. There are two crows at both sides of the head as if the hair is a nest, a bird of bad omen, that are protecting three little skulls oriented in three different directions, which could be an allegory of time: past, present and future, the same that the popular Titian painting, but there were heads and here are skulls. Is it the end of times? Probably.

Another interesting and contradictory detail is a golden aura surrounding the head of Elle. But, could be Elle a saint? Not at all, probably this is a blasphemous element.

The pale face, the earrings and the necklace indicate that the woman could belong to aristocracy, maybe Victorian, contemporary with the painter.

The nude body: proportions and gesture reveal that the technique of Mossa is not perfect, he is not painting a proportioned nude body.

We arrive to the bottom, where there is the clue of the interpretation of the painting: the peak is a mountain made by human cadavers, probably male. Respect to the human bodies, Elle is a a giant, she is no doubt the incarnation of an evil monster.

I suggest several possible interpretations: first, Elle is Babylon, the Whore city of Asyria: the maximum incarnation of lust in the Earth. Another interpretation is that Elle is the Beast of Apocalypse, again related with the Christian question. The last suggestion is that Elle is the incarnation of all the evil for men, the woman that devours all men, the Praying Mantis, the supreme femme fatale.

Just the fantasies of fin de siècle drove the artists to think that the new women, the feminist, was breaking the traditional rules and she was a menace for men. I´m fascinated by this age but I will never understand its misogyny. --Heresy and Beauty

[shockersalvage]

Danganronpa 3: Future Arc Rewrite (Part 1: DISTRUST Life)

Now this has been something that's been about years in development. Okay, for this Rewrite in particular, it would probably be about a year and half, but since 2016 I've always wanted to try my hand at a rewrite to DR3. For me, while it is not the worst in Danganronpa's entries (that honor goes to Killer Killer) it is still not exactly my favorite for a variety of reasons. Personally, while it does have some good moments in there, overall I do not really believe that it ends the Hope's Peak story on a satisfying note to really end things on. That isn't to say anyone else can't like it, it's just some of the writing decisions it made just didn't land home for me. Throughout the rewrite, I'll be gradually going about each decision when I feel it's a good time to discuss it and why I changed things the way I did.

This is rewrite is essentially how I would go about things, with a pretty big one just off the bat. In this version, instead of alternating between a Future and Despair Arc, it's just simply a 24 'episode' outline that covers Future Arc with Despair Arc elements acting the new 'main story' of DR3.

I've done it this way because I believe that, while it was an interesting decision, the current format of DR3 lead to both sides characters, story and concepts being underdeveloped as it bounced between a killing game and trying to give the full-ish story of the Tragedy. So I thought it was best to give each their own section, with Despair Arc being its own thing for a separate date.

Regardless, I hope, at the very least, this becomes a nice read for you all! Happy New Years!

Distrust Life 1-12

(Episode 1)

Now this starts off with the first major change being Asahina being promoted to Director of the 13th Division. Now one of the issues, on the minor scale, was the 13th Director never showing up and being seemingly forgotten. Nowhere in media concerning DR3 do they ever appear. So off the bat, we’re rectifying this by just having Hina be the Director upfront, with the explanation that its a recent promotion.

As for the former Director, who I will call ‘Yoshiko Yoshino’ (who is the old PE. Teacher shown briefly in DR3 - who got blown up by Junko. Here its the other PE Teacher, yes there were 2, that gets blown up instead)  she had been heavily injured in an attack prior to Hina coming onto the Division. Yoshiko is retiring after chronic pain still persisted. She compliments Hina for her efforts that have been non-stop since she arrived and how she genuinely feels she can leave the Division to her hands.

We get a flashback to Hina watching over the reunion of her friend's loved ones who were Targets in the Demon Hunting Game (except Komaru whose still in Towa). Though upon learning that her brother, Yuta, didn’t make it out of it, she smiles and wishes them all the best before eventually slinking off. Tears down her face, and blaming Junko’s forces for it. With an urge to do more surging through her veins, she tranfers over to the 13th Division to deliver supplies to areas still incredibily afflicted by Despair's wrath. Through a montage, we see Hina going about wrecked areas of Japan dutifully giving supplies, fighting off foes and being kind to those who need all. All while keeping the image of her brother in mind. In the present, by the time she leaves her office, nervous yet determined to give a speech to her new underlings, she is instead greeted by Togami and she gets the news that Naegi has been arrested.

Another flashback shows that once Makoto, Togami and Kyoko has arrived back to FF mainland, Kyosuke had arranged to have Makoto taken away in handcuffs and taken to Division 6th Detention centre. Kyosuke, Juzo and Chisa were there in person to greet the trio on the docks. Kyosuke and Juzo, naturally, were both furious concerning the whole ‘Makoto taking the Remnants’ incident and were it not for Makoto’s popularity, would have killed him on the spot. Instead, the Ultimate Hope is being confined.

Concerning Kyoko and Togami, given their positions as both Director and Vice Director of the 14th Divison, as well as being celebrities for going against Junko, they can’t just fire them outright. Instead Kyoko is temporarily suspended from her duties and kept under watch by the 5th Branch, for questioning and to keep a close eye on her well. Since only one ‘Director’ is needed present with the 14 Division, Togami is sent back but is a close eye is being kept by Kyosuke’s forces.

Thus, the only one who can realistically visit Makoto to help him is Hina (Hagakure got kicked out due to both not being a Director and because the prison staff is sick of dealing with him & his antics normally). Though at the moment, despite being a Director, she is barred from the facility given her connection with Makoto. Now Asahina has been thoroughly out of the loop for a while now, so Togami catches her up to speed with the basic summary of the Havoc Crew, barring her, Toko and Hagakure (though the latter two got to know, eventually during the operation itself), having initiated a plan meant to rehabilitate the Remnants. The results of which are shaky at best (to Togami anyways). She’s shocked and a bit hurt given such a secret was kept from her, but tries to push that down. She needs to check up on Makoto. But, the only way she is getting into the facility is with permissions from seven other Directors of the Foundation, which came from the prison staff themselves when she visited in an attempt to try to sway them.

Thus leading to the scene where storms out and runs smack dab into a drinking Koichi Kizakura to end the first episode.

(Episode 2)

Now this stretch is what I like to call the ‘Directors of the Week’ episodes! Where each episode we get to learn a deal about the Directors, ideally that being two an episode. In this case, Koichi is our handy-dandy support that shall assist Hina in her (mis)adventures. Truth be told, she’s kind of weary of him wanting to pal around with her for a time since she knows since back from her HPA days he’s kind of a weak alcoholic. He wins her over with him dangling his knowledge of the the Directors in her face and his promise to hand over his recommendation from the get-go. It’s also him that suggests meeting the others in person since the Directors would likely be on their feet or busy with personal matters more often than would be sitting back reading emails a whole lot. Koichi had been in the area getting a drink from the nearby pub, but running into Hina like this, he believes it must be fate working its hand.

In terms of dynamics, the idea behind Asahina and Koichi being together, is for Koichi to be essentially the enabling drinker and bit a of cheeky teaser, with a touch of a manipulative side, to Hina’s impulsive, hot-blooded and cheerful attitude. That said, this is a Hina that has matured since her DR1 days and will have no problem snipping back at Koichi’s intentions and being more aware of the seedier side of humanity.

First stop Great Gozu at the 12th Branch via helicopter. Now with Gozu, his focus would concern fleshing out a bit of a peculiarity that the original DR3 didn’t go into. Namely, how come a Wrestler is in charge of public restoration efforts. In addition, despite revealing he’s been with the Foundation since it was first established, why is he apart of the 12th one? Well, in this case, he notes his status as Director of 12th Branch is more because of his ‘image’ than anything. During the heyday of the Tragedy, any attempts at restoration was stopped by criminals, from petty thugs to Remnants seeking to keep chaos. It was believed that Gozu, who got into more than his fair share of fights against the Remnants and criminals, being named a Director could essentially work to scare off such threats, thus allowing his men to work in peace. Of course, both Gozu and an armed security detail are always deployed as well - just in case scaring off people doesn't work. To prove a point, the episode would show Gozu suplexing some poor troublemakers trying to cause havoc at a youth centre Restoration site.

This episode would also address something that was never brought up in the anime: His relationship with Tengan and his backstory. During his talk, he explains how he was a rising star of a professional wrestler back during his youth and Tengan happened to be watching his shows. As such, he got scouted by for Hope’s Peak. He became Tengan’s bodyguard as a means of repaying such a debt, and is a bit worried about the old guy since taking up the Director mantle since he can't do his old job as much. Concerning the Makoto debacle, while he's doing hold some reservations given that it was the Remnants being taken, he decides to trust in Makoto since he likes his attitude and sees him as being a worthy Symbol of the Future Foundation - as its Ultimate Hope. Thus, he’s willing to give support to Hina by handing her a Rec Letter. He also decides to come with her to meet with the Director of the 11th Branch.

The next part is Daisaku Bandai focused…yeah. Now, in the original, he’s sadly the most forgettable ‘just there for the body count’ participant ever, lasting one episode and a few minutes. So what can we do with him? Well, in the relationship charts, Bandai is listed as being apart of two neutrals in the Foundation, alongside Miaya. So, this version has said neutrality and mediator nature be more pronounced. If Gozu is the friendly giant that’s willing to fight you for his ideals, Bandai’s the gentle giant whose going to want both of you to sit by the fire and talk things out. In addition, as for his sayings, his intent with them is to say their meaning is for something you have to figure out yourself (better than him just saying they're meaningless).

As for why he’s in charge of the 11th Branch despite also being with the Foundation from the start, originally Bandai didn’t want to be caught up in the drama concerning politics that comes with being an official Director, and even then Junko’s forces made getting a formal Branch set up for his duties a pain. Following her death, and the mass suicide of good chunk of her followers, that chance of peace had him finally cave to the higher-ups requests and establish a formal branch. In general, he sees the Foundation’s inner turmoil as being a thorn he very much wanted nothing to do with, especially since he prefers everyone elected to bury the hatchet and be good comrades working for the goal of Restoration.

His meeting with Hina has him hug it out with Gozu and both just really enjoying each other’s company, with Gozu trying and failing a bit to figure out Bandai’s sayings and Bandai agreeing to wrestle with him during their off days (what kind of wrestling will leave that to one’s disclosure). His meeting Hina has all four in his branch's personal garden rest area that he always tends to, full of fruits, water and, in general, just having a refreshing atmosphere anyone (even the most uptight of people) could enjoy. When it came to getting his Rec Letter, he’s pretty willing to give it to Hina no strings attached. Though its with him, we get his view on the matter.

On one hand, he also wants to give trust to Makoto since he doubts someone who would stand up and stop Junko Enoshima of all people could do something nefarious. That being said, he also fully recognizes why other Directors might be angry - bringing up the Remnants status as wanted criminals that did hurt the world. It’s then that Bandai brings up a question to Hina: What does she think of her friends trying to rehabilitate the Remnants? 

Hina, try as she might, struggles to even open her mouth as the question brings conflict to her mind. Flashes of her dearest friends, no, her only family…and the thought of her dead brother dying because of them. Ultimately, Bandai hands over the letter and tells her that, by the time they do meet again, she should take a step back to clear her head and form her own opinion on the matter. Not as a Director or even a friend of Makoto, but as Aoi Asahina. Taking in such advice, both Hina and Koichi wave off the burly Dads as they head to the 10th branch.

(Episode 3)

Ryota Mitarai is the Director of this branch and we see that he spends most of his time cooped up in his personal office. Blinds closed and hunched over drawing his weary eyes out only for him to yawn, look back and see a perky athletic woman and a semi-drunk wingman looking at what he was doing from behind his shoulder. Needless to say, he freaks out. Now, in this episode, while Mitarai isn’t trying to be difficult about it, if they’re needing to get that letter first things first is ensuring Mitarai takes care of himself. After some coaxing, they get him to at least lay back a bit while they get him some proper food. 

He’s extremely grateful for the food and introduces himself, though a thing sticks out in Hina's mind. Namely, that Mitarai was a part of the 77th batch of Hope’s Peak students. While no one blatantly says anything, he is aware of the stigma of being a survivor of the bunch since he knows almost all students in said batch besides him were murdered during their tenure at Hope’s Peak or had defected to Junko Enoshima’s side. There have been some odd rumors from others and even within his own branch of his own loyalties. Something that clearly gets to him as he showcases his desperation of trying to do better and show he can help fix the world just as much as the others.

Hina comforts him and begins trying to uplift his spirits, showcasing more of a big sisterly attitude with him (even though she’s younger, but hey, some people have that energy to them). It’s then, after Mitarai hands over his Rec Letter and is asked about his thoughts, does he get a bit nervous. Truth be told, he doesn’t really want to get involved too deep with the whole affair with Makoto and Kyosuke. So while he gives up the letter, he even requests not to involve him in that, though upon Koichi reminding him of the upcoming trial with the other Directors, he flinches. Hina presses both for more and Koichi spills the details that Hina never gotten. (Mostly since she never read the email, but that’s neither here or there...)

At the end of the month, Makoto is to be put on a secret trial with the other Directors. Depending on the majority vote, it could mean Makoto might walk free or more than likely get convicted of treason, thus leading to him either being imprisoned, executed, or altogether exiled from Japan. Depends on how things’ll play out. This just makes Hina anxious more about getting to Makoto quickly before that happens. Anyways, Mitarai goes to head out, but upon it dawning on Mitarai that they’ll be going out and about for the other Directors, he asks if he could come too. Chances are that they’ll meet someone he has business with and it’ll probably save him time tagging along with them. Eager, Hina takes her new friend by the arm and goes about running along to their next venture.

Sonosuke Izayoi, in this version, his strong silent type attitude takes prominence. Mostly since I feel a non-verbal attitude, strangely enough does work better for him being remembered than when he speaks occasionally. It just needs to be presented in a way that he doesn’t fade in the background. For example, he can be very visibly expressive, with his features becoming colder or even cartoony depending on the situation.  In Team Hina’s talk with him, he’s slow to anger, but has his limits. Limits that Hina completely breaks because she keeps bugging him for his letter as he tries to do his job. Koichi, being the dutiful scout that he is (and mostly to give Hina some insight) explains that Sonosuke Izayoi was from the 76th batch and came from a long lineage of blacksmiths that was pretty cushy with the former government and potentially underworld for their forges.

When he became Director, he reestablished the ties that remained to put them to usage for Future Foundation weapon development. Eventually, after being annoyed to the brink, he goes to kick them out, but is stopped after Hina pulls out a donut to eat.  His sweet tooth wins out, and he begrudgingly joins the team for a quick snack break. In truth, following a donut, he does seem more friendly and approachable, even muttering his iconic ‘dewicious’ here. 

However, he refuses to part with his letter at least, not until they win favor with his lover. At least, that’s what Mitarai guesses, which Izayoi gives a thumbs up in response. Hina tilts her head in confusion. Lover? But, it was the truth and that was someone they had to deal with next. As she’s the Director for the 8th Branch. 

(Episode 4)

Ruruka Ando rules over the 8th Branch with a surprisingly large amount of popularity. Izayoi tags along and the crew greet Ruruka at the doors to her branch. She immediately and lovingly embraces him. As Team Hina follow the couple, they witness just how pleasant and friendly her subordinates are to her, even going ecstatic over just being in her presence (something that gets Mitarai somewhat jealous). Hina is astounded by her popularity, though Koichi is scratching his chin at the sight of so many people liking their boss. Or, rather, worshipping her.

Eventually, all four reach into her office and Ruruka begins trying to get Hina to eat some of her sweets. In addition, she also happily explains her past as apart of the 76th batch of HPA students, though claims that was small potatoes to her famous bakery that was even known worldwide. However, Hina is quite reluctant about accepting the food since she just had her donuts, up until Ruruka offers one of her own. Hina happily accepts it, but Koichi reminds her of her mission. Hina asks about getting a Rec Letter from her, but she flat out refuses. At once, the bubbly, friendly woman from before is now narrow eyed and looking pretty stern herself.

She speaks for both herself and Izayoi in that she sees Makoto as absolute scum for trying to help the Remnants and probably would have executed him on the spot had she been in charge of the Foundation, his status as Ultimate Hope be damned.

“Dealing with one rotten traitor is bad enough…but several leading the divisions? Rotten food needs to be tossed out.” Hina is confused over the first traitor spiel, but Ruruka had made her stance clear and orders both to get out and takes Hina’s donut from her! Concerning Izayoi, in this version, he looks conflicted on refusing the matter with Hina and Koichi, but sighs and continues to back up Ruruka.

With that failure, the duo heads towards the 7th branch office - directed by Miaya Gekkogahara. Now given her involvement in making the Neo World Program that was used by the Havoc cast, by the time the trio arrive she is understandably both stressed and frazzled. She had been interrogated pretty intensely after they found out the Havoc Crew were using her technology like that. Were it not for Miaya’s role - finding ways to negate despair among one of them - and her contributions to FF, there was a high chance she’d be arrested as well. Likewise, running into one of Makoto’s friends puts her back on edge, though she still tries to be friendly after a bit. It helps that Koichi is there, which she is grateful for and a bit exasperated with at the same time. She’s speaking through her high-tech wheelchair and using her Usami Vtuber avatar to speak. She has a hereditary disease that affects her legs, making them rather weaker than usual, so she uses her wheelchair to compensate. 

Concerning her story, back during Hope’s Peak, Miaya was the school’s guidance counselor - in name. In practice, as much as she wanted to help, she was swamped with work from the late Steering Committee and didn’t have much time to really help people as much as she'd like. Especially since, well, its an old wound. She laments being unable to really help the Reserve Course from rioting and taking their lives. Any attempts at counseling or trying to pacify those students were blocked or ignored. Koichi reveals that she’s from the 65th Batch of Hope’s Peak Academy students (putting an end to the weird plot detail of no one knowing what class is supposed to be in, and her counselor explaining how she could still go about her NWP activity with Chihiro and Yasuke). He tries to raise her spirits, though that only gets her exasperated since his alcoholic breath gets on her face. 

As she gives the duo a tour, a familiar face pops up during so - Alter Ego. Hina eagerly greets her friend who had helped her during the Killing School Life. He is also happy to see her again, though is apologetic to Hina after hearing how Makoto was arrested. AE informs her of his role in the rehab plot and how ashamed he was to let the Junko AI takeover.  Both Miaya and Hina try to comfort him, but it gets Hina thinking on why he’s with Miaya now. 

Here we learn of Chihiro’s involvement with Miaya with the Neo World Program, and how both were co-workers to help create it. With her friend and protege dead, Miaya ‘took in AE’ so to speak, being the one to salvage him from HPA after they rescued the Havoc Crew and receiving him once FF apprehended Makoto. Hina pushes on to ask the obvious: Why create the Neo World Program?

Well, for Miaya - her life’s goal is to find a way to rehabilitate anyone. She wanted to help people so badly from their own issues that drove to the pits of despair and vileness, but while she can help anyone with a large degree of success, there were the sort that just were too far gone. The NWP was made to ensure even the worst of the worst or the most badly hurt of them all could have a second chance. It being a concept thought up way back when she attended HPA. However, while she got the resources over the years and even approval from FF to initially put that dream to reality it soon became clear that the consensus was that criminals, especially the Remnants were to be put down instead of saved. That such a high-cost procedure was both too long and too ‘inefficient’. Thus, her project and JW Island was left abandoned and she was forced to back to square one….

Up until she had gotten into contact with Makoto who learned about the project from a list of scrapped projects that the Future Foundation organized. He was really interested in it and he shined with so much determination and genuine optimism for the future that Miaya disclosed its location to him and even gave him the reigns to the facilities that the Havoc cast would use. It was risky, but she could just feel she could trust him. As such, she gives Hina a Rec Letter, believing she could bet on the swimmer too. That being said, she also advises against bringing her into the conflict during the trial since, yeah. That’s way too scary for her heart to take!!!

Next up is someone all three are dreading as they arrive to his branch: Former Hope’s Peak security guard, Ultimate Boxer and real pain in the ass for most - Juzo was running Division 6.                                                                                                                    

(Episode 5)

Now, when Hina arrives, she’s combing all over the building, but Juzo is nowhere to be found. During her search, she meets several of his underlings: Ikue Dogami, Mekuru Katsuragi and the Ultimate Make-Up Artist. They explain that Juzo tends to be out and about often, but thanks to Mekuru, they direct Hina to wait towards the main lobby for him. It should be noted that, aside from those three, most of his other employees seem nervous or on edge when he’s mentioned. 

When Hina finally meets Juzo, naturally, he’s aggressive and has no patience for her. Likewise, he refuses to hand over a Rec Letter to Hina since he is an avid supporter of Kyosuke’s ideals and is enraged over Makoto’s actions. Now, Hina actually does remember Juzo a bit - where we now get a flashback of him acting as HPA’s most aggressive security guard.  She had witnessed him being rough concerning students relating to the Reserve Course, so she isn’t surprised he’s being a hardass now. Being reminded of the discourse concerning that time, Juzo is getting more pissed off and looks ready to throw down before an idea occurs to him. Of course, this being Juzo, he decides to give her a ‘chance’ to prove herself. In the ring. 

So Hina takes on Juzo in a five-minute exhibition match. If she manages to last until the time limit, Juzo will hand over the Rec Letter. If she fails than, well, nighty night! Hina, determined and unwilling to backdown, opts for it. Koichi, naturally, is concerned by this move, but she reasons that she wants to get to Makoto as soon as possible. If she can just last five minutes, she’ll be able to do that faster (not trying to think about the setback she would make if she would fail).

Juzo is confident he’ll win and toys with her early on, allowing to go for some strikes, effortlessly dodges them and proceeds to wail on her with jabs. Enough to knock her down and he thinks she’ll quit, but she gets up. A bit annoyed he tries to do the same thing, but Hina has found her rhythm. She has had multiple experience dodging attacks from scattered Remnants and criminals as a member of the 13th Divison. Thus, she’s now found a footing where she can stay, if barely, ahead of Juzo. She even manages to get in a solid hit or two!! Things are looking up and there’s a few seconds left on the clock.

Enraged, Juzo is trying his damndest to score a hit, but nothing seems to be working. A crowd has gathered, cheering for Hina and Juzo, eager to see who will win. For a moment, Hina remembers both Sakura and Yuta, strengthening her more to see things through to the end and prove herself useful - that can she be of aid to someone she calls family!! But, it also distracts for a split second, and in that moment Juzo scores a devastating haymaker. Hina is knocked down and eventually falls unconscious. Juzo is the victor. Koichi and Mitarai goes to Hina, trying to rouse her whilst Juzo walks off, not feeling particularly good about this win.

In the meantime, scene shifts to Kyoko working in her office when she meets Chisa again. Considering what she knows about Juzo and Kyosuke, Kyoko is naturally on guard against Chisa who is trying to be friendly with her and have some tea. We also get a bit of insight concerning Kyoko’s situation: armed guards all around her and she also voices her good guess of the room itself being bugged. Naturally, the only thing she can really do is read and try to prep Makoto’s case from inside her ‘cell’. Namely, getting knowledge of the prior incidents of the Remnants, rehabilitation efforts with the Neo World Program and others that were scrapped, and in general just learning more about the other Directors. Anything to give her side the edge concerning the trial.

Speaking of which, she does ask where the trial will take place. Now, given the severity and whose life is at stake, Chisa reveals that it’ll be on an island meant originally to be the new international Hope’s Peak branch. However, with the Tragedy causing HPA to close down, it was instead refurbished into a private separate office of sorts—meant only for high profile usage. Like a trial for treason! Kyoko asks, if only for confirmation, given Chisa’s closeness to Kyosuke as being one of the first Directors of FF and his former classmate, if she herself also holds intense hatred of Despair.

Now to this, Chisa is quick to differ. She loves Kyosuke and goes along with him because she trusts his judgement and heart - that he makes decisions trying to fully bring peace to all afflicted by the Tragedy. Thus, she goes along with the decision and believes in that Hope. However, even if she goes along with it, she does hold a different stance concerning the Remnants…

How she can’t help but still hold love for her dear students.

(Episode 6)

Hina wakes up, finding herself in an infirmary. Koichi informs her of her loss and who managed to treat her - Seiko Kimura. Now Seiko is constantly fretting and checking up on Hina given the situation concerning her knockout. Thanks to her drugs, any concussions should be healed up pretty quick, and Hina is pretty grateful for the support. Seiko happened to be in the 6th Division’s office by chance, so Hina should be lucky she was on site to help ensure she didn’t get put into a worse position without her fast action.

Once Koichi reminds her that Seiko was a Director, we get a formal introduction of her, including her class. We also learn that Seiko was the daughter of the head of Kimura Pharmaceuticals prior to the Tragedy, though she notes that was water under the bridge now.  Hina, remembering that the 76th class also had Ruruka and Izayoi, asks both were her classmates. Instantly, Seiko’s face darkened and she glared at Hina. She asks her not to mention their names. Ever. Hina gulps and takes the hint.

Trying to move the conversation along, Hina brings up the topic of getting a Rec Letter for her, thinking Seiko was so nice she would agree to it. However, after a bit of conflicting thought, Seiko firmly refuses. Her loyalty lies solely with Kyosuke and she knows for a fact that he wants them dead. For good reason too, and she has personal stake in seeing the Remnants dead given how long she’s spent trying to treat their victims and seeing some die. She apologizes, but her mind is made up, and she personally shouldn’t expect much from her concerning Makoto’s trial.

She leaves, though outside waiting is Juzo, who was overhearing the conversation. She informs him of Hina’s condition. How it’s going to be stable though is curious why he still stuck around. Annoyed, Juzo pokes at her forehead in like a mean big bro-esque way, much to her chagrin, telling her to mind her business before prodding off. Still, with yet another Director refusing to hand over a Rec Letter, Hina is getting desperate and runs off to the 5th Division - Chisa’s workplace.

At said workplace, Kyoko is a bit shocked after hearing about Chisa’s ties to the Remnants. Well, Chisa quickly clarifies it was really only for about just some months and she could really be described more along the lines of their Advisor. You see, the Remnants of Despair back when they were in Hope’s Peak gained a bit of a reputation for being ‘delinquents’, whether intentionally acting out or not, and so these teens from various parts of the 77th batch were assigned to attend a ‘mandatory’ Student Correction Program (was not quite a fan of the series having Class 77 all be Remnants from the exact same class. The change, in addition to other plot developments in the future, is to get the group together, while having them be scattered across the 77th Batch).

The program was meant to at least get them to mellow out and not either wreck the school or harm others. She looks back fondly over the time with the fifteen of them…hm? Fifteen? Kyoko is wondering about her current connections and if anyone else knows about it. Chisa is quick to assuage her concerns. Her connection with HPA is well known by every other Director, though following her dismissal with the Remnants, she was assigned to the Reserve Course, which clearly didn’t end well for the other students there. Something shown by how upset she looked concerning their collective suicides. Chisa tries to quickly perk herself back up. 

Anyway, she explains, while she doesn’t quite understand why Makoto really decided to risk his neck this much to help pretty much the worst of the worst, but given how such a procedure could have given her students back, she was at least grateful for the attempt. While she won’t ever betray Kyosuke, she might be willing to offer a hand to at least get him to see a bit more reason. Though, Chisa is curious.

Why is Kyoko, logical woman incarnate, siding with Makoto in saving the Remnants? Surely someone like her would have wanted to see them dead, right? Well, for Kyoko, her decision was based on logic. The world, while its making steady efforts, is still struggling quite a deal both internationally and even locally. From pollution, to food management, to the obvious  factor of stray Remnants and criminals wreaking havoc. While the spearheads of Ultimate Despair may be gone, it would take decades before the world could ever hope to get back to how it was pre-Tragedy. If they could reform the Remnants with the Neo World Program, even just the mooks of them, they can add to the Restoration efforts to get the world back faster. The fact that the initial Remnants they gathered happened to be Ultimate were a solid coincidental bonus. Luck…though given what nearly had happened, it couldn’t really be called good luck, right?

Chisa nods her head and seems to accept this…though has to wonder how much of it just trying to honor Makoto’s wishes. After all, she wasn’t that different from Chisa in that they were trying to support the Hope of their lives and not just in terms of being the Ultimate Hope. But Hope to their own respective groups as well - Makoto was the glue that helped keep them together after all. In that same vein, Kyosuke was the glue that kept Future Foundation and his own core group stable as well. She recollects a time before she got to know him. In order to raise money for her sick single mother,  a teenage Chisa Yukizome became a housekeeper and was hired by the Munakata Family. A wealthy family that was notorious for raising leaders in almost every industry of the world, their mansion was quite the chaotic mess of people at each other’s throats and too busy to ever really care for an insignificant girl that was tidying up behind them.

Yet, Kyosuke was different. He aided her when everyone else ignored her or treated poorly because she was ‘the help’. He went out of his way to lighten her load and even work to see her smile. It was his assistance that allowed her to truly want to shine as a housekeeper and got her scouted. He was literally her Hope back in those horrible days. It’s why even now she’s that devoted to him.

Kyoko asks her to get to the point.

“Everyone is chasing that Hope - that reason to keep on going. But it’s also good to be aware of who represents that Hope as well. A lesson all of us can learn ,hm?” She glances to the door and it turns out Team Hina was there, eavesdropping. Chisa welcomes them in and doesn’t hesitate to give Hina a Rec Letter. Even if she’ll go wholeheartedly with Kyosuke’s choice, she figures its nots a bad idea to at least let one of Makoto’s friends check in on him.

From there, Hina goes to see if Kyoko was okay, but the detective waves her off. She’ll always be fine, what’s vital is bouncing info off each other. So they get each other up to speed with what’s happening, with Hina’s Quest and the upcoming trial. Kyoko is more than aware that their case seems pretty hopeless given whose in charge and the influence he holds. Hina is a bit more optimistic since she feels its an even split, except its not. Kyoko reminds her its more of 6 against a number of neutrals who could easily be pressured to go with the other side if an argument is weak enough or the enemy is convincing enough. The other half’s loyalty is not guaranteed. It’s then that Hina glances at the two allies she had befriended so far. Mitarai is looking as shy as ever but Koichi, after a swig, shrugs and merely says they’ll have to see. Though if it’s anything to what he would have wanted, well, he’ll do his best to get an outcome that Kyoko would find favorable. Complete with a friendly smile, though Kyoko tries her best to ignore him. 

In any case, Kyoko says its best for Hina to get the last letters as quickly as possible but just before Hina leaves, Kyoko does stop her briefly. Her wounds from fighting Juzo is clearly visible and even Kyoko could obviously see how winded the swimmer was. In her own way, she’s concerned and does apologize to Hina for putting her through all of this. But Hina quickly brushes it off. Their friends, well, more than friends!! Family even!! The Havoc Crew looking out for each other is a no-brainer!! It doesn’t bother her! With a deal of optimism, Team Hina leaves, leaving Kyoko in her thoughts once more.

“Huh, didn’t know you could lie like that.” Koichi said and Ryota gives a concerned look to Hina. She’s leading the charge, but the camera never points to her face. Her voice, though, is shaky. “I don’t know what you mean…it’s time for the next stop.”

Episode 7

The next destination for Team Hina? Why it was Koichi’s branch! The atmosphere for his place was rather casual, with many people at least on goods terms with him enough to even tease him a little about his drinking habits. Koichi allows both Ryota and Hina into his office, which resembles more of a host lounge than anything. Bottles of alcohol was scattered everywhere, there was a large couch off to the side, and large amounts of paperwork lay on his desk.

Both Hina and Ryota criticize Koichi for his messy office, but he waves it off as him being busy with meetings with Jack Daniels and Gin!~ Hina rolled her eyes and gives glances towards all about his office as Koichi fishes to make a Rec Letter. During this time, Hina finds something. A photo of Koichi with Jin and a little Kyoko.

Koichi confirms at this point that, yes, he was best friends with Jin and wouldn’t have minded being considered an ‘uncle’ to Kyoko prior to her getting raised by Fuhito Kirigiri, her grandfather. When asked more about Kyoko’s family, Koichi just waves dismissively. It’s a long story full of drama that he himself isn’t fit to tell.

He does go into detail of him meeting Jin back when they were kids and still keeping in touch when Koichi went to HPA...eh? Koichi was an Ultimate? Turns out he was the Ex-Ultimate Talent Scout, though is dismissive of such things. He himself doesn’t feel like its anything special and requests that they just refer to him as a regular talent scout. Honestly, he himself only agreed to be a talent scout because his best friend, Jin, really requested him when he began working with HPA in earnest. Throughout it all, Hina can see Koichi give a melancholic smile and relates to his quiet pain with her own losses. She reaches over to put a hand on his shoulder, but he smiles and waves it off.

Well, no use dwelling on the past. Koichi hands over his Rec Letter and waves at them goodbye for now.  He advises that if the options are just Tengan or Kyosuke left, then yeaaaaah, its best to try and win Tengan’s favor. He’s a lot more reasonable than Kyosuke…or, rather? 

He’s more coolheaded? He wants to be alone for a bit. Getting the hint, Hina nods and they begin to walk out. However, not before Hina stalls at the door, asking if he’ll support Makoto at the trial. Koichi informs her that he can’t make any solid promises, but is willing to hear him out. Once Ryota and Hina leave, he leans back in his chair. Thinking about Jin, he vows he’ll protect ‘her’.

Now down to a duo, Team Asahina starts wondering about Koichi, whether he’ll truly be alright. Hina is concerned, but Ryota says its best if they just leave him be to focus on Tengan. Now, its here that Ryota reveals his connection with the Chairman - namely how Tengan personally saved and recruited him back when the Tragedy was rampaging. Right when he was about to be killed by some Remannts, Tengan appeared on scene to fight them off. Hina is very impressed since she knows Tengan is kind of old, though Ryota mutters how he can be strong and frightening when he wants to. Anyways, he’s been working closely with him and believes that there’s a solid chance. Though he does warn Hina to watch what she says.

When they arrive, they noticed the hallway of Tengan lined up and down with various people in visors. Ryota introduces them as being the best of the Ultimate Elite Taskforce. As their names suggests, they are the very best gathered from the remnants of Hope’s Peak alumni’s that serve as The Special Forces needed for only the most intense or important assignments. Each of them are more than strong enough to give anyone, even an Ultimate Remnant, a run for their money.

Granted, with the 77th Batch of Despairs seemingly gone, these days all they really seem to do is just guard Tengan in Gozu’s absence. A fact that gets them to give Ryota a bit of a dirty or hurt look before he frantically starts waving his hands, trying to say he didn’t mean it. Tengan allows the two to enter and he pretty much gets right to the point. He’s received news of Asahina going about the other Directors trying to get their Rec Letters and from both sides he’s received calls to let her have one or to not give her one.

With that in mind, he’s willing to hear from the source concerning her motivations. Taking a deep breath, Asahina explains she’s worried about her friend and is really trying her hardest to make sure he’s alright. She knows that charges against Makoto are heavy, but she expresses her faith that everything he does is only to help everyone, not hurt. He’s not a traitor! By the end, she’s looking quite desperate, pleading with Tengan to give her the time of day.

When he speaks, Tengan murmurs about personally witnessing this fire of Hina for those she holds dear resurfacing. He says for her to simmer down and that, by now, he’s already thought this situation through to the best of his abilities. Offering Hina butterscotch, he explains that, yes, what Makoto has done is shocking and, at the moment, he can’t blame anyone for being angry or thinking he might be a traitor…

But he also states his belief in the Ultimate Hope that blossomed during that sixth trial. That optimism that he showcased and used to beat back Junko Enoshima and helped spurn the world in its current Restoration efforts. Yes, Tengan does believe that Makoto isn’t trying to be malicious and knows that he ‘is going with what he believes will be the right move’.  He goes on to ramble a bit about Makoto coming along ways from tangoing with a petty thief to humanity’s Symbol. Something that confuses Asahina, but Tengan brushes it off.

Yes, at this point, he’s more than just a little aware of the younger generation following their ambition and deciding that what they believe is right for all. Chairman or not, he has come to terms that he can’t match the passion of the others and is more than willing to take a backseat to give their ways a chance. After all, that’s essentially what he has been doing with Kyosuke. At this point it probably won’t be too long until he figures Kyosuke will organize an ‘intervention’ to pressure Tengan into stepping down. He already has the support of the public and agents all across the branches for his decisive attitude and on-hands efforts that Tengan had to retire from.

Oh! He apologizes for rambling and hands over the needed Rec Letter to Asahina. With that, she’ll be able to visit Makoto. Tengan wishes him the best of luck. Now, while he did order for the guards not to harm Makoto, if a Director decided to do something, well, he urges her to check in with him at her earliest convenience.  Asahina nods and thanks Tengan for handing over the Rec Letter. She asks if Ryota was coming as well but he declines. With a hug of support, Hina leaves. Still in the office, Tengan chuckles and asks if Ryota was finally getting out there, much to the animator’s blushing dismissal! Hina’s just a friend!! To this, Tengan merely chuckles in amusement. Before the scene ends, he questions if Ryota  has made a decision of sorts for the future. Ryota opens his mouth…and the episode ends.

(Episode 8)

The episode, and next day, opens at the prison Makoto is being held at. He has bandages and scratches on his face, looking a bit down on his luck as he recalls what happened to get him to this state.We get a flashback back to when he was initially arrested and seperated from Togami and Kyoko. He get’s thrown into his cell and has to deal with the brunt of a beatdown from a very angry Juzo. Kyosuke stops him before he could ever really go too far on Makoto but it is brutal. From there the scene switches to Makoto, patched up and at a table. Kyosuke is at the other side, looking coldly at Makoto.

Kyosuke, half-heartedly, apologizes for the actions of Juzo, though he does cut off Makoto when the lucky student tries to tell him its no big deal. Instead he asks: Why? Why help the Remnants of Despair? Why not just turn them in so the world can be done with them? Straight to the point. 

From Makoto’s point of view we get flashbacks briefly to what had occurred concerning him finding Izuru, learning of the Remnants identities and him firmly choosing his resolve when Kyoko and Togami await an answer for him. Back to the present day, he states that he understands everyone being angry and that, if he were in their shoes, he’d be furious as well. But, his decision has to go back towards faith. The potential to save others from the awful influence that gripped them in the past.

A flashback shows the Havoc Crew walking throughout their new branch with Kyosuke and Tengan giving a tour of the place. Tengan gives the background that, with reports of UD members killing themselves, they wanted a Branch that can effectively reach and focus on spreading FF’s message of hope. And who better to lead that than the survivors who inspired loads to carry on and beat back Despair’s effects. 

Togami is a bit miffed over essentially being the public relations branch, and that Kyoko was their leader, but she notes such power is really just a formality between the two of them. Plus, it might have to do with their ‘performance’ during the killing game. Hiro, Asahina and Togami have proven to be ‘problematic’ and Toko is only really allowed as an intern for being Genocider Syo. While some might want Makoto in charge given his role in the final class trial, he truly didn’t want the power/isn’t quite suited for leadership of an entire division. Hence Kyoko winning by default. 

While Togami begrudgingly admits defeat, both Hiro, Toko, Makoto and Asahina are astounded over their new headquarters. Makoto in particular is quick to bring them back together, speaking on his confidence that, with all six of them together, they can really help make a difference. One that clearly resonates with his friends and is noticed by the FF leaders. As both Tengan and Kyosuke leave, Tengan smiles as he notes that Makoto really reminded him of Kyosuke back in the day and that the Foundation is lucky Makoto is with them. Kyosuke quietly clenches his fist, and gives a brief look back at Makoto. The lucky student notices, but is dragged away by his pals long enough for Kyosuke to leave. 

A montage shows off Makoto and others helping out in the communities under Future Foundation’s protection, all clearly trying their best when, in the last shot, Makoto is suddenly pounced upon. It’s a Remnant of Despair, and by that I mean just a regular one that seems to have had better days. Makoto’s guards easily are able to pin down the Remnant and even remove his mask. As he’s being taken away, Makoto asks why he’s still trying to hurt others. Junko’s dead so what gives? It’s then that gets a good look at this Remnant - or rather his expression. Miserable, frustrated, utterly sad, and, well, hopeless. “Because there’s no point in trying to rebuild for someone with no future...” 

These words haunt Makoto and he’s gets to thinking. Is there a way to rehabilitate even the Remnants? He goes through files and asks around concerning Future Foundation rehab techniques and finds the plans for the Neo World Program. Delighted, he goes to Kyoko and Togami to get their opinion on trying to rehabilitate the Remnants? Their answer? 

“You’re an absolute buffoon.”

“This…is certainly a plan, I suppose?”

Yeah, he isn’t too surprised Togami is more harsh with his rebukes, but Kyoko also isn’t holding back with her criticism. The Remnants are dangerous criminals that put them through the Hell in the Mutual Killing Game. Why bother trying to save them? 

To this, Makoto asks this in a quiet voice: If they had connected more with Mukuro or Junko back then, would they have stopped both from destroying the world? He says its silly, but he can’t stop thinking about it. The friends they lost, would they still be alive if he bothered to spend more time trying to get to know both to get them help? Noticed Junko’s warped mental state beforehand? Get Mukuro to reconsider going along with Junko’s plan? The soldier didn’t seem completely convinced during their free talks during their killing game. Anything at all? 

This had both fall silent for a deal before Kyoko gives her thoughts. Personally, she believes that both Junko and Mukuro were too far deep by the time they met them. When she had the time, she looked into a bit of their background, finding evidence of the twins causing atrocities, like a massacre of a junior high school. That was covered up from either corrupt police or some other shady means. She believes that if there was to be some way to help the Despair Sisters, it would have to have been years before they even reached Hope’s Peak. She goes on to say he shouldn’t be harsh on himself for the horrible actions of other people, nor feel responsibility for why they turned out that way.

Yet, Makoto just can’t seem to let the thought go. His mind flashes back to his talk with Mukuro during her days as Junkuro. How she admitted she wasn’t sure that the path she was on was right. It’s a thought like those that gets Makoto in being unable to fully write off the Remnants that were still around. If one of the leading figures of the end was still having seconds thoughts, maybe the others could be as well, deep down. And, if the Neo World Program works as intended, they could be potentially rehabilitated into becoming allies to fix what their wrongs! It’s this optimistic outlook that ignites Makoto’s passion. While reluctant, both Kyoko and Togami eventually concede to at least try Makoto’s idea.

Makoto is happy and the next scene shows him heading to the site of the destroyed New Hope’s Peak Academy building. Apparently the 12th Branch was going to begin its plans for its demolition? Well, if that’s the case, he thought it would be best to leave ten flowers for those he lost and explore it one last time. What was left of it anyway.

Only to see Izuru Kamukura standing in a classroom with his own flower in some ruined classroom.

(Episode 9)

In this episode, we see Makoto, Kyoko and Togami looking after about fifteen ‘survivors’ sitting around in their offices. They were dirty, covered in either old cloaks and bandages, and looking around with intense gazes. Some of whom looked to be in quite the awful conditions, being either malnourished or very sickly. Yet they were all intent on refusing medical treatment from any staff offered.

It had only been a few days after Makoto met Izuru - or rather? Hajime Hinata - that’s what Izuru told them instead of his actual name at that point? Allegedly he was a survivor affiliated with Hope’s Peak that had just come back into town to pay respects to the dead. Following that, he explained that he was apart of a group of survivors who had been traveling the wastelands and it just so happens these survivors were upperclassmen of the 78th class. Students that came from various parts of the 77th batch that barely manage to escape the destruction of the Main Course building, but circumstances had them flee into the unknown as much as possible because of the riots. Given what they’ve experienced, they are very weary against even help from the FF and its prone to having them on edge.

Makoto is actually ecstatic to run into survivors of that incident, since he knew many of the 77th batch perished or went missing.  However, Kyoko and Togami are rather suspicious of the situation. In particular, seeing these fifteen for an extended period of time has her leave to check out some files.

Concerning the Remnants themselves, the more Makoto interacts with them, either by trying to give them supplies or wanting to know them better, he’s either ignored or given cold blank stares. Just like that one Remnant from before. Maybe…

Still there is one that acts friendly to him, Nagito who usually kept one of his hands wrapped. He’s appreciative of the Ultimate Hope and grateful for his efforts, glad someone ‘insignificant as him’ could be in Makoto’s presence. Makoto, being the humble guy, denies ever being that important and that he just wants to help others. He believes everyone is indispensable and tries to get Nagito to see more of himself in a brighter light. Though, similar to the others, the despair Nagito is in is quite evident and he believes that a guy like Makoto should really not bank his hopes too much on the fallen. As Makoto goes to pull him back as he leaves, he notices some of Nagito’s bandages are slipping…and, hm? Was…was his nails painted under there?

As they separate, he runs into Kyoko who takes him to Togami’s office. Kyoko shows Makoto a database of ‘suspect Remnants’. A nurse wearing a surgical mask, a group of masked Monomafia lead by masked people with similar hair styles to Fuyuhiko and Peko. A concert with a thin singer in a gas mask taking spotlight. In Novoselic, a Monokuma controlled country, forces were being lead by a masked figure in a cloak, but a few locks of golden hair could briefly be seen. Evidence upon evidence…

They didn’t just take in survivors - they took in the Remants of Despair. It wouldn’t be long until the higher-ups, who were informed of such survivors existence, would realize this as well. Yet, would it be fast enough to arrive to intercept fifteen dangerous criminals?  As it stands the Remnants doesn’t seem aware that they knew their cover was blown. If they were going to act, they needed to do this quickly. Togami suggests getting their security forces to immediately apprehend and put the remnants in holding cells of their division, but Kyoko notes the possibility of good number of forces being killed in this attack given how notorious the Remnants were when it came to fighting against even the Directors. Togami then suggests that maybe drugging their food could work best and the others seem on-board with this idea.

It’s then that Makoto suggests his own idea that, once they were all knocked out they don’t put them in cells. Rather, they put them on the boat intended to take them to Jabberwock Island. Togami really asks if Makoto is serious about having these Remnants - Ultimate Remnants - be the ones that they opt to save, but Makoto is dead serious about it. After all the NWP is supposed to be capable of saving even the worst of the worst. What better way to prove to everyone that it works and that it is viable if not by saving the literal worst of the worst. Both Kyoko and Togami are hesitant, but eventually both opt to go with Makoto’s plan. After all time is of the essence still.

The scene transitions to the boat, where the Remnants have been place in cells containing two each (or three in Mahiru, Ibuki and Hiyoko’s case). Their cloaks and bandages have been stripped away and we've got to see what a few had of Junko’s body, classic like Fuyuhiko getting Junko’s eye and whatnot. Over an intercom, Makoto announces his Foundation’s intent to take them to Jabberwock to put them in the NWP…

“Just like what the intelligence said…” Kamukura mutters to himself as the scene transitions to show of the Remants being worked into their pods and of brief flashes to the Island Killing Game, where Makoto is horrified over seeing history repeat itself, but flashes to determination  from both him, Kyoko and Togami. As the screen flashes to them entering the simulation we cut back to Kyosuke.

“In short…” said Vice Chairman. “You went on an operation, risking it all for criminals that should be executed on the spot…and came back with nothing.” Makoto refutes this saying he believes it worked out from what he saw of the survivors. But Kyosuke is pretty adamant about this position. How can Makoto be sure they were not faking or they’ll revert back to who they were? How can they be trusted to not go down that dark path again?

In truth? Makoto admits he can never be 100% sure, but he has faith they won’t go back. How they resolved to keep moving forward – he was sure that was going to still be a reality. Kyosuke shook his head, looking disappointed. 

“To think people ever had high hopes for you. A naive foolishness like that can never be called Hope.” Standing up, he announces, he doesn’t want to even look at Makoto again until the trial to decide his fate. And may mercy be shown upon this blind soul. All while Makoto looked at Kyosuke with his own frustration, but even sadness. Is there no way for them to reconcile or come to an understanding?

The flashback ends when we see the present Makoto shoot up from a knock at his door. It’s Asahina, who came in the very next day, who quickly goes to glomp her poor buddy whose been through a lot. Asking him how he’s been and growing angry over the fact the guards had taken to hurting him. As they both catch up on what’s been going on - Hina finally asks that’s been flowing through her mind:

“How come you all didn’t trust me?” she asked, referring to the fact that half of Crew went off to do their own thing while leaving the others in the dark to carry out the Remants rehab. Makoto, looking super remorseful, apologizes. He, Kyoko and Togami didn’t want to put the others at risk, especially if this operation failed. Concerning the operation, Hina goes to ask Makoto why he bothered to help the Remnants, when an explosion gets out.

A loud alarm blares through the building.

“People are raiding the prison!! All personnel on deck! Stop the prisoners from going free!”

(Episode 10)

This is a chaotic battle that has invaders, mooks of the Remnant forces, all rush through the building, attacking anyone with bats, pipes, even a few guns so to speak, as they pushed through. Throughout the facility, electromagnetic locks on the cells are disabled and prisoners rush to join in on the riots. The main attackers were also incredibly organized, ordering about the freed prisoners to help free more them and ordering more of their forces to go in deeper. “They’re in there!! Get them at any cost!! Don’t waste our chance!”

Hearing this, Makoto wants to help, but Hina remind him that 1. He is also a prisoner and 2. People would really be gunning for him at the moment given his status, so its best that he stay put in the cell where he would be safe. Makoto wishes her luck as Hina dashes out. Outside of Makoto’s cell there are four other occupied cells in his block: The maximum security block. Luckily, once Hina leaves it’ll be placed on lockdown that only a Director could have access to with their key card. Grabbing a baton, Hina rushes out and saves a guard from being killed by a prisoner before joining in the fray. 

Bodies are flying and more people are being released.  Hina is holding her own but the number of people able to handle this is dwindling: until a cry of pain is heard and a prisoner can be seen tossed into a wall. There is the Great Gozu, Juzo and Kyosuke backed by reinforcements. Tengan is at the furthest back watching the proceedings. Kyosuke leads the forces into subduing the prisoners and invaders, eventually getting it all under control. Though during this chaos, Kyosuke can’t help but wonder about the odds of a jailbreak occurring on the day when Makoto gets a visitor and four other Directors wanted to visit it. “Luck tends to be perplexing…” Tengan says.

By the end of it, most of the prisoners have been suppressed, but when they head into the max block, the prisoners from there have escaped, except for Makoto. Juzo and Gozu are ordering the staff about, sending out red alert for all units to be on the lookout for the escaped. The ones who escaped are known as the Four Sinners in Future Foundation and represent the Four Horsemen. They were previous Ultimates that graduated from Hope’s Peak but had gone rogue  during the Tragedy.

Plaguebearer - Former Ultimate Exterminator: Jun Ueda/Pestilence(Gas Mask Man)

Immovable Force - Former Ultimate Sumo: Daisuke Tomioka/War (Sumo Wrestler Design)

Dead Walker - Former Ultimate Lab Assistant: Harue Yuki/Famine(Zombie Girl)

Spawn of Malice - Former Ultimate Criminal: Shiori Hikari/Death (Ultimate Criminal beta)

With everything over, Asahina checks in on Makoto who was unharmed. Kyosuke arrives and announces that, given how this prison is clearly compromised, Makoto will be moved to another location effective immediately and has Juzo escort him out. Hina wants to talk to him, but the other Directors refuse to hear her out, with Makoto only reassuring her that things will be fine.

The news of the attack is relayed to Togami, & Hiro, the heir already suspicious of the whole affair. He finds it way too unlikely that this was just a random attack on dates where both Asahina and the other Directors were supposed to arrive. This was planned, but by whom and what do they gain from freeing the Four Sinners other than general unrest?

Kyoko hears the news as well and, in private, and theorizes that, yes, this was definitely planned. But there was so many oddities. Why attack on the same day that high-ranking, strong Directors were arriving there? Wouldn’t have it been safer to do so when it was just the regular guards to deal with?

Conclusion that she and, soon even Kyosuke (at another location) reaches: The Mastermind behind it wanted it to be known that there was someone orchestrating this. Furthermore, from reports from the guards, the attackers were highly organized and mentioned something about ‘someone’ giving them a ‘chance’. “But why?” asked Juzo (He, Kyosuke, Chisa and Seiko were gathered together) What do they gain out of this risky mission? Could it be….

“Fear…” Tengan muttered alone in his office. An irrational emotion made to throw people off as the Trial for Makoto’s fate draws nearer. Regardless if the attackers succeeded or failed, the fear and paranoia they would leave behind would be irrefutable but of what kind of fear…

Simply put…a Traitor amongst the Directors. Someone had to give the attackers an access card to open the max cell block, after all. A conclusion all leaders of Future Foundation seem to reach as it flashes by to all fourteen of them.

In a dark location, the Four Sinners are standing in line looking at a large monitor that shows Monokuma’s head looking at them. A garbled voice announces the need for the Blights services.

After all, the next game is soon to begin!

(Episode 11)

A traitor…

A word like that hangs heavy as Togami meets with Asahina and Hiro, in Hiro’s room (because why would anyone bother with Hagakure). It’s one thing for a mole to be in something like a killing game, but a Director possibly going rogue? It could lead to disaster for not just the other Directors but the entire world. Asahina shudders, though wonders about the possibility of it being a Sakura situation: where her family was threatened. But Togami is quick to shut it down. No use in pondering the motivations of a possible Traitor when they still haven’t caught them yet. He stops Hiro from just barging out to ‘investigate’ and reminds Hiro that he can’t just go out and do whatever he wants. If he tries to grill the Directors, chances are he’ll just get thrown in the slammer for being a nuisance and just worsen the situation.

Instead, Togami has informed both he’s sent some of his own private personnel on the case. While any Directors or the Havoc Crew would be on clear suspicion and be monitored, would anyone bother keeping tabs on Togami’s butler or his eyepatch wearing secretary? Not likely. So he’ll leave it to them.

Asahina asks about Makoto, and what they should do for him given the incident. Togami believes at this point they should forget about seeing him until the Trial. Makoto has been taken to a private holding cell in the 2nd Division Branch. With the max cell compromised, he’s staying there under Kyosuke’s watchful eye. Until then, its best to focus on other matters. For example, if this incident comes up during the trial, it would be best to gain some sort of evidence to be on even footing during it. But, all knew if they tried, chances are Kyosuke might get his goons to chase them away. But, Asahina realized that, even if they couldn’t she could probably get someone to not only help them out, but even inform Kyoko. 

The scene shifts to Kyoko’s room and there its revealed Koichi was the one to help out, handing over a good deal of evidence from the crime to her. ‘A gift from that charming swimming lady’ Koichi mentioned, though Kyoko is as stoic as ever. Koichi tries to get closer with Kyoko more, showing more of his concerned side from her (and even a brief scene of him seeing Jin die during the KG), Kyoko brushes him off. If he really wants to help her, he needs to support Makoto’s side. Koichi chuckles. Kyoko’s as blunt as ever. He walks off, claiming he’ll think about it over a drink or two!

For Team Munakata, Juzo and his branch are investigating the scene of the crime, looking pissed about what happened still. While they had managed to suppress the truth of the incident, there was no telling what could be leaked. Seiko responds that, despite using the truth serum on the surviving invaders, they couldn’t tell much about who was organizing them to do this. They can only say that they were ordered by someone in a cloak who was connected with the former Remnants. Who warned them that their actions will spurn on the Third. “The third killing game…what nonsense.” Kyosuke orders Seiko, Chisa and Juzo not to spread this info out to anyone for the time being. Doing so without all the facts would just lead to chaos brewing. When he asks for further details about where the escapees could be, Chisa informs that they have all unist on the lookout for them, but there has been no signs of where they went. One of the transport vehicles is missing so its likely they took that to make their getaway, but the footage for that period is missing due to the attackers managing to get inside the security office. How convenient. But nevertheless Kyosuke is confident that they can defeat whatever plans Despair has for them. “Security measures will be increased tenfold and for the Trial…we’ll invoke the usage of the Elite Taskforce. No matter what - judgement will reign on those who stray from the path…” His crew nod alongside him, albeit to varying degrees (Juzo is smirking and pounding his fists together, Seiko is a bit nervous but hurriedly agrees with him and Chisa looks rather solemn before she nods as well).

We get some brief cuts to what some other Directors are doing. For Ruruka and Izayoi, she feeds him a macaron, with her (and by extension his) minds made up: Makoto is clearly guilty in her eyes and sooner they axe a traitor the better. Miaya is talking with Alter Ego, the latter wanting to do something to help Makoto. He can’t let someone he saved get hurt or sentenced to die, right? Miaya tries to reassure him that things will turn out okay, and that AE did enough already for Togami recently, but hears a knock at the door before she could really finish. Bandai is at his office seeing a text from Gozu on how the wrestler would be coming back a bit late given he’s with the Chairman. As for Ryota he’s nervously going between his phone and the e-mail. Obviously conflicted on something.

We finally shift to Makoto in his cell, unable to to do anything. Can’t investigate, can’t be with his friends. All he can do is wait...huh? Entering his cell is Tengan with Gozu accompanying him. Due to Tengan’s status as the Chairman, he’s able to gain clearance and visit Makoto. 

He comments on the misfortune brought about Makoto recently, and laments that the trial has to happen at all. Makoto asserts his innocence, that everything he’s done was truly meant to help people. That is something Tengan has no doubts on and even finds it a commendable dream to work towards. Even at his old age, his reason for joining FF is to bring the most aid to humanity as possible. He was just the same when he was younger and laments that Makoto is in such a position now. Being stuck trying to follow your heart and being obstructed by others is a frustrating balance to tow.

Tengan remarks on what Makoto plans to do at the trial. Given the severity of his crimes, there isn’t much hope that he’ll be freed. If Tengan is to be frank, were it not for Makoto’s Ultimate Hope status, anyone else would have been prosecuted immediately and likely executed. What’s Makoto endgoal?

For Makoto, he responds earnestly: his goal is always the same as its been. He’s nothing special, he just wants to help people that need it. He completely understands why people want to kill the Remnants, why those who are in the know thinks he's being foolish or even traitorous. But if there's a chance that even the worst of the worst can be rehabilitated and gain a second chance to make things better, then shouldn't they at least try to take it?

Tengan chuckles. Yeah, the same Makoto as he saw back during the sixth trial of Danganronpa 1. Even Gozu seems impressed with his resolve. Both leave the room, Tengan mentioning that when the trial comes: while he can't make any promises, he'll at least try to ensure Makoto has a sporting chance. Makoto sighs as he leans back in his cell. A chance is all that he’d ever want.

Back to Asahina, she’s left brooding in her room. There wasn’t much else she can do now, except wait and try to prepare her own defense for Makoto. The trial. Hina’s recalls Bandai’s words and the statements from all the Directors, friends and foes, come back to her. What does she think of this entire thing? 

She was left out of the loop and is now trying to catch up to a story that’s she’s never really been apart of. Having to risk it all for the sake of the Remnants? Who ended up getting her brother killed? Can she really do it? No doubt Makoto and the others hearts are in the right place, but could she truthfully still say she has no misgiving about it?

If only Sakura were here, she’d know the answer…

After the credits, time skips to the day of the trial. The scene is in a shadow room and there is a figure typing on a computer screen, sending messages out.

‘The pieces are in place. Let the third mutual killing game…begin.”

(Ep 12)

Now this episode is somewhat sort of the same as Future Arc ep 1, with a few twists. For example, the Ultimate Task Force is littered around the headquarters, watching for potential threats. Hagakure is actually let inside (and not on the helicopter pad awkwardly) for instance. Well, at first anyway! He’s not allowed in the meeting room so is just wandering about the rest of the building.

Asahina is looking between Kyoko and Makoto, words from Bandai still echoing in her head. How does she feel about this. She wants to support her friends - her family - through thick and thin. But, these guys helped get Yuta killed and is the reason their class is now down to six in the first place. Can she really vouch while so conflicted? Both Makoto and Kyoko grow aware of her looking so down, but can’t really be afforded the time to help her as they are called into the meeting room.

Kyosuke calls the meeting to order: This is the secret trial to determine the fate of Makoto Naegi - member of the 14th Division of Future Foundation - who is accused of treason and harboring dangerous criminals: the Remnants of Despair. This is the first time we now get to see the Jabberwock Crew in their Despair forms, unobstructed, with Kyosuke explaining that such intel was scrounged up and provided during the DR2 killing game, after FF realized they were the Remnants. A fact that Kyosuke is rather bitter about, but presses on with the matter at hand:

“Makoto Naegi - how do you plead?”

With a Not Guilty verdict in hand, the trial shifts, metaphorically, to be reminiscent of a Class Trial. Together with Kyoko and Hina, Makoto is doing his best to shoot down incorrect or slanderous claims about his situation. For example, claiming he had something to do with the jailbreak, which he couldn’t go given his confined state at the time. For Team Naegi, they’re arguing the Remnants can be saved and, for those that were awake, they deserve at least a fair shot at proving that they were rehabilitated. For Team Munakata, they’re arguing that no matter what form the Remnants take, they are still a danger to others and need to be eliminated. Both sides are at an impasse, and the others begin to chime in their thoughts as well.

Gozu, Miaya, Bandai, Tengan and Koichi do at least want to give testing the Remnants a shot. In Koichi’s case, when its mentioned that he did scout out the Remnants, its in the vein that he should have a grasp on the DR2 crew in spades. While he’s confident that, if given another shot, they’d be alright, he also admits he may or may not have been a biiiit too drunk that day and maybe can’t remember approving a good chunk of them? (Hina sighs and calls him out for being so irresponsible). Yet, there was still those like Ruruka or Izayoi who were adamant that the Remnants couldn’t be saved, and Ryota was too meek to say where he stood.

Eventually, a vote would commence. Kyoko and Makoto aren’t allowed to vote given their involvement in the matter, but Hina is allowed since she was away during the debacle and, at least to Tengan, she should at least be given the benefit of the doubt. A majority of seven would decide Makoto’s fate. Each Director gives their vote until its a split between Guilty (Kyosuke, Juzo, Seiko, Ruruka, Sonosuke and Chisa) and Not Guilty (Koichi, Tengan, Ryota, Bandai, Gozu and Miaya)

The only person left to vote is Hina and she’s feeling happy. She’s the tiebreaker and can save her friend’s life! She can help him! She can get him out of this situation! They’ve won! But, Kyosuke wasn’t done just yet. He chuckles and remarks that Hina must really be a strong woman. After all: she’s sparing the left of someone who saved those who got her brother killed.

Hina freezes and the room falls silent, except for Kyosuke. He gets into Hina’s head, reminding her of all the damage that the Remnants done. Because of Ultimate Despair, millions of people are dead and the world was brought to ruin. Because of them, her little brother, Yuta Asahina, will never come back. He’s another casualty; a victim who has never received justice for the crime brought to him! To Kyosuke, he’s not trying to be the bad guy - he doesn’t want to do this, especially to the ‘Ultimate Hope’ who helped stopped the Mastermind behind that terrorist organization. But what else can he do when the last major executives of the worst organization in human history were prevented from their just punishment for their actions? And doesn’t Hina want that? Want them to pay for blowing up her brother, whose remains are still at the bottom of the ocean? Does she really want to them off the hook for someone who values the lives of 15 murderers than her own flesh and blood?!

At the end of it, Hina is in tears and her conflicted mindset comes to a boil. She can’t think straight and has broken down, overwhelmed with such an awful choice to make. Both of her friends rush to her to try to get her to calm down, but as soon as Makoto touches her arm, she shirks away from them and runs out of the room. Something that causes Kyosuke to call for a temporary recess. Makoto is stopped from leaving by Juzo, but Kyoko is permitted to go after the swimmer. The rest of the Directors shuffle off, though Tengan wonders out loud if Kyosuke truly had to bring up the deceased just to sway the vote. For Kyosuke? He remarks that it’s better for Hina to truly understand her choices. Lest she makes one that she’ll live to regret. As for Makoto, he’s carted off to a nearby room to be treated by Chisa after Juzo handled him a bit too roughly. It’s there we get her revealing her past to Makoto as well, a condensed version of it, and her beliefs right to the luckster. Of both Kyosuke and Makoto coming together to create even bigger Hope for the world. If Kyosuke was the Hope of Justice- one that promises punishment to sinners who wronged others, then Makoto was the Hope of Faith - that promises that there was respite even in the worst of times. She encourages him to see Kyosuke’s point of view and meet somewhere in the middle with him.

Kyoko would go on to find Hina, sobbing bitterly in the girl’s bathroom. Hina apologizes for her actions. After all, Makoto’s life is on the life. She should have just ignored Kyosuke and voted for her friend’s safety! But, Kyoko shakes her head and tells Hina not to be sorry. After all, what was done to Hina can be considered a genuine betrayal given what UD have done to Yuta and what half of her friends did in spite of that. None of the others ever contacted her about it, nor even discussed it with Hina. They let their friend remain hurt for so long…and for that, Kyoko, kneels down and can only offer her humblest of apologies - even offering Hina to hit her if necessary if it means getting everything out of her systems and making amends.

But Hina doesn’t want that. She gets out of the stall, and just hugs Kyoko, crying into her shoulder. A while pasts, and Hina calms down, now willing to head back to the trial. They head out, only for Kyoko to notice something. The door to the supply closet wasn’t fully closed. Hina went to shut it, but finds the security guards of the place murdered. She freaks out and that’s when chaos ensues.

By now we get to see the Elite Task Force luring away guards, and quietly murdering them.  During this process, Hagakure, is strolling on by lost, getting back from the men’s restroom when he opens the wrong door and sees some operatives stuffing the dead into body bags.

Hagakure ends up running away, which leads him to escaping the building right before the shutters close on the roof of Future Foundation. During this time, the scenes cuts to Togami whose in a meeting with his secretary and Aloysius. They have a flash drive containing some secret information concerning some hidden email they managed to dredge up with help from a special program A.E. gave to Togami some time ago. Secretly, they planted a special virus in each of the 14 Branches meant to automatically track any suspicious emails or files and send it straight to Team Togami. The fruits of their labor lies in that drive. Taking it and placing it into his laptop, Togami begins rummaging through all suspicious files and his eyes hardened considerably:

“...The third mutual killing game…and…a nation wide att-!!!” he gets up and orders both to make preparations. The scenes shifts throughout the various branches which are facing attacks from various agents of destructions, from rogue Remnants, to criminals/hitmen to even the likes of various operatives in the division going rogue out of nowhere and killing their own. It was complete chaos and no one can reach the Directors.

Back at Future Foundation HQ, the main cast are in a state of panic as they find themselves trapped in and reports of the guards being dead come to surface. Like in the original show, they are knocked out by sleeping gas. When they wake up, however, they find themselves in a rather demonic, yet regal looking area with monitors all over. The monitors come to life with Monokuma alongside four other mascots. He announces that these five are the MonoKast - hosts of the third mutual killing game!

Monokowl - a white and grey owl in a cowl and a graduation hat. Vice Headmaster of the MonoKast

Monokan - a white and orange kangaroo wearing a black apron. The teacher that helps runs the ‘school’.

Monokrown - A white and purple bee with a tiny crown. The security guard that keeps things safe.

Monokrony - A black and dark brown vampire bat with a gold star. A teacher’s assistant that helps out. Or tries to help out at least.

But if the Directors refuse to believe that they’ll kill each other, Monokuma is proud to announced that this killing game has already started. Everyone is confused, but it suddenly clicks to Kyosuke. Where is Chisa? The cast look up and see her murdered on the chandelier before it crashes, leaving Kyosuke just as distraught as he was before in the original.

DISTRUST LIFE - END

---

This ends the first part of the rewrite!! I'm open to questions concerning it if needed and hope anyone that read this got some enjoyment from this rendition! Who know when the next part will be up, but will try to make it for at least this year!

[crytidsprinkles]

Promotional poster, Fallout TV series. The ghoul, Lucy MacLean, Maximus and Cx404/dogmeat.

I finished Fallout this week and in about 3 or 4 days from the first day it dropped. My mom and I have no been so glued to a show since the early seasons or Heroes in the 2010s! Which was a show that had worldwide popularity, and the Fallout series is having its own success.

Enough that an explosion of new interest in the games and scores of people experiencing them for the first time, and previous fans replaying. My hope is the rave reception will lead to cultural focus and enthusiasm for the series and universe.

Merchandise, memes, videos, personality quizzes, themed everything -- I'm so ready for people to be as interested as I am. To be able to share my love of Fallout and witness it all around me sounds great.

And I feel season 2 will be incredible if we are blessed to get it. My mom was asking if there was one and we hadn't even finished the 2nd or 3rd to last episode.

It made me so happy how much she was enjoying it, and with me Especially as someone who doesn't typically play games, knew next to nothing of the games and not particularly being into anything RPG.

New Vegas, or at least elements of it will be what's in store story telling and character wise. Than again, it might not be until season 3 or peaks in 2. Yes I'm already thinking this far ahead.

They managed to incorporate so much lore, aspects of the 3rd game but also older ones without making a carbon copy. They managed to tell a story that worked to be adapted into a show. The humor, dialogue, pieces and sets.

You could tell they cared, and put effort into what they were making It means so much with how they clearly were set on making a quality production and still nailed such love letters to long time Fallout fans.

They really brought this world as close to life as possible. They balanced the tones so well. In so many ways everything including the casting and director, all came together just right, it's a kind of miracle.

It could have been a disaster, instead it is one of the instances I've felt most excited I've felt about television. I actually clapped when the credits rolled on the final episode, I've never done that.

I highly recommend watching! Please ignore the criticisms and savor this sweet treat 🍨

[tj-dragonblade]

Shipper Tag Game

Tagged by the delightful @seiya-starsniper @zzoomacroom and @carnelianmeluha, thank you!

What ship were you completely obsessed with as a teenager, but now you don’t care about anymore? I...hm. Am I willing to publicly admit to the self-insert daydreaming I did as a teen, long before my days in internet fandom? Okay I guess I kind of just did but I refuse to elaborate. I have long since moved on and I ship him with an in-universe partner at this point.

Which ship would you consider your first one? You ask a lot of my poor aging memory. I'm gonna say...before internet-accessible fandom? I was very keen on Rogue and Gambit in high school, when the 90s XMen animated series was one of my primary interests. After acquiring internet access and discovering communal fandom? 2x5, Gundam Wing. Duo and Wufei.

Your first fanfic was about which couple? Duo and Wufei

Do you remember the first couple you saw fan art of? It was probably Heero x Duo since that was the big popular ship in GW

Have you ever gotten into ship discourse? I don't think so. I am not exempt from having spoken ill of ships over the years but it's been about my opinion, not some kind of value/morality judgement and I have never gotten into fights with anyone

Did you used to have a NOTP or have one currently? There is one ship that I will class as a NOTP and it only became that after it went unexpectedly canon. I'm still willing to incorporate their canon kid into things and I have no interest in demonizing her, but I absolutely Do Not Want to see/read/hear about them having a genuine romantic attachment because the canonization pissed me off so bad. It's SaiIno from Naruto, for the curious.

Who were the last couple in the last fanfic you read? Dreamling

Currently, do you have any OTPs? Depends on your definition of OTP I suppose. To me it means 'favorite couple' more than 'can't stomach seeing them with anyone else'. Currently that's Dreamling. Currently I'm not really interested in reading about either of them with anyone else but historically as I spend longer in a fandom my tastes grow more willing to branch out, so who knows what the future holds. And I still have OTPs from each fandom I've been in (some of which predate the common use of the term 'OTP') even if they're no longer my reading/writing focus.

Is there any couple that, to this day, you are extremely mad about not getting into? Not...really? Not mad about? This is such a weird question, if I was truly taken with a ship I would have explored it? Are we asking if I'm mad about getting into a ship after the fandom has passed its peak of popularity maybe? IDK? I mean, there are occasionally characters from properties that are in formats that I don't tend to invest my time in (Podcasts, video games, long-ass long-running animes that I did not get in on the ground floor with) that catch my interest, and then I have next to no canon framework for exploring my interest, but it's not a thing I'd ever get mad about. If I really want to know more about Gale and his potential matches I'll find somewhere to read BG3 lore, y'know?

Is there any ship you used to dislike but now you think they’re kind of interesting? Mmmmmno. But I do have more than one that's gone the other way.

Do you have any ship that, in the past, would have been considered normal but now you would be cancelled over? Mmmyep. I remain unapologetic about it; that is my ship, tirelessly built with my own two hands and almost nothing predating me to influence interpretation, lovingly crafted exactly as I see it and convincingly enough to interest a handful of other folks. Thankfully none of the people leaving occasional kudos on those fics these days are raising a stink about the 'problematic' elements.

What is your favourite crack ship? Lord of the Lost's Judas album gave me serious serious Jesus/Judas vibes, but that's not really crack so much as quote-unquote blasphemy. I am going to steal Seiya's answer of Tony the Tiger x The Grinch, because I am hard-pressed to think of anything else that would qualify.

What is the couple you read the most fanfics about? Currently? Dreamling. I tend to hyper-focus on one fandom at a time and when I'm lucky enough to ship the popular pairing, there is Far Too Much to spend my limited free time on and little reason to invest any of it elsewhere.

What do most of your ships have in common? I think the broadest way to sum up the widest swathe of similarities is that I generally enjoy a dynamic of Reserved x Exuberant, or to pull back a little further still, of Complementary Opposites.

What do you absolutely hate in a ship? Hate very rarely enters into it. Lack of chemistry, I guess? But that is a very subjective criterion. For every 'But why would you ship them?' I can ask, someone will have an answer.

Tagging, no obligation, tag me in your existing post if you've just done it: @danikatze, @zalia, @esperata, @staroftheendless, @rooftopwreck, @aquilathefighter, @chaosheadspace, @ginoeh, @macavitykitsune

[thetalkingwave]

Happy last day of Autism Awareness Month!

My story is a bit of a long one, and I will be omitting some factors regarding upbringing, but I hope it's amusing, or at the very least interesting~

At 4 years old, I was considered near a full mute- I was social, playful, but I wouldn't say anything beyond a whisper or two to my sister and my folks. Many asked when I was a teenager why that had ever been the case and I could never find an explanation for it.

It ended up being a running joke to my older relatives that the reason it was the case was that 'talking is what starts trouble'. I stuck by that notion, but as this was the early 2000s, I understand why this wasn't scrutinized beyond a talk with a speech councilor as to whether or not I would be fit for a traditional school.

Adjacent explanations, the not quite answers, would be commonplace for any bizarre behavior to follow.

When I was 6 years old, my mom had taken me and my sister to a store to buy new clothes- the first time doing so outside of school uniforms since we had moved to Texas.

A few outfits- the catch being we both had to come out with at least two pairs of pants.

I hated pants. Shorts were the most I'd wear, but I couldn't stand how tight they felt, or how the fabric brushed against my legs. I could only go halfway on trying them on before I roughly tossed them aside, squirming and on the verge of tears.

I was just "an extreme girly girl". But pants are needed for messier outdoor activities, so I walked out with fabric that didn't make my skin crawl.

I caught pneumonia at 8 years old for a similar reason- jacket collars brushing against my neck made me feel like I was suffocating. I would wear them for a short while or forgo them entirely.

Unzipping just under the neck didn't cross anyone's minds, but the compromise was either a thicker sweater or a comfortable thinner one underneath so the jacket wouldn't be directly touching my skin.

When I was 15, I had unknowingly unmasked. I wouldn't have considered myself popular; charming would have fit more.

Revealing my analysis of others (in the love for linguistics) was a dire mistake.

At 17-19, anytime I was caught stimming, I would immediately stop.

At age 21, after a harrowing day at work prior, I reached a breaking point. My right hand wouldn't stop shaking.

'A seizure, A seizure!' Was heralded by near all surrounding me.

'Nothing wrong', said the brain scan.

A week passed. It slowed down. A few days passed after that.

It completely stopped.

I was left wondering why something so horrifying felt so familiar.

At age 22, I started a new job. Curiosity peaked for some, but for most...It was shrugged.

Suddenly, something clicked.

"Wait...am I...hired?"

"I...wouldn't be asking these questions if you weren't?"

No malice, no mocking intent behind any question.

Eye contact wasn't a requirement. I no longer felt nauseous.

Early on, I was halted by an older woman I had become friendly with.

"Que traes?" (What do you 'got'?)

"En general? Autismo." (In general? Autism.)

She elbowed another coworker, the blatant appearance of "I told you so" on her face.

"You're a little odd."

I laugh in agreement.

"You've become much more open since you've started here. I'm proud of you."

It's been over a year and I'm still at this job.

At my final day of being 23, I finally get to reveal one of my biggest secrets, the first person who knew being the man I love.

The other incidents were signs, but this is my favorite giveaway.

At age 6-7, I developed a hyper fixation.

The process intrigued me, the way the elements all came together to compliment each other. A meatball sub, a BLT, a torta, ETC.

The sheer amount of joy I experienced when I had tried a Reuben for the first time could only compare to my passion of drawing.

My childhood dream was to make sandwiches, and it was unfortunately denied of its existence when I realized then and there it wasn't at all common for a child to have that interest.

My current and most long running job?

A gourmet grocery store.

The position?

Sandwich Bar.

And now it's something that those I work with on there already know.

[deadcactuswalking]

REVIEWING THE CHARTS: 03/02/2024 (Megan Thee Stallion, Skepta, Justin Timberlake)

Noah Kahan’s at #1 with “Stick Season” for a fifth week, but lower down the chart, there’s a lot of nonsense going on, most of it involving female rappers. Welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with the notable dropouts, songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, we bid adieu to “n.h.i.e.” by 21 Savage and Doja Cat, “Kool-Aid” by Bring Me the Horizon, “Strangers” AND “Someone You Loved” by Lewis Capaldi, “FTCU” by Nicki Minaj and “Disconnect” by Becky Hill and Chase & Status. Other than the last one, not really complaining much about these.

As for notable gains and returns, well, much of what’s of interest will come down to the new arrivals, and a lot of our gains are confined to within the top 40. Outside of that, we do see “When We Were Young (The Logical Song)” by David Guetta and Kim Petras back at #71 because that song refuses to have a coherent run. Then in the top 40, we see a lot of interesting pick-ups, some a bit surprising and most I’m also really not complaining about either, with “Scared to Start” by Michael Marcagi at #38, “Whatever” by Kygo and Ava Max at #27, “Nothing Matters” by The Last Dinner Party surging at #22 and I wouldn’t be surprised if it’s higher given the album this week, “Praise Jah in the Moonlight” by YG Marley up big at #20 and again, there’s a movie coming out that could boost this even higher in the coming weeks. Other than that, we see “Beautiful Things” by Benson Boone actually gaining off of the high debut last week at #11 and finally, Madonna gets her first top 10 since 2009 and Playboi Carti his first since, well, ever, as “Popular” with The Weeknd crawls its way to #10. I’m still surprised those two even have a song together.

Our top five should seem pretty standard: “yes, and?” by Ariana Grande loses steam at #5, “Lovin’ on Me” by Jack Harlow is steady at #4, “Lose Control” by Teddy Swims is on a surprising run at #3, then we have “Murder on the Dancefloor” by Sophie Ellis-Bextor at #2 and of course Mr. Kahan at the very top. Like I said, it’s much more interesting down below, and that’s naturally what we’ll focus on today. Now… stay with me.

New Entries

#75 - “Think U the Shit (Fart)” - Ice Spice

Produced by RIOTUSA, Synthetic and venny

This song makes me feel so old. I’ve missed out on the Ice Spice craze entirely in the first place, but I’d also never seen this meme she was referencing, hadn’t heard the viral snippet of the song, this is just entirely beyond me. There’s a quirky, you could argue jazzy set of 80s-sounding keys but it’s quickly drowned out by a thrusting 808 and the reverb-drowned vocal take from Ice Spice that really shows the limitations of her and RIOTUSA, given how she goes for such a basic flow all the time, and this is actually the most energy she’s ever given a performance… which is depressing! She has to fill in blank space with constant, unbothered ad-libs and punching in, and RIOT has made such a minimal rhythm section for much of the song that he seems to actively switch into a more recognisable trap beat just so Ice Spice doesn’t sound painfully out of place. As for content, you’re joking, what is there to it? I’d complain about she rhymed “fighting” with “Saiyan” but pronounced both words as expected so it straight up doesn’t rhyme at all, but that’s definitely just an element of her troll persona or whatever. I don’t know, any detail I can pick apart just feels so nulled by the fact that, well, it’s an Ice Spice song called “Think U the Shit (Fart)”. It’s basically novelty, comedy rap. Why should I try?

#61 - “Not My Fault” - Reneé Rapp and Megan Thee Stallion

Produced by Ryan Tedder, Alexander 23, Jasper Harris and Jeff Richmond

Ah, Megan Thee Stallion, I’m sure this is the last time this week I will have to talk about them. Sigh, this is embarrassingly the one time where I can say I have actually seen the contemporary film attached to the soundtrack single, and this was tacked onto the credits sequence, with Megan making two pointless cameos within a fun Pixarification of the original Mean Girls that I don’t think I’d ever watch again, but was still a fun, harmless time in the cinema. Now because I’m lame, there are songs from the film proper I much prefer but I don’t expect them to chart because 1.) they’re much further embedded into the musical tradition and 2.) they’re not produced by Ryan Tedder. Believe me, I checked. As much as I’m convinced by Ms. Rapp as an actor, as a singer, she has a lot to prove, not really showing how capable she could be in translating those acting skills to developing a true character in songwriting and performance a lá Olivia Rodrigo. This is a bratty disco-pop song that acts as a bit of a mean girl anthem so to speak, but is completely toothless, including the kind of embarrassing Megan verse that will date the song even further than its dated-on-arrival concept, although I at least like the consistency of the references - she has been calling herself the “black Regina George” since 2017. The song overall is just a reflection of a semi-failed conglomerate project, it’s ephemeral and serves no purpose other than to end up being a time capsule one looks upon 20 years from now questioning what the zeitgeist was in 2024, much like how we now look at the original Mean Girls for 2004 which, by the way, is directly sampled in this song, instead of the same line from the new film… which makes me think they hadn’t even shot the film by the time this song was made. Keeping it professional, Paramount.

#56 - “Big Foot” - Nicki Minaj

Produced by Tate Kobang and ZellTooTrill

The worst thing about rap beef, to me, is that the newer diss, if released the same week, will probably debut lower than the catalyst diss - the cata-diss, if you will - so I have to review the songs in reverse chronological order. It just doesn’t make sense, does it? With that said, it seems like a stretch to describe this as a song, not because it’s so terribly awful or anything, though I do notice that the song’s quality - or lack thereof - and pure antagonism has made some Barbs jumped ship. It’s more so because this is just a verse that starts off in a bizarre, unhinged Roman flow and ends with ASMR. I do think I have a pretty “no-holds-barred” attitude when it comes to feuds in hip hop as long as it doesn’t escalate to violence, so it’s not like I’m offended by anything Nicki said here, even if it gets ruthless and almost needlessly so, but it does just appear a bit desperate, attention-baiting using the villain persona. That’s not new for Nicki though, and all rap beef is villainised attention-baiting, often with flow and song structure as mostly if not entirely irrelevant factors. Therefore, I really can’t review this one, and no, I’m not ducking from Barbs because Pink Friday 2 is one of the worst albums I have ever heard, and I have long criticised Nicki for having bad music on this series, this just can’t really be treated as such. Sure, there’s a Detroit trap beat behind it, but only for half of the song’s runtime, and given how rushed-together it sounds, it’s clearly not a priority. I don’t review Instagram Live videos from gossip merchants, and I fail to see how this, given that it rarely ever criticises Megan’s standing as a rapper or public figure, more just using the same accusations Remy Ma threw at Nicki on “ShETHER” with a new coat of paint, is worth analysing as a piece of popular music and not just a social media rant… which Nicki has given plenty of in the past week, it’s been bizarroworld on Twitter. I will indeed hold that same standard for Megan coming up as well.

#49 - “Grey” - Yung Filly

Produced by JuwonMix

Well, the vast majority of our debuts are from or involving rappers so it’s only fair that we have some UK representation this week, and… I’m not familiar with Yung Filly but I didn’t really expect an Afrobeats / dancehall track about how meaningless fame and success can be. To be honest, that seems like it’s mostly the subtext rather than the text, coming mostly in prominence in that melancholy chorus but the song definitely sounds like the colour of its title given the bouncy percussion not doing a great job at hiding the stray reggae chords or blasts of trumpet that seem to put a noir downer on the whole parade, especially considering his longing, monotone delivery that fits into a tight pocket but never actively, almost like he just slides into it and happens to be on the beat rather than any conscious effort to ride it. That’s not to say the vocals are smooth, or not good, they’re surprisingly emotive for an Auto-Tune crooner yet also somewhat staccato in places, it’s a nuanced performance. I don’t really have much left to say, it’s not exactly a complex song, but it’s honestly surprisingly good, would absolutely not mind if this stuck around.

#37 - “Selfish” - Justin Timberlake

Produced by Justin Timberlake, Louis Bell and Cirkut

No, you can’t get back from this. We all heard “Filthy” back in 2018. Whenever I think of Justin Timberlake, I don’t just think of the classics, “SexyBack”, “Cry Me a River”, “Suit and Tie”, *NSYNC, I think of “Filthy” and this will poison the well of Justin Timberlake discourse for as long as he continues to release music because no man should be able to release “Filthy” and stand untested. In fact, I don’t give a shit about this new song, let’s talk about “Filthy” because what is that?! Who starts off the rollout for their woodsy, back-to-basics country-pop album with a dramatic glam-rock curtain call diminishing itself into a squelchy “funk” (stretching the use of the word) coated with female moaning and wonky-influenced production that allows for Justin to just bring all his effortless swagger, right? Right? Oh, he’s just going to list off a bunch of 90s hip-hop references for some reason, as if that in his view emulates actually being cool and sexy. The lyrics are rife for analysis in their failure to succeed in just about anything other than make a fool out of the lead artist, and it is fascinating. The song ends with his wife delivering spoken word over ambient, for God’s sake. I respect it, though. I respect taking a risk - or 10 - in a lead single. I don’t respect calling up Post Malone’s production crew to get an easy white-boy pop hit, rejecting pretty much every element of your sound that people were drawn into, AKA Timbaland, Pharrell and Danja, just for the safety of your own flailing career. Justin, you’ve still got Mickey Mouse money left over, let alone the incredibly storied and successful career from then on, and that’s not including the Trolls cheques, which I can only imagine are insane. You do not need to do this, you really don’t. Have some dignity, Justin. You’re not The Kid LAROI. You’re a grown man. Do what you want to do, not what you feel you need to.

#32 - “Gas Me Up (Diligent)” - Skepta

Produced by Cardo and ThatGuyNamedJalen

You’re really under-selling yourself there, Jalen. Anyway, Skepta’s back and much like “Big Foot”, this is one long-form verse over a pretty standard, unmixed-sounding beat, making threats towards others, but there a few key differences that mean I’m a lot kinder to this: firstly, the cloud rap beat is thoroughly aquatic in its lead melody and even if I’d prefer the song keeps some of that underwater energy once the beat drops, the loud, cowbell-accentuated rhythm is still sick and Skepta rides it perfectly. He’s always been one of the smoothest rappers out of the UK, mostly because of how much he has become a student of American hip hop despite his grime origins, and here he shows those Stateside connections off with some of his best, least tacked-on singing performances yet but also a faster-paced blunt delivery for much of the verse that feels much more embedded into British flows and cadences. The content isn’t particularly intriguing for me at least, but the rhyme schemes are clean and his word choice seems very deliberate in order to present a very prestigious sounding set of bars. It’s not exactly Skepta’s best, and definitely not his most interesting, but it’s worth checking out regardless and I feel like he’s been laying low for a while so this seems like a promising comeback.

#31 - “HISS” - Megan Thee Stallion

Produced by LilJuMadeDaBeat, Bankroll Got It and Shawn “Source” Jarrett

Megan Thee Stallion is an independe nt artist nowadays, and her lead single with a switch in sound and massive video, “Cobra”, despite all the reach and pull that Megan has, the promo, the rock remix… it failed to chart in the top 75, a real shame because I think it’s excellent, and just unfortunate that drama and feuding is what lands Megan a top 40 debut. That’s not to say she wouldn’t have charted without Nicki’s free promo of the otherwise not really substantial song by causing such a fuss, but definitely not at #31. Now, there are elements of this song that make it much clearer that it was intended as a piece of music rather than a worthless gossip piece. Firstly, it came with a big video, it’s actually mixed with double-tracked vocals and a decent amount of care put into a still minimal Dirty South beat, as well as a consistent, catchy flow and aggressive delivery that I can appreciate. Even the spoken word elements are left to interludes instead of grand amounts of the song, and sometimes rhyme… but regardless, this is still not exactly introspective in any way, it’s not inward-looking, or even forward-looking really. It’s a hit-out at a lot of the unwarranted hatred that surrounds Megan or is directed towards her, but it’s still just her going through a hit-list of complaints and haters, keeping it relatively subliminal - as much as I don’t like “Big Foot”, at least she’s being upfront. This often feels like it could be about anyone, so the unloading of dirty laundry feels much more detached and therefore easy to stop caring about, and this isn’t just me avoiding making comments on the beef, I apply this same standard to, say, Doja Cat, whose song “Attention” and album Scarlet I complained about being too focused on her own drama, and I’ve held many similar grievances with male rappers like Jack Harlow and ESPECIALLY Kanye in the past. When you let out your problems with people on wax, hook me in first, don’t just assume I’m already listening.

Conclusion

What a week, huh? Yeah, Skepta gets Best of the Week, of course he does. “Gas Me Up (Diligent)” is probably the most realised song this week, even if generally, a lack of realisation and finishing touch seems to be a vague theme in this episode. It’s not the only good song though, Yung Filly takes the Honourable Mention for “Grey”, whilst Worst of the Week should be just as obvious as Skepta’s shoe-in was… no pun intended there. The Dishonourable Mention, of course, goes to Justin Timberlake for “Selfish” because, man, no one wants to hear this from you, JT. As for what’s on the horizon… who knows? That’s for future me to figure out. For now, thank you for reading and I know I keep saying this, but I may see you earlier than next week.

[jacke-12]

No Milk Today (1966) - Herman's Hermits

Genre: baroque pop

Peak position on US Billboard Hot 100: n/a (but 7 on UK Singles Chart - a non-US single)

Herman's Hermits were one of the most popular of the British Invasion artists, but I feel they are rarely mentioned nowadays - perhaps because they seemed to lean towards humourous fluff rather than more serious music (but from a brief foray into their other songs for this review, they are charming and enjoyable). "No Milk Today" is a bit of an exception, a song about a relationship ending, told in an interesting way.

It is inspired by a once common aspect of life I have never really experienced - milkmen dropping off fresh milk to houses in the mornings. The narrator has to leave out a "no milk today" sign since the relationship ended and there is only one person living there, so they no longer need as much milk. I love art which explores how things that appear mundane ("how could they know just what this message means?") can be indications of something much more significant. I do think though that there could be an even more effective way of exploring this concept than these lyrics, one that allows you to figure out why the "no milk today" sign is significant rather than immediately explaining it all to you. However, this song is ultimately a pretty light-hearted track that I have no reason to expect subtlety from. And it is still a unique approach to the breakup song.

It would also be extremely easy to not realise the sad subject of this song. It is a jaunty track with a sing-along melody. It reminded me immediately of something like "Up the Junction' by Squeeze - something about the very simple, repeating tune that is an immediate earworm. He sings about the end of his hopes and the end of all his dreams as though he hasn't a care in the world. I love how catchy and cheerful these miserable lyrics become. It makes me laugh everytime. I have no idea if it is intentional, but its a fun contrast.

The harmonies are lovely too, as is typical of baroque pop. And it has those elements of classical music of course, like those lively strings, and, my favourite, those chimes during the chorus which I think sound distinctly like the bells in the sticker collecting minigame from Mario & Sonic at the London 2012 Olympic Games. (That's a very obscure reference but it really takes me back.) Baroque pop can be great for taking these often grand and dramatic orchestral instruments and using them to make cute little tunes like this.

[alikharaghanian]

9. EMOTIONS Feelings at Play: How Games and Movies Touch Our Hearts

When I think back to the games I’ve played or the movies and series I’ve watched, the scenes that come to mind first are always the ones that stirred my emotions, rather than the overall story or the gameplay. If games were only about gameplay—killing enemies without any complexity and moving on to the next level—many players would lose interest and not finish them. Especially as you grow out of your teenage years and your perspective on life and people deepens, you start expecting more from games. That “more” is the ability to evoke emotions, which is what you truly seek.

The most fundamental requirement for a game capable of evoking emotions is deep and complex storytelling. Games like The Last of Us, with narratives filled with heartbreaking and sorrowful moments, joyful and soothing scenes, feelings of guilt, hatred, anger, fear, anxiety, and excitement, immerse players in their stories. These emotions motivate players to put themselves in the characters’ shoes and truly live the game.

Moments like the death of Max Payne’s family, Lee turning into a zombie in The Walking Dead, or the final scene of the movie The Mist are unforgettable. It’s as if the pain and suffering we experienced through identifying with these characters happened to us personally.

Another key element that enhances emotions in games and films is character design—from visual and physical appearance to their personality, dialogue, and, most importantly, body language and movements. Many impactful roles in cinema and animation don’t rely on dialogue but instead convey emotions through body language, such as the animated masterpiece WALL-E or the legendary Charlie Chaplin.

The design of certain characters in animations and games can be so influential that fans emulate their outfits, hairstyles, and body movements for years. One of the most successful examples is the animated series Arcane, which has gained massive popularity among Gen Z.

The intricate details in the design of these characters—from hairstyles and colors to accessories and outfits—create a platform for expressing emotions to the audience. For instance, a character might change their hairstyle or accessories during moments of sadness, subtly reflecting their emotional state. This level of detail adds depth and relatability to the character, allowing viewers and players to connect with them on a personal level.

Another scenario that evokes emotions in games is the gameplay itself and its challenges. The feelings of victory, frustration, satisfaction, and anxiety during progression are what deeply engage players. This is especially true during boss fights, where the tension and stakes are at their peak.

One of the games that masterfully creates these moments is the masterpiece Elden Ring. Its intricate boss battles not only test players’ skills but also create an emotional rollercoaster—fear when facing an overwhelming enemy, determination to try again after failing, and an unparalleled sense of accomplishment when finally succeeding.  The visual world-building in games brings feelings of grandeur and majesty to life, such as in God of War, where you experience these emotions in vast historical settings or during battles with giant monsters. In horror games, the design of dark and abandoned spaces evokes feelings of fear and terror. And finally, we arrive at the ever-present and recurring topic of music and sound design, which are among the most important elements in both cinema and game development. From the game’s soundtrack, which can evoke a sense of heroism, energy, or even anxiety, to the sound design of characters, which can convey their emotions to the player.

One of the most successful games in terms of conveying emotions and leaving a lasting impact is undoubtedly The Walking Dead. This choice-based game had everything: a chilling atmosphere, a post-apocalyptic world, ruined homes, and deserted towns. The game’s design effectively conveys a sense of rejection and loneliness in this terrifying world. Burnt cars, blocked train tracks, broken fences, and the silent world at night are visual elements that perfectly set the mood for the story.

The game’s calm soundtrack feels like drifting on a sea with no islands in sight, and when the tempo picks up, it mirrors the player’s racing heartbeat, creating a sense of anticipation for upcoming intense scenes. The eerie sound of zombie growls breaking the game’s silence perfectly instills a real sense of fear.

This is a choice-based game where text is the main tool for driving the gameplay. The texts and dialogues are rich with emotion, offering choices that evoke specific feelings such as guilt, remorse, and satisfaction.

The character design is exceptional. The main characters, Clementine and Lee, are masterfully crafted. The bond between these two characters conveys a father-daughter relationship so authentically that, even if you’ve never been a father or a young girl, you can still deeply feel and relate to it.

The storytelling is beyond exceptional. The deeply emotional narrative, combined with the complexities of the characters and their backstories, draws you in completely, making you feel as if you’re part of this post-apocalyptic world of the dead.

References • Chapman, A. (2006). Emotional Design in Digital Games. Journal of Game Design and Development Education, 1(2), pp. 22-32.

• Cook, N. (2018). Music and Sound Design in Interactive Media: Emotional Engagement through Audio. Sound Studies, 5(1), pp. 58-72.

• Gerrig, R. J. (2008). Psychology and Literature: Understanding the Emotional Power of Storytelling. Psychology Press.

• Green, M. (2012). Character Design in Games: Psychological Depth and Emotional Expression. The International Journal of Interactive Design and Manufacturing, 6(3), pp. 143-154.

• Jenkins, H. (2004). Game Design as Narrative Architecture. In: First Person: New Media as Story, Performance, and Game. MIT Press, pp. 118-130. • Vella, D. (2019) 'The World of Scary Video Games: A Study in Videoludic Horror by Bernard Perron', Game Studies, 19(1). Available at: https://gamestudies.org/1901/articles/reivew_vella

[misfitwashere]

Song from my youth.

Backstory:

“Barracuda,” released in 1977 by the American rock band Heart, stands as one of the band’s most iconic and enduring songs. Serving as the lead single from their third studio album, Little Queen, the track exemplifies the powerful vocals and aggressive guitar riffs that defined Heart’s signature hard rock sound. Written by sisters Ann and Nancy Wilson in collaboration with guitarist Roger Fisher and drummer Michael DeRosier, “Barracuda” was born out of the band’s intense frustration with their record label, Mushroom Records, and the broader exploitative practices prevalent in the music industry at the time.

The genesis of “Barracuda” is rooted in a particularly troubling incident following the release of Heart’s debut album, Dreamboat Annie. The band’s label attempted to fabricate a scandal by insinuating that Ann and Nancy Wilson were involved in an incestuous relationship. This baseless and offensive rumor was clearly a ploy to garner publicity, but it deeply offended and angered the Wilson sisters, especially Ann. This sense of betrayal and outrage became the emotional fuel for the song’s fierce and defiant lyrics, transforming personal anguish into a powerful anthem that resonated with many fans who felt similarly exploited by the music business.

Musically, “Barracuda” is distinguished by its relentless galloping guitar riff, a hallmark that draws significant influence from Led Zeppelin’s dynamic style, particularly reminiscent of tracks like “Achilles Last Stand.” Roger Fisher’s guitar work, characterized by its raw energy and precision, combined seamlessly with Nancy Wilson’s rhythmic guitar prowess to create a driving force that propels the song forward. Ann Wilson’s vocal performance is equally compelling, her powerful and emotive delivery amplifying the song’s intensity and ensuring its place as a standout track within Heart’s extensive discography.

The song’s commercial success was substantial, peaking at number 11 on the Billboard Hot 100 chart. Its popularity extended beyond initial release, becoming a staple on classic rock radio stations and maintaining its relevance across decades. “Barracuda” played a crucial role in cementing Heart’s position in rock history, showcasing the band’s ability to blend hard-hitting rock elements with melodic nuances. Over the years, the song has been covered by numerous artists across various genres and featured in a wide array of films, television shows, and video games, further solidifying its legacy as a quintessential rock anthem.

Heart was formed in 1973 in Seattle, Washington, by sisters Ann and Nancy Wilson, along with other talented musicians. From the outset, Ann Wilson’s rich and powerful voice became one of the band’s defining features, setting them apart in a predominantly male-dominated rock scene. Nancy Wilson complemented her sister’s talents with her exceptional guitar playing, which added both finesse and ferocity to their music. Together, the Wilson sisters were instrumental in paving the way for women in rock, breaking barriers and challenging gender norms within the industry.

Ann Wilson, born on June 19, 1950, in San Diego, California, exhibited a keen interest in music from an early age, influenced by her parents’ diverse record collection. Despite struggling with a stutter during her childhood, Ann found solace and a means of expression through singing and performing. This personal triumph over her speech impediment not only helped her develop a strong stage presence but also honed her vocal style, which would become a trademark of Heart’s sound. Nancy Wilson, born on March 16, 1954, in San Francisco, California, joined Heart in the mid-1970s. Her arrival brought not only her exceptional guitar skills but also her songwriting abilities, which perfectly complemented Ann’s vocal strengths and contributed to the band’s creative dynamism.

The synergy between Ann and Nancy Wilson, both personally and musically, was a cornerstone of Heart’s enduring success. Their ability to blend rock, folk, and acoustic elements into a cohesive and innovative sound set them apart from their contemporaries. Tracks like “Crazy on You” and “Magic Man” from their debut album showcased their versatility and helped them build a loyal and dedicated fanbase. This harmonious collaboration allowed Heart to navigate the evolving musical landscape of the 1970s and 1980s, continuously adapting while maintaining their distinct identity.

Throughout their career, Heart faced numerous challenges, including changes in their lineup and shifts in musical trends. Despite these obstacles, the Wilson sisters remained the heart of the band, consistently pushing the boundaries of their music and exploring new creative avenues. The 1980s saw Heart achieve renewed commercial success with albums like Heart (1985), which featured hits such as “What About Love” and “These Dreams.” These songs demonstrated the band’s ability to evolve, incorporating more polished production and synthesizer elements without sacrificing the raw energy that defined their earlier work.

Beyond their recorded music, Heart was known for their electrifying live performances. Ann Wilson’s commanding stage presence and vocal prowess, combined with Nancy Wilson’s intricate guitar work, made their concerts memorable experiences for fans. The band’s commitment to delivering powerful and engaging performances helped solidify their reputation as one of the premier live acts in rock music. This dedication to live music also fostered a strong connection with their audience, further enhancing their legacy.

The impact of “Barracuda” extends beyond its initial success, influencing countless musicians and becoming a cultural touchstone within the rock genre. Its aggressive guitar riffs and defiant lyrics have inspired artists across various genres, underscoring the song’s versatility and timeless appeal. Additionally, “Barracuda” has been recognized in numerous “greatest songs” lists, reflecting its enduring significance and the high regard in which it is held within the music community.

In recent years, Heart has continued to honor their legacy while also exploring new creative projects. The Wilson sisters have remained active in the music scene, participating in reunions, collaborations, and solo ventures that highlight their individual talents and collective strength. Their ongoing contributions to music serve as a testament to their resilience and dedication to their craft, ensuring that Heart’s influence remains strong in the ever-evolving landscape of rock music.

“Barracuda” remains a powerful testament to Heart’s resilience and artistry. Its creation, fueled by anger and defiance, resulted in a song that not only captured the band’s emotional turmoil but also resonated deeply with a broad audience. The song’s enduring popularity underscores its impact and the lasting legacy of Heart as trailblazers in rock music. As Heart continues to inspire new generations of musicians and fans, “Barracuda” stands as a shining example of their ability to channel personal and professional challenges into a timeless and impactful musical statement.

[dailyanarchistposts]

The danger of subversives

RF here raises a very interesting question for us. Why do states devote serious energy to targeting anarchists, or other extremists, when we are so far from threatening the “overthrow of ruling elites”? In fact why, as we have seen in the recent UK “spycops” affairs, do they feel it necessary even to infiltrate “the most innocuous ’peace’ or ’justice’ groups”?

One answer is connected to the way that counter-insurgency “does not look at subversives in isolation from the wider public.” Repressive forces with any nous understand that the danger of a subversive action is not the usually minimal damage it causes directly, but if it can prompt or provoke others to take action that can rapidly multiply and spiral through the wider “human terrain”. Subversives are marked “not because we/they pose the biggest threat in and of itself, but because we/they have tendencies to push the more unmanageable elements further during peaks of social tension”. Here RF cites the historical example of “anarchist migrants serving as detonators in 19th century labour struggles from the U.S. to Argentina”. Although they also note another reason: targeted subversives may “serve as a sufficient visible scapegoat for those elements, to be made an example of.”

An illuminating reference here is the RAND corporation counter-insurgency text ’War by Other Means’, which divides uprisings into three phases: proto-insurgency, small-scale insurgency, and major insurgency. During the first, subversives’ capacity is “small, narrowly based, vulnerable, and incapable of widespread or large-scale violence. Proto-insurgents may be barely noticeable, not seen as having the potential to inspire insurgency, or dismissed as criminals or inconsequential crackpots. Therefore, during proto-insurgency, the most important aspect of COIN is to understand the group, its goals, its ability to tap popular grievances, and its potential. In turn, shaping the proto-insurgency’s environment, especially by improving governance in the eyes of the population, may deny it wider support.” (Or to quote Bob Marley: “every time I plant a seed, he say kill it before it grow”.)

Again, “anti-extremist” counter-insurgency operations can take many forms, of which direct repression is only one. For example, another strategy relies on mobilising “the whole raft of unions, official organisations, pacifists, and other civilisation-reformists hovering to disarm social struggles from within, by denoucing those whose passions lead them to a more direct confrontation with what exists.” As one example, the essay asks about the climate counter-summits such as COP21 in Paris and COP15 in Copenhagen: “What if the mobilization of the entire city and even the protests were nothing but an immense peace-keeping operation?”

[duxiaomin-blog]

The Cross-Cultural Aesthetics of Chinoiserie and the Artistic Echoes of the Contemporary ChuCui Palace

— — Crossing Cultures and Regions, Profound Cultural Influence

In the 17th century, influenced by imported oriental products, especially porcelain, lacquerware and other artworks, Chinoiserie (Chinese style art) began to rise in Europe, and gradually reached its peak in the late 17th century and the middle of the 18th century. This period is called the “Baroque” period of Chinese craze, and gradually had an important stimulating influence on the Rococo style after the Baroque. Europe’s interest in Oriental art inspired the imitation and innovation of Chinese porcelain and lacquerware, and promoted the development of local European crafts. This artistic style is not only a copy of original oriental works, but also includes unique works created by European artists based on oriental design elements.

The trend swept across Europe, particularly influencing the aesthetic tastes of the European upper class. Its impact was widespread, marking the first large-scale collision between Eastern and Western cultures and aesthetics, and representing the pinnacle of global aesthetics of its time. Chinoiserie, with its exotic allure, was not merely a form of decorative art but also a challenge to and reevaluation of traditional European values. The popularity of this aesthetic style not only signaled the fading of ancient and sacred ideas but also reflected changes in social structure and perceptions of status.

The mixed charm of European native Chinoiserie art

A Chinoiserie luxury clock made by James Cox in England

In the Metropolitan Museum, there is a Chinoiserie clock by James Cox, a renowned 18th-century English clockmaker and jeweler, and a significant representative of 18th-century English Chinoiserie art. Many of Cox’s works incorporate Chinese elements, such as clocks and automata inlaid with Chinoiserie patterns and decorations. These pieces reflect 18th-century Europe’s deep interest in and romanticized imagination of Chinese culture. Some of these works were given as gifts to the Qianlong Emperor (who reigned from 1736 to 1795), a clock enthusiast, and are still housed in the Forbidden City in Beijing.

This piece, created in 1766, depicts a Chinese attendant wearing a hat and pushing a tricycle equipped with a clock. The work is embellished with gold inlaid with diamonds or imitation gemstones set in silver, with pearls and gemstone flowers adorning the three-tiered umbrella above. It is both a clock and a luxury item, often collected by nobles and wealthy merchants as a symbol of wealth and taste.

The work features the classic asymmetrical composition of Chinoiserie, emphasizing naturalism within Chinoiserie. It is complex and delicate in design, continuing the gilded decorative features of Rococo that originated from the Baroque style. Although the British public had a limited understanding of the culture behind Chinoiserie, this style profoundly influenced the rise of Romanticism through its fusion with Rococo and Gothic styles. Romanticism also emphasized individuality and nature, and the “irregularity” in Chinoiserie embodies this spirit.

Brighton Pavilion Banqueting Hall

The Brighton Pavilion is an extreme example of Chinoiserie style applied in Europe. Its design and decoration not only showcase Europe’s admiration and imitation of Chinese art but also create a unique art form by integrating different cultural elements. This reflects the depth and breadth of cultural exchange in Europe from the late 18th to the early 19th century. Its exterior is highly exotic, inspired by Indian Mughal architecture, featuring onion-shaped domes and spires, presenting a captivating Oriental fantasy. Although the overall design is influenced by Indian architecture, the interior decoration clearly embodies Chinese style. This fusion makes the Brighton Pavilion stand out in European architectural history.

The Banqueting Hall is one of the most luxurious rooms in the Brighton Pavilion. Its lavish decoration captures the essence of Chinese style. The ceiling features large dragon-shaped and lotus-shaped chandeliers made of stained glass and metal, using the classic mix of Chinese themes and Western materials characteristic of Chinoiserie, creating a mysterious and splendid atmosphere. The walls are adorned with large murals of Chinese figures and landscapes, displaying bright, rich colors and vivid expressions. The details of the Chinese figures are depicted with Western-style shading, illustrating an imagined Chinese court life. The furniture and decorations in the room also incorporate Chinese elements, such as lacquer cabinets, silk screens, and gemstone-inlaid furniture.

Chinoiserie leather screens painted at Charlecote Park.

The leather screens painted at Charlecote Park clearly demonstrate how images from Chinese “kuancai” lacquer screens permeated British decorative arts. Beginning in the 18th century, leather screens made in Britain were often decorated to imitate Asian luxury goods, such as Indian chintz, Chinese lacquerware, and later Chinese wallpapers. The Charlecote screens remain relatively faithful to their Chinese lacquerware models. The work features a six-panel screen painted in the Chinese engraved (“kuancai”) lacquer style, depicting garden and lifestyle scenes of palaces and figures, with illustrations of flowering plants added along the edges.

The work is vivid and richly narrative. On one of the screen panels, there is a scene of a woman looking out from a veranda, while several men nearby, armed with bows, crossbows, and tridents, are hunting a tiger. Another panel shows a pond, horses, and children and women playing. The artist evidently studied genuine Chinese fine-line paintings, as they attempt to convey the “deep perspective” or bird’s-eye view found in Chinese painting. The work is influenced by the Eastern method of scattered perspective, and the artist understands how to use different “lines” to depict dense foliage like pine trees, banana leaves, the folds of rocks, the base of walls, and the tiles on the palace. The exterior facade of the palace is decorated with “paintings within paintings,” showing a level of attention to detail comparable to genuine Song dynasty fine-line paintings.

The work features a black lacquer background with layers of vermilion as the main color, harmonized with neutral gray, gray-green, and gray-white. This combination expresses both the tension of the colors and a sense of visual balance and comfort. As the viewer’s gaze follows the vertical unfolding of the screen, the figures and storyline are clear and vivid, as if observing from a height with the garden landscape in full view.

Chinoiserie lacquer cabinet, housed in the V&A Museum

Starting in the 1670s, an increasing amount of lacquerware was imported from Asia to Europe. Merchants of the British East India Company worked hard to ensure that Chinese lacquer furniture could meet the demand of the domestic market. During this time, the Baroque style dominated the mainstream art scene in Europe. Artists and craftsmen, inspired by Chinese lacquerware, created classic masterpieces that blended native Baroque style with Chinoiserie. Among the Chinoiserie furniture collected by the Victoria and Albert Museum is a cabinet made in 1688, featuring a Chinoiserie lacquer cabinet body and Baroque-style gilded table legs. The piece is richly decorated with Eastern opulence and mystique, while also reflecting the solidity and dynamic sense of Baroque. The Chinese-style patterns on the hinges, depicting flowers, birds, landscapes, and figures, collide with Western acanthus leaves and angels, creating a tension of beauty between East and West, restraint and exuberance, flatness and three-dimensionality.

Chinoiserie in the Eastern Native Context

Copperplate Engraving of the Great Fountain in the Old Summer Palace

This artistic style was influenced by the complex interaction of Eastern and Western cultures and arts. In the “Garden of Gardens” — the Old Summer Palace — Chinoiserie was also vividly displayed. A famous example of Chinoiserie architecture in the garden is the Great Fountain, located south of the platform in front of the Yuanyingguan. The landscape mainly consists of Baroque-style stone niche buildings and a series of fountains. The architectural design features strong symmetry, with Western-style domes and columns that are robust, yet combined with Chinese roof decorations and brick carving details, showcasing cross-cultural visual and structural beauty. Although it is Western architecture, it also reflects the Chinese garden design concept of “borrowed scenery,” integrating with the surrounding landscape of plants, lakes, and other structures to create a harmonious and unified overall beauty. The surrounding sculptures and architectural decorations are equally exquisite, featuring figures from Western mythology as well as cleverly incorporating Chinese motifs, embodying the perfect blend of Eastern and Western artistic styles.

Pioneers of Modern Chinoiserie

The early workshop of the Chucui Palace family in Rome

Chucui Palace, as a pioneer of Chinoiserie-style jewelry, is committed to reviving the status of Eastern aesthetics in the global art world, focusing on the creation of elegant Eastern-style art jewelry. Chucui Palace originated in a family workshop in Rome, Italy, in the mid-20th century, specializing in the creation of Eastern-style jewelry. Its first art jewelry piece, “Hidden Dragon,” themed around the Eastern totem of the “dragon,” caused quite a sensation in the European jewelry circle upon its debut. Since the 1980s, the brand has begun creating custom Eastern-style jewelry for European and Middle Eastern royalty.

The precious manuscripts of the Chucui Palace family workshop

From the earliest surviving manuscripts of the family, it is evident that the predecessor of Chucui Palace was pioneering in actively exploring the possibilities of combining Western inlay techniques, traditional European jewelry, and Chinese fine-line art in its early days. The artists and craftsmen continuously drew inspiration from the colors, contours, and Eastern natural structures of Chinese fine-line paintings. Throughout the 70-year history of the family workshop and brand, this exploration has persisted to the present day.

The precious manuscripts of the Chucui Palace family workshop

Eastern landscapes, ink washes, branches, and flowers became sources of inspiration for re-creation. The manuscripts intricately depict the strength and beauty of trees and flowers within the framework of Chinese fine-line painting, capturing nature’s essence with rich variety and vitality. The lines are dynamic, emphasizing variations in pauses, thickness, and restraint, adding a touch of Eastern artistry to the jewelry, reminiscent of a vivid brushstroke from an Oriental painting.

The precious manuscripts of the Chucui Palace family workshop

Asymmetrical Eastern branches and flowers intertwine with Italy’s symmetrical traditional classic jewelry. The manuscripts are exquisite, showcasing the characteristics of Eastern art and fine-line techniques. Naturalism in Chinoiserie is extended, with lines and contours, negative space, and inlay methods being repeatedly discussed. The juxtaposition of symmetry and asymmetry, exotic and traditional, natural and rational, is explored. Through the fusion of different cultural elements, a unique art form is created.

In summary, Chinoiserie is not only the crystallization of the collision between Eastern and Western art and culture but also an aesthetic dialogue that transcends time and space. It showcases Europe’s yearning for the mystery and intricacy of the East and reflects European artists’ respect and innovation towards exotic cultures. Whether during the 17th and 18th-century Baroque and Rococo enthusiasm for Chinoiserie or in the designs of contemporary jewelry by Chucui Palace, Chinoiserie has left an indelible mark on the river of history with its unique artistic charm and profound cultural influence. Its existence is more than just a decorative style; it is an important symbol of cultural exchange and integration between East and West. Through Chinoiserie, we witness the power of art without borders, transcending geographical and cultural boundaries, and becoming a glorious chapter in the global history of art.

[qu-film-history-to-1968]

The Evolution of Horror

JJ Tafuto

The horror genre has gone through an interesting phase of evolution. The genre was at its peak during the studio style supremacy of the 1930s. “"As it was, by 1930, 95 percent of all American production was concentrated in the hands of only eight studios—five vertically integrated major companies, which controlled production, distribution, and exhibition, and three horizontally integrated minor ones that controlled production and distribution." (Britannica) Studios played a significant role in shaping the cinematic output of the time, and the horror films that released during this time exemplifies the impact of studio styles, collaboration dynamics, and the social and political landscape of the time in which it came out.

Universal Studios really pioneered the horror genre with their iconic and famous monster horror films. “"The minor studios were Carl Laemmle’s Universal Pictures, which became justly famous for its horror films." (Britannica) Those early Universal horror films, namely Frankenstein, directed by James Whale and released in 1931, and its sequel, Bride of Frankenstein released in 1935, truly exemplify the mark left on the horror genre. These films created commonalities of the genre that still persist today. The dreary and gothic set design, the atmospheric lighting, even the mad scientist creating a monster trope are staples of horror that everyone thinks of when thinking of a stereotypical horror film. The collaboration between director James Whale and Frankenstein actor Boris Karloff created a cohesive and studio approved vision for their films, making a studio standard that would be replicated across their additional monster movies. This collaboration not only improved the quality of these films in house, but created a ripple effect that would be seen as a standard throughout the entire genre. The collaboration of these two talents with the studio established a template for how to move the genre forward. Budget constraints made by the studio also allowed for creative problem solving, and even a better product as a result. Due to the budgetary restrictions, Whale was forced to cut out elements from the source material the film was adapting to create a more streamlined approach to be digestible for audiences and only include the most impactful moments. It still maintained respect to the original novel, but was a deviation from the expansive narrative. This is something you see outside of just the horror genre. Films like Lord of the Rings, Harry Potter, even Marvel movies don’t adapt their source material word for word, but adapt the most important parts and manipulate the story for film format. 

The early Universal horror films were a direct product of their time and reflected the world that they came out in. “"The cultural angsts of the Great Depression found expression in the sublimated monsters of Universal Studios. The social context of Whale’s Frankenstein films, and of the Universal production output during the 1930s in general, cannot be underestimated. David J. Skal writes that Frankenstein’s monster was ‘like a battered hood ornament for a wrecked economy’ (Skal, 1992: 132)." (Smith) These films were produced during times of economic turmoil that was result of the Great Depression and reflected anxieties of society that came from the looming threat of World War 2. The monster, created by humans, symbolized the societal fears and moral issues of the time.

Looking at today’s horror genre, films have definitely seen a change since the early Universal days. The genre still remains, but has undergone significant transformations. The genre exists in various different forms than it once did, such as a parody like Scream or a high concept reinvention like Get Out. Rather than vanishing into obscurity, horror has folded into other genres to create an amalgamation, showing its enduring appeal. This idea of combining genres is especially popular in contemporary films, specifically superhero films. Captain America: The Winter Soldier blends classic superhero tropes with political thriller and mystery, while something like Thor Ragnarok focuses more on comedy and humor with the superhero genre. Genres blending together allow for more adaptability and constant reinvention, finding new ways to captivate audiences.

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A Decade for DOGE: The Memecoin Surges $0.1063 on Big Day | ICODesk

The celebratory momentum continued as DOGE reached a high of $0.1063 before a slight retreat

Dogecoin, the cryptocurrency born out of an internet meme, marked its 10th anniversary with a noteworthy surge in value. On Wednesday, DOGE experienced a 0.74% increase, closing the session at $0.0950. The celebratory momentum continued as DOGE reached a high of $0.1063 before a slight retreat. This surge was fueled by a significant transaction involving the transfer of over 72 million DOGE, valued at $7.18 million, from the trading platform Robinhood to an undisclosed wallet. As Dogecoin enthusiasts rejoiced in the coin’s milestone, let’s delve into the factors driving this surge and the broader implications for the meme coin. 

The Decade-Long Journey

Dogecoin, initially created in 2013 as a light-hearted alternative to Bitcoin, has come a long way from its humble beginnings. What started as a playful venture, featuring the Shiba Inu dog from the “Doge” meme as its logo, has evolved into a symbol of the cryptocurrency community’s resilience and sense of humor. Over the past ten years, Dogecoin has gained a dedicated following, partially due to its active community on social media platforms like Reddit.

One of the key contributors to Dogecoin’s recent surge was a substantial transaction reported by Whale Alert, a platform tracking large cryptocurrency movements. An investor transferred a staggering 72,620,166 DOGE, equivalent to $7,178,501, from the popular trading platform Robinhood to an undisclosed wallet. Such notable transactions often attract attention and can influence market sentiment. In this case, the movement of a substantial amount of DOGE added an element of excitement to the coin’s anniversary celebration.

Market Reaction and Technical Analysis

Following the significant transaction, Dogecoin saw a surge in its value, reaching a high of $0.1063 on Wednesday. This spike was accompanied by increased trading volume, indicating heightened investor interest. While the meme coin experienced a slight pullback after reaching its peak, it managed to sustain a level above $0.0950.

Technical analysts have been closely monitoring DOGE’s price movements. The coin’s ability to breach the $0.10 mark, even momentarily, was seen as a positive sign by some analysts. However, others cautioned that Dogecoin’s price dynamics often exhibit volatility, and sustained growth would require continued support from the broader cryptocurrency market.

Dogecoin’s community, known for its vibrant and enthusiastic nature, seized the moment to celebrate the coin’s 10th anniversary. Social media platforms were flooded with memes, tweets, and messages from supporters expressing their love for DOGE. The anniversary festivities created a sense of unity within the Dogecoin community, showcasing the strong bond that has developed over the years.

The Robinhood Connection

The transfer of a significant amount of DOGE from Robinhood, a popular trading platform known for its user-friendly interface, raised eyebrows and sparked speculation within the crypto community. While the exact reasons behind the transfer remain unknown, it underscored the role of mainstream platforms in the cryptocurrency ecosystem. Robinhood has played a pivotal role in introducing a wide audience to cryptocurrencies, and movements involving large sums of DOGE on such platforms can impact market dynamics.

Future Outlook for DOGE

As Dogecoin continues its journey into its second decade, the question arises: what lies ahead for memecoin? While its price surged in celebration of its 10th anniversary, the future trajectory of DOGE remains uncertain. The coin has faced criticisms and skeptics over the years, yet its ability to capture the imagination of the masses cannot be ignored.

Dogecoin’s fate is intricately tied to the broader trends in the cryptocurrency market. Factors such as regulatory developments, market sentiment, and technological advancements will influence DOGE’s journey. The coin’s active community, often referred to as the “Doge Army,” remains a potent force that can impact its adoption and value.

Conclusion

Dogecoin’s 10th anniversary was marked by a surge in value, fueled by a notable transaction and enthusiastic celebrations within its community. As the memecoin looks toward its future, uncertainties persist, but its resilience and ability to captivate a diverse audience cannot be denied. The cryptocurrency market, known for its unpredictability, will likely continue to shape Dogecoin’s trajectory, leaving investors and enthusiasts eagerly watching the whimsical journey of the Shiba Inu-themed coin.

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