#mitchell corporation

[easternmind]

A compendium of references to Portugal in Japanese video games

The beginning of the historical relations between Portugal and Japan dates to the year 1541, when a Portuguese ship washed ashore at Jingujiura. Nearly sixty Japanese words are of Portuguese origin. A variety of Japanese traditions and culinary delights were introduced by Portuguese traders, sailors and missionaries. But in what way has this cultural exchange extended to the more recent phenomenon of Japanese digital games? As a portuguese devotee of Japanese culture, the topic seemed relevant enough to merit some additional exploration.

To my knowledge, the first significant reference to Portugal in Japanese video game is found in Koei's The Age of Discovery from 1990, a game published in the west under the title Uncharted Waters. The main character is a disgraced Portuguese nobleman named Leon Ferrero who resorts to maritime exploration, trade and naval warfare to restore his family's good name and prestige.

Its 1993 sequel, known in the west as New Horizons, diversifies the base game structure of the original by including multiple characters to select from, each with their own story and mission. Among them is the tale of João Franco, the son of the original episode's protagonist Leon, who sets out to discover the mysterious location of the fabled Atlantis, no less.

Another meaningful reference can be found a year later in ArtDink's 1991 strategy game The Atlas, in which the player takes on the role of a 15th century explorer with a five year contract with the King of Portugal to discover and chart lands around the Iberian Peninsula.

In 1998, ArtDink recreated the game for contemporary systems and published as Neo Atlas. The protagonist is a Portuguese trading company owner seeking business expansion opportunities in remote territories, as well as discover and chart hitherto unknown parts of the globe. A similar premise is found in a later sequel, Neo Atlas III.

Apart from nautical strategy games, a few other titles exist where mentions to the Portuguese territory, language and culture can be traced.

Galvanized by the success of Cyan's world-renowned point and click adventure CD-ROMs, Sony Computer Entertainment helped to publish The Book of Watermarks, a game designed by a miniscule Tokyo-based studio named Watermarks that is brimming with interesting first and second-hand references to Shakespeare's The Tempest. The objective of this visually impressive pre-rendered journey is to aid in the recovery of a series of ancient tomes, each including the nuclear bases of knowledge for mankind.

The very first lost volume is named the Book of Navigators, said to be owned by the historical Infante Dom Henrique from the 15th century, condensing information on shipbuilding, oceanography, geography and astronomy. While a purely fictitious book, the reference to Prince Henry is historically accurate, him being a pivotal figure in the early age of Portuguese maritime discoveries, the governor of the Order of Christ who at once built and ruined his reputation through his various campaigns in the African continent.

Atlus' futuristic vision of Earth in Maken X includes a most unexpected tour of Europe, with a mandatory stop in Lisbon. Inexplicably, the developers got its geographic location wrong and moved to all the way to the northern Spanish region of Léon. The level, itself, boasts a reasonably accurate depiction of one of the city's oldest quarters, Alfama, and the architectural styles found therein.

Although I could not discern any actual references in the game itself, the Grandia II soundtrack by the veteran composer Noriyuki Iwadare contains two themes whose lyrics are written in Portuguese: A Deus, a double-entendre that can be translated to both farewell and to God; and Canção do Povo, meaning People's Song. Also, the name of the official soundtrack is named Melodia, which translates to Melody as you'd expect. Both themes were performed by guest singer Kaori Kawasumi, who took on the composer's challenge to sing them despite her not knowing the language.

She was coached and assisted by José Álvarez and Motoi Sato from the Portuguese Arts and Culture Center in Japan, whom she thanks in the acknowledgement section. The Grandia II Special Package edition booklet contains a page with two photos of Portugal, one for the Jéronimos Monastery in Lisbon and the other, seemingly, for the Moorish Castle in the nearby town of Sintra.

The last Pomping World (a.ka. Buster Bros/Pang) that Mitchell Corporation ever produced before shutting down was the 2010 DS European exclusive Magical Michael. It includes two levels set in Portugal, one in Lisbon by the Belém tower, a nautical landmark, and the other in the Sintra National Palace. Their representation is at once pleasingly stylized and true to life.

This final reference is found in Spike Chunsoft's third installment of their successful visual novel series, Nyūdanganronpa V3 Minna No Koroshiai Shin Gakki. Among the dozens of MonoMono machine items that can be acquired, one is a weathercock styled after a traditional Portuguese folktale hero, the Galo de Barcelos, meaning the rooster of Barcelos, a town in Northern Portugal.

As per the description, this animal became famous through an age-old tale involving a man wrongly sentenced to death who seconds before his execution remarked he was as certain to be innocent as it was certain that a nearby rooster would sing. Because the bird did crow, much to everyone's amazement, he was exonerated. Thus, the black rooster became a symbol for truth.

I would like to thank @diogojira and @DanielOlimac for their assistance in making this article possible.

[randomisedgaming]

Screenshots from the 2023 release of the classic arcade from Mitchell Corporation:

Cannon Dancer / Osman

You can watch our playthrough video here: https://youtu.be/mJcvd8b496Y

Follow Randomised Gaming on Tumblr, for video game, art, reviews, features, videos and more. You can also find us on YouTube, Twitch & Twitter for even more gaming & video content! Buy us a tea on Ko-fi

[taratarotgreene]

Happy 80th Birthday Joni Mitchell

Honoree Joni Mitchell at the 2021 Kennedy Center Honors Medallion Ceremony at the Library of Congress, December 4, 2021. Photo by Shawn Miller/Library of Congress. Wikimedia Commons Here’s an astrology article I wrote nine years ago when Joni had health issues in 2015. Joni suffered a brain aneurysm in 2015, losing the ability to talk but she has resoundingly rebirthed herself in true Scorpio…

[zenosanalytic]

a new edition to this: channels no longer putting their shows on on-demand services cuz they want you to buy their streaming service. Why pay for a premium channel ONCE when you can pay for it TWICE :D :D

Fucking hate it here X( X( X(

[costreductionfirm]

Find our company's "Cost Reduction for Small, Large, and Medium-sized businesses in the United States online, & local in Marlborough MA 01752" with Brian Plain at Catalytic Consulting.

Information about Cost Reduction Firm Options in Massachusetts

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Use search engines such as Google or Bing to search for "cost reduction for businesses in the United States."

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Look for consulting firms that specialize in cost reduction for businesses. You can search for consulting firms online or ask for recommendations from other business owners in your network.

Check the website of the Small Business Administration (SBA) or the United States Chamber of Commerce for resources and guidance on cost reduction for businesses.

Use online directories such as Yelp or Yellow Pages to search for local consulting firms in Marlborough, MA that offer cost-reduction services.

Once you have a list of potential consulting firms, you can reach out to them to inquire about their services and schedule a consultation with Brian Plain or another consultant who specializes in cost reduction for businesses.

Learn about our Business Services in Marlborough MA, 01752 online.

[prodigaldaughteralice]

sometimes it actually makes me so sad that people seem to have forgotten Mystery Men

Apparently it only has like a sixty-something on rotten tomatoes?? HOW? That flick is goddamn hilarious 

Also all the costumes and sets are incredible, which I didn’t even realize when watching it as a kid bc our DVD wasn’t very high def but now that we have a better quality copy hot damn

Fuckin. Janeane Garofalo. Eddie Izzard. William H Macy, Ben Stiller, Hank Azaria, Tom Waits, Paul Reubens, Kel Mitchell, Geoffrey Rush, Greg Kinnear?  All in top form???

Superhero decon/reconstruction, before that was a Big Thing, with a bunch of wannabe heroes who are shitty at it and a popular and successful hero who wears the patches of his various corporate sponsors on his super-suit and intentionally lets a super-villain out of the asylum so he has someone to fight to keep his deals? 

the guy whose superpower is that he gets really mad, but it doesn’t give him super strength or anything, he just gets really mad?

I love this goddamn movie you guys

[scottguy]

Corporate media. Useless. She's 77, not exactly a spring chicken herself.

For years now the stroke of noon has meant a channel change for me. She’s painful to watch.

[transmutationisms]

are there any books i can read to learn more about university abolition?

Fred Moten and Stefano Harney, The Undercommons: Fugitive Planning and Black Study (Brooklyn: Minor Compositions, 2013) [link: open access pdf]

Dylan Rodriguez, “Racial/colonial Genocide and the Neoliberal Academy: In Excess of a Problematic.” American Quarterly 64.4 (2012)

la paperson, A Third University Is Possible (Minneapolis: University of Minnesota Press, 2017)

The Imperial University: Academic Repression and Scholarly Dissent. Edited by Piya Chatterjee and Sunaina Maira. Minneapolis: University of Minnesota Press, 2014

Review essay: "Critical University Studies and the Crisis Consensus." Abigail Boggs and Nick Mitchell. Feminist Studies 44 (2): 432-463 (2018)

Clyde W. Barrow, Universities and the Capitalist State: Corporate Liberalism and the Reconstruction of American Higher Education, 1894-1928 Madison: University of Wisconsin Press. 1990

Eli Meyerhoff, Beyond Education: Radical Studying for Another World (Minneapolis: University of Minnesota Press, 2019).

[randomisedgaming]

Japanese & Europe arcade flyers for the 1996 title from Mitchell Corporation:

Cannon Dancer / Osman

New home version is out today.

Follow Randomised Gaming on Tumblr, for video game, art, reviews, features, videos and more. You can also find us on YouTube, Twitch & Twitter for even more gaming & video content! Buy us a tea on Ko-fi

[hms-no-fun]

What's your opinion on the new HS^2 update? I'm really excited it's back but I'm a little worried. Like, the fandom has had a real problem with pretending all the horrible shit that caused it to end in the first place never happened. Is this just gonna sweep that under the rug even more? Is James Roach heading the project because he's less "problematic"? I love James roach and I'm sure he'll do great but what about all the transphobia? I just hope they finally fulfill the Toblerone Prophesy and make June Egbert cannon.

short version is, i'm cautiously optimistic! but this is a loaded question you've given me on a lot of fronts, so i'm gonna try to take it piece by piece.

to start with, the sudden revival of Homestuck^2 (now minus the squared) took me by surprise because to my knowledge, it was entirely dead in the water. my involvement with anything Official ended at Pesterquest, and pretty much the entire post-canon crew i was friends with in 2019-20 has moved on to greener pastures. i share a similar sentiment with @pochapal in that i would have put money on hs2 staying dead forever. i have, quite frankly, dreaded the inevitable day when official Homestuck media would resume production, because the fandom at large seems quite eager to sweep the ceaseless harassment and transphobia that ended hs2 under the rug and pretend that it just, like you said... never happened. when that california cafe used older Pesterquest-like character designs that omitted short chubby Terezi and black-coded Roxy, however well-intentioned and ultimately harmless that was, it felt like a sign of things to come. that, as you fear, the sharper & more personal queerness that we tried to bring to this series would be erased, in favor of something meant to simultaneously appease both tenderqueers and redditors, two sects of the fandom most responsible for the aforementioned harassment.

luckily, that really doesn't seem to be the case!

to your worry that James Roach was made director because he's "less problematic," i'll just say that's entirely the wrong way to look at it. it's not like WP (such that it even still exists) were cruising to get HS2 back up and running. by all accounts, James is the only reason it's happening again in the first place. i can't stress enough just how small an operation this Homestuck business actually is (or, at least, was when i was involved). this is not a Huge Corporation making cynical cash grab decisions. this is someone who cares about the material pushing to get something made where otherwise there would be nothing. check the new About page, where the principles of the so-called Homestuck Independent Creative Union are laid out in plain terms. this is something the original hs2 team fought for, so for this new version to start from there as square one is huge and a good sign of the possible longevity of the project.

next, let's talk about the question of this new team erasing the legacy of the old one. Kate Mitchell is on the record that she was reached out to about this new hs2, approved it, and declined to be involved. i don't know if the other writers were reached out to, but i have no reason to believe they weren't. this is a tremendously important gesture of good faith and goes a long way towards easing some of these worries.

but let's look at the composition of the team itself. do you remember The Perfectly Generic Podcast? originally hosted by future hs2 writer Kate, pgen became a flashpoint for community discourse, often opening doors between official homestuck and homestuck fandom. what made that show special was that, rather than relying on the imo tired genre of the liveread, pgen focused on a different topic each episode and explored it with one or two qualified guests. Kate's goal with the show was to encourage a more adult and quasi-academic discussion of homestuck, of its successes and its failures. if you weren't there, the weight i'm putting on pgen might seem overblown (not least because you can't find it anywhere anymore except on the internet archive). but it's not! when they decisively criticized the wild contents of the Skaianet debacle in episode 19, Andrew listened and worked to bring a more diverse group of creators into the fold. in the months after the Epilogues were released, Andrew issued a statement through pgen on episode 52 about how the Epilogues are meant to create bridges and offramps for the post-canon fandom. it's an essential piece for understanding the epilogues and their relationship to fanworks! that it wasn't included as the author's introduction to the Epilogues in the book version remains to my mind an astonishing oversight, but whatever. point is, pgen mattered to the folks in charge.

so let's look again at the writing staff of this new crew. James Roach first guested on pgen in episode 7, and would go on to be a regular. Haven, who did the Vriska and Roxy sprites in Pesterquest (and probably more stuff i don't remember), guested in episodes 81 and 87. Miles guested on episode 87 as well (unless it's a different Miles, i'm not familiar with their work and ugh this damnable linkrot). Floral, creator of one of my favorite hs fanworks & huge godfeels influence Liminal Space, first guested on pgen in episode 47, and would go on to be a regular (including once during my tenure as host to talk about Jade). on the technical staff side, Kohi built the hs2 website and has remained a backend mainstay both on the WP side and on Vast Error.

all of which is to say, if you were looking for a crew to cynically erase the past and appease the haters, these probably aren't the folks that'd be at the top of your list. of course, if you *really* wanted to cynically erase the past and appease the haters, you wouldn't bother reviving hs2 in the first place!

and that's the crux of the matter here. what cash is there to grab? what clout could possibly be chased? i struggle to think of a decision less obviously profitable and popular than continuing hs2 with a new crew right where it left off. i have to believe this is happening because the people involved want to make it.

so, yeah, i'm cautiously optimistic. i like this crew, i like the contents of the first upd8, and i'm glad as hell it's not a reboot! i'm grateful that by reviving hs2, the hs:bc crew have instantly yanked the epilogues & the post-canon project back into relevance in the broader community. and i always liked hs2 a lot! i was excited to see where they were going! i'm really looking forward to seeing more YIFFY!!!!!

but the thing is, this won't be the hs2 i wanted. i know that, and i'm not expecting it. my greatest hope for hs:bc, for this crew, is that they get the chance to take up the reins and drive this thing in whatever direction they feel most passionate about. if that winds up looking like the hs2 that was originally planned, great-- but more than anything, i want everyone on this team to feel just as empowered to leave a profound and personal mark on this series as the original team did, as i did working on Pesterquest. i hope the outline changes! i hope they take some really wild swings! i want to be surprised!! i want to be challenged!!!

above all, i want them to have the chance to pick a course, sail it, and see it through to the end regardless of what the public thinks. they deserve the chance that the original crew didn't get.

i have plenty of bitterness and cynicism in my heart over the events and circumstances of 2019-20, but as far as i'm concerned it has no place here today. i would never, ever wish the trauma and stress of that era on anyone. let the fandom at large react in whatever way it will, but i want things to be different this time. this is a second chance-- not just for hs2/hs:bc, but for all of us. even people who hate homestuck post-canon! this is an opportunity for everyone to choose to be better this time, and to push back when others might squander that opportunity. this team is not a group of celebrities, not an abstract fiction on the other side of the world, they are human beings who took a job. they've earned the opportunity to do that job, and they deserve to be treated with the respect and dignity that was so often absent a few years ago.

as to your last point, about june egbert and the toblerone. i've been saying for years that andrew's confirmation of june was less "the granting of a wish" than it was "a spoiler shared without input from the creative team." that there is any doubt about june's providence in hs2 can only be attributed to willful, aggressive ignorance on the part of people who refuse to engage with the written word in any way other than plodding literalism. the original team didn't unveil june ~immediately~ because they didn't think of june as a wish, they thought of her as a character in an ongoing story who needed time to develop naturally. i have never not felt entirely crazy about how thick everyone has been about this!

but will the new team make june canon? obviously i have no way of knowing for sure, but i'm gonna go out on a limb and say that probably the answer is "yes, when they're good and goddamned ready." just, please, for the love of god, don't go after every upd8 like "where's june? where's june? why hasn't june yet????" this was one of the worst results of the toblerone spoiler and it put INSANE pressure on the hs2 team. so just... just let this story be what it is. let this new team make the homestuck continuation they want to make.

and in the meantime, if you're really hungry for june... there's always godfeels :)

[ghostflowerdreams]

Audio Drama Recommendations, Pt. III

Click here for part one and here for part two. Recently, I've been drawing a lot, which gives me plenty of time to listen to audio dramas and podcasts. These are the ones I liked the most and found entertaining enough to recommend to others. This is not in any particular order, either.

The Green Horizon – is a sci-fi comedy drama created and written by Paul Walsh. It is sponsored by Faustian Nonsense, an indie entertainment network. It currently has three seasons, with each episode being about 20 - 30 minutes long, but later on it increases to 30 - 40 minutes. A fourth season is said to be coming out soon as well.

It is set in the year 2261, and it focuses on a ne'er-do-well Irish space captain and his rag-tag crew, as they traverse a war-torn Galaxy in search of fame and fortune. [ONGOING]

It was a little chaotic and rough at the beginning, but it does smooth out and become more polished. I can definitely tell that they up their game with the improved sound effects and production quality. The voice actors and the writing for the audio drama does an excellent job at bringing their characters to life, which made it very fun to follow along.

If you like Firefly, Red Dwarf, Orville, Cowboy Bepop, and so on then I think you may enjoy this too.

DERELICT – is a sci-fi narrative audio drama from award-winning science fiction author J. Barton Mitchell, and produced by Night Rocket Productions. It currently has one season titled FATHOM, which consist of 10 episodes with each one ranging from 40 mins to an hour, mostly the latter.

Something has been found at the bottom of Earth's ocean. An ancient artifact that can only be described as a giant door, inset into the sea floor. It becomes known as the Vault. A gigantic enigma, buried and forgotten...nineteen thousand feet down.

To study the artifact, the galaxy's most powerful corporation, Maas-Dorian, has built a massive, self-contained, secret laboratory base surrounding it, named FATHOM. It's objective: unlock the secrets of the artifact and discover what it holds.​ But some mysteries should remain buried. And some doors should never be opened... [ONGOING]

DERELICT started as the first project set up as a kickstarter. They produced one episode to entice backers, but then the pandemic happened, and they didn’t raise enough money for the rest of it. Instead, they worked on a prequel season called FATHOM. It's where the story really starts, and I highly suggest you listen to it before listening to "DERELICT E1 - Through the Gate."

I hope they redo the DERELICT's first episode because there's a bit of disconnection from it and FATHOM. For example, Sarah and Agent Blayne already know each other. She mentions it to the others, but the conversation they have with each other doesn’t make it seem that way.

Never mind. I apparently confused this Sarah with the Sarah in FATHOM. Can't blame me for thinking that when I heard the name Sarah and that she was already familiar with Agent Blayne.

Deviser – is a sci-fi horror audio drama created, directed, acted and produced by Harlan Guthrie. The same creator of Malevolent. It's a 7-part limited series, with each episode being about 20 mins long.

Son wakes up aboard a spaceship bound for earth in an effort to recolonize. What he discovers, however, will change everything he knows about his world and himself. [COMPLETED]

It's not for everyone, so please do not ignore the content warnings because there's graphic description of violence, self harm, body horror, gore, animal death/being hurt, and what not.

Victoriocity – is a detective comedy audio drama written by Chris and Jen Sugden, directed by Nathan Peter Grassi and produced by Dominic Hargreaves. It is an entirely independent production. It has two seasons, containing 13 episodes in total, and each one is about 30 to 45 minutes long. There's also a feature-length special and a up-coming third season with the help of a kickstarter.

It is 1887 in Even Greater London, an alternate steampunk Victorian London, where Queen Victoria reigns even after being assassinated eleven times, thanks to the wonders of modern science.

In this vast metropolis, Inspector Archibald Fleet and journalist Clara Entwhistle investigate a murder, only to find themselves at the centre of a conspiracy of impossible proportions. [ONGOING]

It's put together so well, and I see why people say it gives off strong Douglas Adams and Terry Pratchett vibes to it. So if you like their works, then I wouldn't be surprised to hear that you like this too.

Impact Winter – is an apocalyptic vampire audio drama created and written by Travis Beacham (Carnival Row, Pacific Rim). It has two seasons containing 22 episodes in total and each one is about 17 to 30 minutes long.

“They came after the impact and the firestorms. When the sun went dark. Like they’d been there all along. Just waiting.”

In the British countryside, a band of survivors forms a resistance in the fallout shelter of a medieval castle. Darcy is a battle-tested vampire hunter who is at the front line, leading the charge to save humanity. Meanwhile, her younger sister Hope wants life to return to normal so she can go above ground and know what it’s like to live again. And she just might be willing to risk it all. [ONGOING]

It has a stacked cast led by Holliday Grainger (Cinderella, Great Expectations), Esme Creed-Miles (Hanna, The Legend of Vox Machina), Liam Cunningham (Games of Thrones, Hunger), Himesh Patel (Station Eleven, Tenet), David Gyasi (Interstellar, Carnival Row), Caroline Ford (Carnival Row, Nekrotronic), Chloe Pirrie (Emma, Carnival Row), and Bella Ramsey (Games of Thrones, The Last of Us).

This reminded me a lot of the film 30 Days of Nights (2007) with a little bit of Reign of Fire (2002), which were both fun films to watch. I think if you like those two, especially the former, you'll enjoy this or at least be entertained by it.

A Voice From Darkness – is a scripted paranormal horror audio drama. It is written and produced by Jac Rhys. It currently has two seasons, containing 20 episodes in total and each one is about 20 to 30 minutes long. It also has 7 bonus voicemail episodes and 15 Patreon exclusive episodes which are longer than the main episodes. A third season in the works as well.

Join parapsychologist and radio broadcaster Dr. Malcolm Ryder as he helps those who suffer the supernatural, paranormal or otherworldly problems on his call-in radio show. It is also interspersed with segments, one of which is called 'Today In Odd America' that delves into the origins of a holiday, local traditions, and history. [ONGOING]

If you like Welcome To Night Vale then I think you'll like this too. A Voice From Darkness is a bit more serious and not as long-drawn as Night Vale was, with a perfect mix of storytelling and lore. It also reminds me a bit of The Magnus Archive too.

How i Died – is a mystery audio drama that brings a "new twist on the true crime genre." It is an Audiohm Media original production, co-starring Vince Dajani as Jon Spacer and Shaina Waring as Sheriff Fran Crowley. It currently has three seasons with 39 episodes in total, not including bonus episodes. Each episode is usually about 20 mins, give or take a few minutes.

Bodies are piling up in the strange town of Springfield, and forensic pathologist Jonathan Spacer intends to find out why. But, Jon isn’t without his own secrets… He can talk to the dead, for starters. [ONGOING]

Ooo, a character that can speak to the dead? It's always so interesting to see what they'll do with their ability and where the creators take them. This has been entertaining, but at times I do think they can do better in developing their characters a bit more. For example, I can count on one hand the number of times Crowley doesn't get angry. Though to be fair, Jon isn't an immediately likable character, but that does change the further you go...sorta.

The Amelia Project – is a comedy fiction audio drama created, written, directed, produced and edited by Philip Thorne and Øystein Ulsberg Brager for Imploding Fictions and The Fable and Folly Network. It currently has four seasons, with a fifth one on the way. There's about 72 episodes, not including prologue, special, and BTS episodes which would up the total to 122. Each episode also varies in length from 20 to 45 minutes long.

The Amelia Project is a secret agency that fakes its clients' deaths, then lets them reappear with a brand-new identity. A black comedy full of secrets, twists... and cocoa. The series starts as a succession of interviews with clients who want to fake their deaths, then slowly a larger narrative begins to emerge... Each episode tells its own story, but we recommend starting with Season 1. [ONGOING]

It was fun to listen to while I was drawing or washing the dishes. I could also follow along without becoming too distracted by it, either. I was worried it would be one of those that take a while to get to the main overall story, but thankfully it did not. It will definitely keep you entertained and interested to know what will happen next.

Community Cat News – is a neighborhood news show done from the perspective of cats. There's currently 13 episodes so far and each one varies from 5 to 12 minutes long.

Local News: The human is opening the fridge! Will we get a taste?

Foreign Affairs: What are those squirrels up to now?

Traffic: WHY is the bathroom door shut again?

Every episode is sponsored by Meow Meow Puffytail, Feline Rights Attorney, who is ready to sue your human for even the slightest inconvenience. [ONGONG]

It's cute, light-hearted, and funny. I didn't expect to enjoy this as much as I did. It even uplifted my mood without me realizing I was feeling low.

[jinjinxedsoul]

DYNASTY  ── hotd modern!au

In the vibrant city of New York, the Targaryen family controls a conglomerate empire with influence in nearly every aspect of modern life. As ambition and power set the pace of their days, family tensions escalate with the advancement of a succession struggle that threatens to unravel the delicate balance of the dynasty. Amidst alliances and betrayals, the fate of the family and the empire hangs in the balance, where blood ties and corporate power intertwine in a battle for control.

warnings: +18 clearly, your usual targcest (uncle-niece), drug abuse, mental disorders, mentions of past sexual abuse, death of characters, mentions of eating disorders.

other details: This is an AU, so most of the events of the Dance will be modified to fit the narrative. Some of the modified events are:

↳ The main conflict is between Rhaenyra and Daemon, not between Rhaenyra and Aegon.

↳ Rhaenyra’s love interest in this story is Alicent (long live lesbians).

↳ Aemond is Daemon’s son. Yes.

I’m not exactly familiar with corporate themes, but I’m doing my best. Any corrections are welcome as long as they’re respectful, or I’ll cry.

I’m studying at university and have mental health issues, so the frequency of updates might vary.

Characters!

ィ ִ Alyssane Targaryen. ꪆ ── played by mara lafontan!

( 22 • event manager• luxury management)

"Promise I'll be kind, but I won't stop until that boy is mine" –Paparazzi, Lady Gaga

ィ ִ Aegon Targaryen. ꪆ ── played by tom glynn-carney!

( 23 • assistant vice-president •business administration)

"We don't have to rush when you're alone with me" –I feel it coming, The Weeknd

. . .

ィ ִ Rhaenyra Targaryen. ꪆ ── played by emma d'arcy!

( 42 • chief operating officer)

ィ ִ Alicent Hightower. ꪆ ── played by olivia cooke!

( 42 • public relations )

ィ ִ Daemon Targaryen. ꪆ ── played by matt smith!

( 51 • chief strategy officer)

ィ ִ Jacaerys Targaryen. ꪆ ── played by harry collett!

( 21 • innovation manager)

ィ ִ Helaena Targaryen. ꪆ ── played by phia saban!

( 21 • fashion designer)

ィ ִ Aemond Targaryen. ꪆ ── played by ewan mitchell!

( 24 • director of strategic projects)

ィ ִ Lucerys Targaryen. ꪆ ── played by jack champion!

( 19 • formula one driver)

. . . .

Playlist!

[grubloved]

On my birthday this past year, I woke up thinking about Marsha P. Johnson. Not just about how she started the Stonewall riots (yes that too) but about the parts of her life that get left out of the story. I woke up thinking about her most unruly parts, about how many blow jobs she gave to "nevers" at clubs, how she got tossed out of those same clubs, and especially how she would often walk naked down Christopher St. after throwing her clothes in the Hudson as an offering to Neptune. How much power Marsha had! How much magic in front of and behind the veil! When I was a community organizer I really internalized the message of much of movement organizing at that time: aesthetics and beauty and art in general were secondary the movement. The most authentic way to be a community organizer was to dress and live in austerity. You didn't dare wear fantastic colors, or wear glittery faux fur to the protest. Your politics had to be pure and thorough, you had to stay sharp and have an analysis and always have it together. I remember going to organizing meetings with other trans people, many of whom were also disabled and poor and people of color, and most of us could barely stay on topic. We were too busy talking and emoting about our basic survival needs: housing, welfare, healthcare, community, not being harassed every time we left our home. We were too busy dreaming up another space-time, where and when we could be our full selves. "The queens display infinite weirdnesses to the world. For them, style is the path into the unique self and so to transcendence. They long for everyone to reveal themselves wherever they are."

Right around the same time, pop culture realized it could make a profit off of trans people. It hurt me to see tokenization couched as representation -- in fashion, art, music -- to see one or two of us in systems that so often harmed us. But I was also drawn to these worlds, and craved to be able to make art that reflected our beauty and magic back to us.

It took me a long time to come back to the power and magic of image, art, fashion, aesthetics, and not least of all GLAMOUR. The faggots helped me find my way back. The faggots reminded me that superficiality, style, messiness, and are not bad things, are transformative ways of being. Our glamour is not superfluous to changing the current order, it is instrumental. Our glamour, our joy, our magic, are not commodities to be ripped off and sold back to us by corporations, they are ours. When they try to steal our essence, we slip away like snakes and leave them only the shedded skin.

Tourmaline, from a preface to The Faggots and Their Friends Between Revolutions by Larry Mitchell, with a quotation from the book at the end

[python-programming-language]

Post #83: Tumblr Opinion Poll by Python-Programming-Language, Question: Which programming resp. script language do you prefer?, 2023.

[zepskies]

Why We Love the Boys

As promised, here is my review of Supes Ain’t Always Heroes. I actually used to write book reviews in my high school journalism days, so here we go!  

What this book is: A masterful deep dive. A study on character psychology, the source of the comic and show’s inspiration, and the narrative themes illustrated in The Boys that parallel American culture and our real lives.

It includes interviews from one of the comic’s creators, Darick Robertson, The Krip himself (Eric Kripke), and actors Jim Beaver (Robert Singer), Aya Cash (Stormfront), Chace Crawford (The Deep), Jessie T. Usher (A-Train), Nathan Mitchell (Black Noir), and of course, Jensen Ackles (Soldier Boy).

It also includes a small but significant ode to the creativity of fans and fandom (with a mention of fanfic writers)!

I’ll admit, I felt seen. 😊

Who wrote it: Psychologists Lynn S. Zubernis and Matthew Snyder. Zubernis is a self-proclaimed fangirl of not only this show, but Supernatural and Eric Kripke in general. (That aspect definitely comes through in her writing.)

She is also editor of Family Don’t End with Blood: Cast and Fans on How Supernatural Changes Lives and There’ll Be Peace When you Are Done: Actors and Fans Celebrate the Legacy of Supernatural. Both of which I now want to read.

Several other authors also contributed to this book, as their expertise and backgrounds lend to the subjects they’re covering, such as racism, sexism, the entertainment industry, the comic’s inception, and more.

Who wants to read this book: Anyone who enjoys learning about what makes characters tick. What drives their choices, their sense of morality and justice, and their trauma and strife that lead them to do heinous things. This book will help you better understand your favorite characters (and how to write about them).

Perhaps most importantly, this book is for anyone who wants to read it put into words, why many of us love The Boys, as well as Supernatural.

In a way, the latter is more escapism entertainment than The Boys. Because in this show, there isn’t much, if any escape.

Despite this being a “superhero show,” as we all know, it’s so much more than that. It’s a mirror held directly into our own faces: about why we enjoy heroes and antiheroes, and excuse the “bad behavior” of the ones we like.

About mental health, grief and loss, nature and nurture, coping mechanisms and the importance of choice in dealing with trauma; of racism, sexism, misogyny, weaponized social media, politics, corporate greed, and the power (and cruelty) of good marketing.

This book explores the true villain of the story (and it ain’t Homelander).

I’m going to get into my favorite aspects of this book—as well as an amazing chapter on Soldier Boy’s character study (and why we love him, perhaps too much).

Though in my opinion, it was missing one small, but key thing…

The Mirror of The Boys on Screen

This world is a gritty, bloody, and at times all-too realistic take on how superheroes would be if they lived in our world.

They are the worst of celebrities, professional athletes, and politicians all rolled into one. They are the shiny products of a company and are marketed as such. And they often buy into their own hype.

Some of my favorite quotes on this topic:

“The Boys often reflects darkness in our real world that is uncomfortable to watch. While we go through the tedium of our daily lives, trying to get by and using television or comics as an escape, it can feel difficult and overwhelming to confront the very real and insidious sources of authoritarianism, nationalism, and corporatism that are not just part of a story. “This show holds up a mirror and forces us to catch a glimpse of things we need to question, and asks us why we so easily believe the talking points of systems with marketing departments and press flacks behind them that carefully massage every word in order to get us to feel enamored with their product or policy.” (p. 227-228)

“The Boys works to reveal the nonaltruistic, sociopathic nature of contemporary US corporate culture. In a sense, The Boys uses the behavior of its characters to diagnose not an individual, but a culture.” (255)

In studying narrative I’ve learned that the best fiction and art serve to reflect the human experience. In this case, it’s something The Boys does expertly, even though it’s packaged in extreme, shocking, and often uncomfortable ways. But also in brutal, hilarious satire that’s fun to watch.

It “exposes real-world abuses, revealing many” of our own frustrations in American culture and in life in general (267).

Major Themes & Questions Explored

Several Boys themes are explored from a psychological, cultural, and narrative point of view, as I mentioned earlier. These are some of my favorite segments:

Toxic Masculinity & Narcissism

A whopper in The Boys, and the main theme of season 3. This book defines clearly what both of these words actually mean from a psychological point of view.

It also takes the bad taste out of your mouth that you might get from just hearing the words “toxic masculinity,” as it’s a phrase that can be carelessly thrown around to describe men and character traits that aren’t truly toxic.

How being emotionally available to your loved ones and not repressive of your feelings doesn’t make you weak, or less of a man. And how “being strong” doesn’t mean being physically violent and domineering. (AKA: the Big Swinging Dick™️ in the room.)

Narcissism is explored in a very interesting way. The book gives a diagram of different aspects of narcissists and how each character (Soldier Boy, Homelander, Butcher, and the Deep) falls into them.

Soldier Boy, for example, is classified as a “Classic Narcissist,” while Homelander a “Malignant Narcissist.” <- This will play into SB’s character study, and the main difference between SB and Homelander.

Butcher, however, displays narcissistic tendencies but is not, in fact, a narcissist. (More of an antisocial sociopath. Yay for him.)

Misogyny & Sexism

The classic superhero world of comics dates back to the 1930s and ‘40s. It has been, and in many respects still is a (White) male-dominated industry, where in narrative, female superheroes typically work under a male leading the team, as in Justice League, Teen Titans, and the Avengers.

As much as I love DC and Marvel comics, female characters have also been drawn wildly sexual for male readers and the male gaze, and non-supe characters have been written primarily as love interests and damsels for the hero to save. (Think Lois Lane, Lana Lang, and Mary Jane.)

Modern adaptions have given female characters more agency, but their foundations were rooted in underlying sexism and the mythic hero—an Odysseus-type with certain characteristics of male strength and heroism. And that goes all the way back to classic literature, like The Odyssey, Beowulf, and the Epic of Gilgamesh.

In The Boys, the female supes go through the same issues as their comic counterparts. And they are treated how women are treated in the real world—marketable as sexual objects. (Starlight’s forced costume change is a prime example.)

Author Danielle Turchiano argues in the book that the women in power at Vought (Madelyn Stillwell, later Ashley) are given only so much power as men like Stan Edgar and Homelander give to them.

Stillwell, Ashley, and even Stormfront “drink the Kool Aid” of the misogynistic infrastructure of Vought, but they’re not truly “powerful” in and of themselves. (112)

And I would add that the only female characters that have or find true agency are Grace Mallory, Annie January/Starlight, and Maggie Shaw/Queen Maeve. Even Victoria Neuman is trying to work the political schematic and Vought by operating “within the system” Vought has created.

Mental Health, Trauma & Unhealthy Coping Mechanisms

This is a huge section, and rightly so. It kind of spans throughout the book, really, because all of these characters have traumas that inform who they are as adults making the (often grotesque) choices they make.

For many of these characters, it stems from their upbringing and fraught relationships with their parents, whether explicitly or implicitly explored in the show.

Butcher: Is an antisocial sociopath with narcissistic tendencies. Arrogant, emotionally manipulative, violent, and obsessive. He was also physically and emotionally abused by his father, led to use drinking and violence as a means to cope and express himself. His rage is so deep under his skin—he loathes himself for it (and his father), but struggles immensely to escape it.

Homelander: A malignant narcissist, the height of arrogance, and emotionally manipulative. He lacks empathy for others' pain, and in fact enjoys inflicting it. Yet he was a sensitive, gentle child who only wanted connection and love. Vogelbaum raised him like a lab rat and fostered him in a cold, detached cell. He was raised to be entitled and to believe he was an all-powerful god, the lord of his own kingdom within his mind, excused from the responsibility of his actions.

Soldier Boy: Also a narcissist; violent, arrogant, misogynistic, and often indifferent to the damage he causes, emotional or physical. Yet he was also emotionally abused by his father, who set high and exacting standards for what it meant to be a man. It drives Ben to try and prove his worth to his father, though he’s never able to. It fosters the lack of self-worth he feels as he seeks validation through fame and what he believes power to be.

These three characters have many similarities, but also notable differences that set them apart from one another. And both Butcher and Soldier Boy use substances like drugs and alcohol to cope with their traumas—ones that their forced stoicism and sense of manhood won’t allow them to easily express.

“We see Soldier Boy use substances almost continuously in season three to deal with his PTSD from the childhood emotional abuse he received from his father, the betrayal and assault from his team, and the torture he endured from the Russian scientists.

“In the short term, the use of drugs and alcohol to avoid thoughts and feelings about traumatic experiences can be felt as helpful, but in the long term, it hinders one’s ability to process emotions and can cause a deeper depression from the guilt and shame of both avoidance and substance abuse.” (27)

Heroes, Antiheroes & Villains

This book explores two key questions that the show encourages you to think about:

Who the hell is the hero of this story?

And who is the villain?

The surface-level answer is that Homelander and other supes like him are the villains, and Butcher and his band of bros are the heroes (or antiheroes). But they commit just as questionable, sketchy, and downright murderous acts as the supes they’re trying to take down.

“Butcher is not really a good guy. He’s manipulative and self-centered. His reasons for wanting to take down Homelander are utterly personal. That it serves the greater good is almost a coincidence.” (9)

And if Butcher is not a hero, but a vengeful vigilante, then why do we root for him so much?

Well, we see his incredible flaws. But I sympathize with his struggle in losing his wife and the life he could've continued to have with her. I root for the underdog going against the hydra head of Vought and the psychopathic Homelander.

And I see in Butcher, as I also do with Homelander and Soldier Boy, their traumas and their internal conflicts, their deep-rooted self-loathing, and a desire, deep, deep down…to be loved.

(And to foster connection with others, even if they’re unable to sustain them.)

On the flipside, we have antagonists in this show who do truly heinous things. What makes them compelling and even sympathetic, yet again, are their painful upbringings that have shaped them to be who they are. The supes of this show are byproducts of being treated like products.

Like the saying goes: Villains aren’t born, they’re made.

That’s why the real villain of this story is Vought International. It’s an allegory, and an indictment of the ruthless corporate greed that pervades American culture—and much of the world.

It’s why Stan Edgar is sometimes scarier to me than even Homelander (and was the true villain of my story, Break Me Down), if far more insidious.

Speaking of BMD, let’s get to it, shall we?

Here’s a (lot) bit about the Soldier Boy section of the book.

Soldier Boy: Why We Can’t Hate Him

I had to laugh out loud at the title of Soldier Boy’s chapter:

Loving the Villain: The Confusing Case of Soldier Boy

I’m not gonna lie. I felt called out. 😂

It is a confusing dichotomy. Soldier Boy is an absolute asshole. Misogynistic, narcissistic, arrogant, callous, violent…

But also deeply traumatized, a man-out-of-time, emotionally abused, byproduct of the historically and culturally different time he was raised in, a man who just doesn’t get it…

And also charming, adorably grumpy, and undoubtedly attractive.

It’s hard to indict “Ben” as an unredeemable villain in the same way I do Homelander, the psychologist-labelled Malignant Narcissist.

Therein lies the main difference between Soldier Boy and Homelander: Soldier Boy doesn’t take joy in harming others the way Homelander does. But he still harms people, whether he means to or not.

Zubernis confirms many of my own conclusions and ideas about Soldier Boy, and why I still rooted for him to be better, and didn’t want him to die at the end of season 3.

As Zubernis rightly exclaimed during her own watch of the finale: “Noooo, don’t kill the Danger Grandpa Baby Murder Kitten!” (175)

Because Jensen did what he does best in his roles: He made us feel Ben’s pain.

“What’s funny is, in regard to Jensen playing Soldier Boy, you know he’s fucking fantastic, he’s just so good at bringing the audience, and it’s almost like—what I laugh about is, he was probably a little too good at his job!” Kripke said. (180)

And he continues, “In part it’s because of the fandom. So many people took his side in the finale, they’re like, Were’s on his side, fuck everyone! And you’re like, but he’s the bad guy and he’s trying to kill a ten-year-old.”

Were there fans who held this viewpoint? I’m sure. There are some radicals who don’t give a fuck and will side with their favorite character, come whatever. But while I can’t speak for others, that’s not how I interpreted that moment in the season 3 finale.

Yes, I think Soldier Boy was (wrongfully) willing to fight Ryan. Do I think he would’ve killed him? I’m not sure. I think he would’ve done what he had to do to get Ryan out of his way in his fight with Homelander. Maybe he would’ve been more violent than he intended, in the callous collateral damage he’d shown throughout the season, or maybe he would’ve gone that far, if provoked.

It’s a tough call, as I think this character can go one way or the other in terms of his “villain” nature. We just haven’t seen enough of him in the series yet for me to make that conclusion on the canon-version of Soldier Boy. (In fanfic, I’ve explored my own interpretation.)

But overall, I think The Krip once again underestimated the power of Jensen’s acting.

…And the ardent nature of his mostly female fanbase. 😂

Why We Love Soldier Boy

The author cites multiple reasons for why we love Ben more than we probably should:

It’s Jensen Ackles. Fair enough. His talent speaks for itself.

Soldier Boy’s backstory: He was emotionally abused by his father and as a result, he has a complex regarding his self-worth, “something to prove,” and a secret need for attention, validation, and praise.

He has trauma and PTSD: He is displaced from what is familiar to him and confused when the boys find him, and that is the least of it. He’s been tortured for 40 years. Can you even conceive of that?

He’s charming: in a sexy grandpa, adorably grumpy, lovable asshole kind of way.

We’re drawn to danger: dangerous “edgy” types are fun, especially when you’re physically attracted to the character.

He has his moments of vulnerability: Jensen’s ability to play the nuance in the character is the ultimate draw. I felt his pain, could see his torture, and his resulting PTSD. He longs for a family, even if his ability to bring up those children is questionable at best. 😅

But I think the one aspect the author doesn’t consider is the character’s capacity for change.

Soldier Boy’s Potential

Again, I don’t think you can write off Soldier Boy’s potential for positive character development the same way you can Homelander, or even Butcher.

For one thing, we just haven’t spent enough time with the character. A lot of his collateral damage after he escapes imprisonment has been accidental, or PTSD-induced. Though we can’t discount how he murdered M.M.’s grandfather via collateral damage (and was callous about it).

I think this is what drew me to write about Soldier Boy. “For all his arrogance, his chauvinism, his massive ego and general bastardry, there’s still humanity in Ben.”

In the book, Nathan Mitchell also says something amazing about his own character (Black Noir) that resonated with me about Soldier Boy as well:

"One of the ingredients of a compelling character is contradiction. How does one aspect of our personality contradict with one another? [...] Who is he underneath? How might his true nature contrast with the demands of his job?"

Or coded for Soldier Boy/Ben: The pressures he puts on himself to be the type of man he thought his father wanted him to be.

Again, his sexist, misogynistic ideals are shaped by the time he was raised in, by being a product of Vought, and of his father’s emotionally abusive upbringing. Does this excuse or justify all of his behavior? Of course not.

But I think those 40 years in captivity changed him from the careless alpha dog we saw in 1984 Nicaragua…

He admits to Crimson Countess, with tears in his eyes, that he’d loved her. That he waited for her and his team—arguably the only social system he has in his life—to save him. He’s gutted to realize that not only did she and the rest of the team never love him, they hated him. They traded him for nothing. Just to get him out of their lives.

For all he claims to be afraid of nothing, tough as shit, he is afraid when he goes to face Mindstorm. He knows what the supe is capable of, and he visibly takes a shaky breath and tries to steel himself.

For a moment, he drops the “Soldier Boy” persona that he wears like a fine tailored suit. And he tells Butcher that the backstory Vought created for him was a lie; he grew up a rich kid who got sent to boarding school, but flunked out, because "he was a fuck up." And his father couldn’t be bothered to discipline him, implying he didn’t care enough about his own son to even lay a hand on him.

He is reluctant to kill Homelander when he finds out he’s Ben’s son (sort of). He even claims that he would’ve been willing to share the spotlight “with his own son.” — Something I doubt even Homelander would do.

Ben even seems to be fighting tears when he levies the same vitriol at Homelander that his own father did at him:

Homelander: “Weak? I’m you.”

Soldier Boy: “I know. You’re a fucking disappointment.”

Let me be clear. I don’t think it’s up to someone to change him (like a love interest). I don’t subscribe to that thinking, that a woman can “change” a man.

For example: In season 2, Butcher tells Becca, “Who was I before you? Nothing.”

And yet, she tells him that he put her on an unrealistic and unsustainable pedestal, in which she felt like she wasn’t allowed to fully be herself, unable to keep him from flying off the handle in rage. That kind of relationship (where one is dependent on the other to “keep them in check”) doesn’t work as a lasting, satisfying redemption arc, and it doesn’t work in real life either.

I do think, however, that a person is capable of change if they’re broken down enough (pun intended), and if they themselves have a desire to change. Someone they encounter can inspire them to be better, like Butcher with Hughie. That person can help support the other.

At the end of the day, however, it’s Ben that has to want to change.

If he wants love and connection, he’ll have to somehow want it, and try (and sometimes fail) to get it, thereby giving him agency and a redemptive character arc.

Now, obviously, it’s up to The Krip where Ben goes from here. He seems to have a more indicting vision of the character than I do (at least, so far). But we’ll see! The fan demand to bring back the character has already had Kripke confirming that Soldier Boy will be back.

Maybe it will encourage him to give the character a more satisfying ending than Dean Winchester got in Supernatural. Though granted, that one wasn’t his doing, apparently he was in favor of the ending the writers came up with.

Comparing Dean & Ben

In his interview segment, Jensen talks about what, if any, are the comparisons between Dean Winchester and Soldier Boy. AKA: Wanting a father’s approval, and an undercurrent of “John Wayne”-esque masculinity in John Winchester that Dean sought to emulate.

Jensen also talks about where he drew from to not only embody the character of Soldier Boy, but bring nuance to him—and show the peeks of vulnerability under the bravado and stoicism.

“He’s so fragile and his ego is fragile. Just like Homelander. These bigger-than-life powerful heroes really have a glass jaw… “And everyone walks on eggshells around him [Soldier Boy], and they tell him that they love him, and it’s the same with Homelander. Then when all of a sudden he faces his old team and Crimson Countess says we never loved you, we hated you—that’s a gut punch for him. Because even though on some level he may have known that, he never thought he would hear it. “And he probably propped himself up around trying to believe otherwise, because how can you walk around knowing everyone you’ve ever cared about hates you? It’s too painful.” (191)

It really is. And I inherently felt this about Soldier Boy/Ben when I watched season 3 for the first time. That’s exactly what I got from his performance and thought, there’s more to this guy than the toxic masculinity he represents.

This guy just wants to be loved, like everyone else. He wants to feel important, and even after his father’s dead, “show him” that Ben is the man his father wanted him to be. And so, he bought into the illusion Vought painstakingly crafted for him.

Whether he can come back from that remains to be seen. But I choose to be optimistic until evidence points to the contrary. 😅 (We’ll see in season 4!)

So that’s my personal take on Soldier Boy and this awesome book. 💚 Thank you again @kaleldobrev for recommending it to me! I hope you all enjoyed my long-winded review and want to check this out.

And if you do read it, I hope to read your thoughts as well!

Tagging people who said they wanted to read my review on this book: @venus-haze @jessjad @kristophalis @sl33pylilbunny