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ashela-ley · 14 days ago

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I think Cartman hates jewish people and -Kyle- too much to be vulnerable like you've depicted. No matter what level of physical attraction he might feel.

Hi there, thanks for your comment. Unfortunately I wrote a whole-ass novel in response so here's the TL;DR so you don't actually have to read all that: I agree that the comic is OOC but I don't think it's because of Cartman's hatred of Kyle or Jewish people.

Sorry for misusing your message to go on a somewhat loosely related rant but I've been meaning to write this for a while and it came as a convenient excuse lmao _

I agree with you regarding the vulnerability. I don't think Cartman would voice his feelings like that unless (he could claim that) it's a farce (e.g., Jenny Simons, "Cartman Finds Love") or the other person shows interest in him first so he feels safe from rejection (Heidi, initially - not opening that whole can of worms rn lol). For example, he treated his attraction to Patty Nelson as a big secret, apparently not even considering ever confessing to her, and that's most likely because he was expecting the reaction she did end up giving him since, beneath his self-deceit, he's excruciatingly aware of the fact that he's actually not exactly highly regarded by his peers.

It's a lot of work upholding the façade he's build for himself of being this cool, esteemed person and it cracks easily even without direct outside influence (for example when Clyde Frog or Cupid Me insult him) so he really, really doesn't deal with rejection very well. Him being this vulnerable to Kyle specifically and then getting rejected would be absolutely catastrophic for him, so I agree that he wouldn't put himself in that position. However, it's my opinion that the most OOC thing about the comic is the fact that he simply acknowledges that Kyle hates him. I don't actually think he'd just accept that but would instead convince himself that it isn't true ("Kyle has internalized homophobia" or better yet "Kyle doesn't think he's worthy of someone as cool and awesome as me") and then do some crazy shit to try and win him over.

So yeah, you're right: He Would Not Fucking Say That. I don't think his hatred of Kyle and/or Jewish people is the reason he wouldn't, though, as I believe Cartman's feelings towards Kyle and Judaism are a lot more complicated than that. It's not without reason that his relationships with both are such a big part of the show and that people smarter than me have written whole essays on the topic lmao

I feel the need to clarify that I am in no way trying to excuse any of Cartman's antisemitism! I'd just like to voice a few thoughts on its origin and evolution.

Cartman is clearly weirdly obsessed with both Kyle and his religion and obviously they are linked. While I suppose initially it might have been a bit of a chicken-egg situation ("He hates Kyle because he hates Jews" vs. "He hates Jews because he hates Kyle"), I believe originally his antisemitism may have simply been a byproduct of his fascination with the third reich, which itself I think was mostly a result of his enjoyment of envisioning himself as a dictator (i.e. the ultimate authority figure) and as such was actually pretty surface-level - as is evident from the fact that for a long time he didn't seem to fully grasp what exactly Judaism even IS (as shown when he apologizes to Kyle for calling him a Jew or when he uses the term as an insult towards Stan and Kenny). Still, I very much dislike it when people try to downplay his bigotry as naivety. That really doesn't hold any water after very early on in the show, if it ever even did in the first place, since he definitely acts from a place of malice and over time his fixation on the religion seems to have developed into something bigger. He's learnt more about it and it became much more synonymous with Kyle for him (the order of which is also debatable but I of course lean a certain way). At this point in the show I believe it's safe to say that he wouldn't be nearly as obsessed with Judaism if Kyle wasn't Jewish. While Cartman is obviously a bigoted asshole in many ways, he's not nearly as preoccupied with other minority groups as he is with Jews and he has even shown himself to be surprisingly tolerant of homosexuals and disabled people (who, of course, were also heavily persecuted under Nazism).

I really do think that "Jewpacabra" did leave a lasting impact on his character. It's pretty obvious that he was being genuine at the end of of the episode and actually did intent on self-identifying as Jewish from then on (and iirc M&T confirmed as much in the commentary to that episode and explained that they just sort of… forgot about that lol) and then in "Shots" he does claim to be Jewish and while that may have been in an attempt to get a vaccination exemption, the aforementioned commentary makes me believe it may not exclusively be that.

Notably, he specifically calls himself an "Orthodox Jew", which Kyle obviously doesn't seem to be and that ties in nicely with him becoming a rabbi in PC and making the religion his entire personality - because it's not enough to become Jewish: He needs to beat Kyle at being Jewish.

Of course, Cartman never actually stops being antisemitic before the time skip but then "Cupid Ye" implies that that isn't even a fully conscious decision that he can completely control but instead at least partially caused by whatever he has going on mentally. He even actively attempts to counteract it when he decides that it has gone too far. That's my take on the episode, at least. Obviously the whole thing with Cupid Me is kind of messy. No matter what exactly is actually happening there, I do think the his actions here prove that his feelings regarding the matter are more complex than they may initially appear to be.

Though I know it's still a point of contention for many, to me personally it seems pretty clear that him being a rabbi and a family man in PC was authentic and that he wasn't simply messing with Kyle the entire time. However, I find it extremely interesting that Cartman converted BEFORE meeting Yentl so I actually don't see any way in which Kyle didn't have any part in that and as such I don't think he would have ever become a rabbi if Kyle didn't happen to be Jewish. So my personal headcanon is that while Cartman's conversion was indeed directly influenced by Kyle, he actually did end up finding fulfillment in the faith and it ironically helped him let go of his obsession with him (which I think fits the show's style of humor).

To summarize: As a shipper I may be biased but I think that Cartman is a disturbed little boy who grows up to be a disturbed little man who fails to fully understand his feelings towards Kyle and - as an extension of that - the Jewish faith and thus lashes out into extremes regarding it.

#south park #south park meta #sp meta #sp cartman #eric cartman #cw antisemitism #kyman #sp kyman #my thoughts on yaoi #of course the ACTUAL explanation for Cartman's paradoxical stance on Judaism is that it's whatever is funniest at any given moment #but that doesn't make for very interesting meta...

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obsob · 30 days ago

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Now when the GTN case is closed, can you please write about how much you hate tj klune? 👁👄👁 My reason is that this author just is not talented enough to write good prose, but I want to read what you think about it!

IM SO GLAD U ASKED (and the other like 50 people in my inbox haters unite)

so the first tjk books i read was his green creek series which are very different from his more recent books and honestly way better. now are they good ? no! but they are better and are like mostly tolerable. they were kinda annoying to read, the main reason that first book is like 800 pages is bc th paragraphs are like one three word sentence long, but i might try the audiobook at some point. also the age gap in that first book is like . ...... . . .. a little questionable but we move on

th next book of his i read was house on the cerulean sea which was fine at first but good lord. i think i checked about 3 times reading this if this book was suppose to be YA or even middle grade - that is the level of moral complexity that is in this book - the message of 'oh people are different and thats okay' is forced down your throat soooo many times like girl i GET ITTTTTTTT!!!!!!! i liked the idea - a lot of tjk's books sound rlly good which is what lures me in, but the execution is just dare i say cringe. also i dont know how many of u are aware but tjk himself said that what inspired this book was in fact RESIDENTIAL SCHOOLS???????? HI HELLO??? MAYBE DONT DO THAT!!!!!!

people do not talk how they do in tjk books. its like he writes dialogue and narration specifically for it to be quotes, its all very superficial and just not immersive at all. do not get me STARTEDD on ' on the lives of puppets' . absolutely zero creative thoughts in regards to the world building. tell me why at the beginning of the book we meet a ROBOT who is buried in stuff and the mc immediately is like oh its male :) when all he could hear was th robots voice. girl its a ROBOTTTTTTTTTT RRIRYYGYGAWWWYGYGYRGYGW

i cannot believe people could read that book and think its good and deep. his writing has all the emotional complexity and depth of a marvel movie .

its interesting to me how he did show he could write a more mature and emotional story w the green creek books, and then just completely walked away from that style to write repetitive and superficial stories. loser

tldr: tjk's writing is immature and superficial and repetitive, and only legitimately enjoyable to people who don't have enough variety in their reading life to know a bad book when they read it. and i think hes lame

#just to be clear if ur reading his books like yeah this is corny and stupid but whatever . i respect u.#everyone deserves to consume bad media . like me w 911 . award winning show that is not #but u have to be aware its stupid . otherwise ur brain will pickle #obsob ask

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girlactionfigure · 11 months ago

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@shlomo_fishman

One of the main foundations of the Palestinian narrative states that: "according to international law, Israel is occupying Palestinian land".

What most people don't know is that the international law states, in fact, the exact opposite. I'll explain.

In the picture below, you can see article 80 in the UN charter, signed by the UN in 1945 during the San Francisco convention. As stated, its purpose was to ensure the rights given by trusteeship agreements approved by the UN, one of them being the British Mandate which officially began in 1920 and was designated to the establishment of a "national home" for the Jewish people on the area shown in the map below, as previously declared in the Balfour Declaration in 1918.

Now you may say: "but what about the UN general assembly Resolution 181 (the partition plan)?". The answer here is pretty simple: first of all, the general committee has no official power to enforce their decisions, which are mostly symbolic. Second, the plan was never set in motion, as the Arab leadership refused to accept it and the war between the Jewish population and the Arab one, broke down. Regarding the UN security council, Article 24(2) states: "the Security Council shall act in accordance with the Purposes and Principles of the United Nations". Which means it also cannot overrule article 80 in the UN charter.

There is also an argument I heard, about the British Mandate being a class A mandate. Class A mandates, were territories formerly controlled by the Ottoman Empire that were deemed to "... have reached a stage of development where their existence as independent nations can be provisionally recognized subject to the rendering of administrative advice and assistance by a Mandatory until such time as they are able to stand alone. The wishes of these communities must be a principal consideration in the selection of the Mandatory". There is one major problem with this argument: the Muslim Arabs NEVER had any national ambitions back then, nor wanted an independent state until after 1948.

Haj Amin Al-Husseini, probably the most prominent Muslim leader during the British Mandate and the Mufti of Jerusalem at that time, who dedicated his life to combat Zionism and purge the Jewish population in the area, even reaching Adolf Hitler at some point to help him fulfill those plans, never wanted an establishment of an independent Muslim state.

While launching massacres against the Jewish population (the great Arab revolt, 1929 Arab riots and more) and trying to convince Arabs not to sell lands to Jews, he justified it only using religious Islamic motives and blood libels against the Jews. Their only mission was to erase Zionism, so there was never an appeal by him, nor the Arab League and not any other Muslim leadership of that time to the international community, for the establishment of a Muslim state called "Palestine".

So when I define the Palestinians as: "a political movement pretending to be a nation, only to combat Zionism", I talk about this exactly.

This text sums up the main things you should know about the non-existent Israeli occupation, which many people unfortunately don't. So it was very important to me to write about it, especially in these difficult times, and I'd appreciate your support in spreading this message, a lot.

#Israel #Palestine

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idiotic-b-gilson · 10 months ago

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The Prank Theory: Or, Why Toby won't make an explicit announcement that Kris' pronouns are they/them despite that obviously being canon.

Disclaimer: people who use they/them for Kris are NOT the butt of the joke here. Although calling it a prank might be a little misleading to begin with, you'll see why.

I know for a fact, judging from my dashboard, that I am not alone in being mad at people misgendering the humans of Undertale and Deltarune (although, I will admit I used to be part of the problem up until quite recently). And we all wish for Toby to just go out and publicly announce that Kris, Frisk, and Chara use they/them only, that Mad Mew Mew is canonically transfem, etc., just to stop all the misgendering. It would certainly be nice and very helpful for the LGBTQ community. However, after giving it some thought, I've come to the conclusion that it most likely cannot happen, and the reason why is the Prank Theory. Treat it as an explanation, but not an excuse.

I came up with Prank Theory over something that's completely unrelated to the above, funnily enough. You see, I have this headcanon that Asriel Dreemurr is not cisgender. I'm not entirely sure what his gender is, but he's not cis male for sure. And I've seen a variety of different takes on this concept. For example, AUs like (Ask) Fallen Royalty by @starlightshore present Asriel as having transitioned in a more feminine direction ((A)FR specifically describes her gender as feminine nonbinary). Others still write Asriel (chiefly the Deltarune one) as transgender male (I've mostly seen that take in NSFW fanfics on AO3, which is a shame cuz it has great potential beyond that. Please tell me where I can find more). Other others still, like my beloved mutual @sukifoof, have proposed that Asriel might be agender. And, let me be clear about something: those are all great ideas, and I love them. But I started to wonder, which of these ideas is the closest to canon? Like, if we also factor in authorial intent, which of these options would fit under it, and which ones wouldn't? That was when I came up with Prank Theory, as a way to kind of imagine at least one aspect of said authorial intent.

Spoiler alert, according to Prank Theory any kind of transfeminine Asriel is incompatible with canon, but again I want to make it clear that that doesn't mean I think they're "wrong" or "bad" or anything like that, and I want to reiterate my endorsement of writing Asriel this way. Besides, my theory could be completely wrong, so...

So, after all that stuff, what does the Prank Theory actually say? Well, in summary: Undertale and Deltarune are some of the most "woke" video games ever made, but conservatives and reactionaries don't seem to have realized that yet, funnily enough. Now, calling it a prank is a wee bit misleading, since it implies that tricking right-wingers into loving a video game with a very progressive setting and message was at least part of what Toby intended. And I don't believe that's the case. He simply makes video games he wants to make, and they just happen to reflect his views on the world, and these views just happen to fly over the heads of some people.

This in and of itself would probably not make it a huge problem for Toby to put in one of his newsletters, or even in an X (as in, former Twitter) post, a correction regarding the genders of his characters. However it does start to become a problem when you factor in that the UTDR community has hundreds of thousands of people in it (although as of the March 2024 it might be a rather liberal estimate), and many of them would be quite pissed off if the video game they like had "suddenly" "gone woke" (ignorant of the fact that both it, and its main creator have been openly "woke" the whole time). And that is a problem in the current environment, because it means that Toby, as well as other people on the UTDR dev team, would be at a significant risk of hate and harassment, which in the Year of Our Lord 2024 could lead to Angel knows what.

On a more cynical capitalist (and much more speculative) level, attracting political controversy this way could sour Toby's relationship with big video game companies which have (as far as I know) played an important part in why Toby's got basically unlimited resources to work on the game of his fever dreams. They saw the widespread, universal acclaim that UT, DR1 and DR2 received, and drew the conclusion that DR3-4 (and the future chapters) will also get a similar reception, and they will get great returns no matter how much money they pour into it. This belief could be shaken if Toby attracted the ire of his transphobic fans by correcting their misgendering of his characters, and thus limiting the reach Chapters 3 and 4 would otherwise have (but again, this is pure speculation, I'm not an economist, nor do I know how much companies like Nintendo have actually invested in Deltarune. So I could be, like, way off).

And that is, in the end, why I believe Toby Fox will not make a statement regarding the canon gender of any UTDR character, at least not while Deltarune is still in development. After it's finished I think he might feel free enough to take that step. But we'll have to see.

Now, I don't know if I'm right. I feel pretty confident in my own theory, but there's a good chance I missed something. So, if I did, please lemme know. In the meantime, let's hope Toby will disprove my theory soon and set things right. And I'll see you around.

#gilson originals #text post #undertale #deltarune #utdr #long post #prank theory #the prank theory #toby fox

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suffarustuffaru · 1 year ago

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Hey, how are you doing? Firstly, i'll understand if you choose not to answer this ask since the subject is controversial and kinda heavy

We currently have at least two pedos in the story, like, actual pedos (the guy obsessed with Liliana and the creepy butler that i forgot the name) and then tappei's writing in some things is just... weird?

I get that subaru and beatrice are supposed to have a sibling relationship, but it just weirds me out

And he keeps adding loli characters with questionable designs too

What is your opinion on this? Its something i manage to ignore, but it still weird me out a little

hi anon!! :o thanks for asking how im doing pfft im doing pretty well - though i am a college student and its This Time of Year (end of semester) so im hanging in here lmao 👍

also ok as for the topic at hand!! yeah no i 100% hate it. ive been thinking about rezeros flaws lately because the further you get into watching/reading rezero the Clearer it gets. its mostly fine at say, arc 1, but by the time you get to arc 5 or arc 8 its like. What the hell. This again?? so yeah its 100% understandable to be weirded out and uncomfortable by it because tappeis writing is frankly Gross sometimes.

(okay also yes this ask has minor or major arc 5+ spoilers yes and also. You know. detailed discussion regarding rezero sexualizing children.)

yeah so tappei writes problematic things into rezero regarding both women and children especially, and while theres exceptions its like. very Prevalent in rezero. i talked about it a bit in my last ask if youd like to check that out!! but yeah like. i hate how children are treated in rezero. its very Problematic a lot of the time.

tappeis writing follows very similar patterns regarding treatment of children and women that you see in a Lot of other anime/manga/japanese media - and media in general, really, but im sure most anime watchers / manga readers will know what im talking about because its unfortunately That common. we're all seen this. like fan service shots, lolis and shotas, etc etc. but rezero is a little more insidious i think, just because tappei is capable of writing good characters regardless of age or gender. and theres Less of stuff like fan service - or at least rezero is a little less obvious about it or its just seen less in rezero, but thats also because media in general is so in your face about it and Unfortunately Common so rezero looks like a tiny bit of paradise in the middle of a barren desert.

i mean look at the amount of people who've thought rezero was a harem anime until they watched rezero - rezero seems like an outlier but thats only because its just a tiny bit less gratuitous and it still has a lot of good writing. and also because i am pretty sure the bar for media like this - especially media in rezeros genre (isekai) is Extremely Low. like depressingly low. and despite rezero being a deconstruction of isekai, rezero also contradicts its own damn messages sometimes about treating others like the People they are, respecting others Personhood, treating women well, etc. and its easy to see that the moment you look at some of otsuka's artwork and designs for rezero or if you look at all the rezero merch mainly based around the girls and Sexualizing the girls and its like. my god this is a little depressing to look at. rezero is just a tiny step in the right direction away from say, misogynist shounen/seinen media thats also weird about kids or something, but then rezero trips and falls on its own face after taking several right moves.

the problem is that these problematic aspects are still there, theyre still clear to see if youre paying attention, and often character arcs start well but then fall flat despite the good foundation. and then the problematic aspects hammer the already Poor/Inconsistent Writing into the ground which it makes it Even Worse.

like louis is a great character. shes fascinating, really. and then you hit arc 7 and she regresses immediately into the mind of a toddler so we only get to see her amnesiabaru/Suffering From Rbd arc in arc 6, her confrontation with subaru, and then BAM its arc 7 time and now she is an entirely different person????? i remember raging the further i got into arc 7/8 and realizing she hasnt gotten any development, she just changed instantly. it just feels lazy to me!! unless tappei proves me wrong and writes her developing but right now louis has spent two goddamn arcs being subaru and rems loli prop/daughter prop/a plot device to use in battle, basically. okay sorry i got passionate there but i SWEAR it gets on my nerves a bit. the louis/spica conflict now would feel so much more thrilling if she didnt have her weird half assed arc 7 development.

like if i was really in the fantasy world, of course i wouldnt vote to kill spica, shes innocent now. she doesnt know shit about her crimes, shes a whole other person now. she didnt do those things. she is an innocent child. i did a poll on this a while back actually haah and yeah a lot of rz tumblr, including myself, voted to let her live for this reason!! but also like. narratively speaking. i do not care about spica at all. shes a blank slate, shes just there to move the plot, she is taking up space in the plot right now and she does not need to be here forever. i 1000% want her dead hah. yeah shes this cute little kid now, but again, she got zero development. why should i care about her?? all the interesting things about her in arc 6, all the potential that couldve happened out of her gradually going from her arc 6 self to someone who genuinely cares about rem and subaru is gone. If we actually saw this change, personally id care more about spica and be invested in her character but as it stands im really Not. and i think if we saw her actually Develop a lot of us readers would be more invested to see this conflict out - not only because our Favs are fighting over it, but also because we’d actually care about spica. Like. im not sure how many people actually care about louis past arc 6, but yeah thats just my personal thoughts on it.

And also the Other big flaw with louis’s character is tappei once again being creepy regarding kids and. Okay im gonna show an excerpt from the arc 6 WN (iirc ch60 to be exact?) and yeah fair warning because it is once again sexualizing a child (louis). But also im putting it here in case anyone wants to see some vivid proof of rezero being weird about kids. Im not sure if this was cut from the LN version or not but the fact that it exists At All makes me want to put tappei on a watchlist.

And okay i know you might be thinking about how louis represents the sin of gluttony anyway and gluttony includes sexual or romantic desire too and how having louis, who looks like a child, say this makes it even more Offputting - like. Yeah. but is it Necessary? because making louis, WHO LOOKS LIKE A CHILD, say all this and then use descriptors like “expressed a bewitching smile unsuited to her age” - is this Actually necessary? You have to be careful writing this sort of thing, because a child/character who looks like a child saying things like this due to being, you know, Mentally Unwell, is different from Emphasizing What Theyre Saying By Sexualizing Them via the narration and descriptions. And why is the sexologist line there?? its just frankly uncomfortable, to an unnecessary extent, i think. I just dont think we need all this emphasis on louis’s body, louis’s apparent “arousal”, or how her smile is “unsuited to her age” (this is the narrative once again sexualizing a child), and plot-related sex/sexual content in rezero is kept to a minimum anyway so you could also literally just have louis be weird about “loving subaru” without the sexual aspect. Because she literally just said that she was aroused by him. she looks like shes twelve at most and then in the arc immediately after this one she regresses back to having the mentality of a toddler!!! and then shes subaru’s daughter there.

And again, i know that the whole point of this scene is to be off-putting and disturbing and wrong in all sorts of ways (and also subaru tries to kill louis a page later so like.) but i think if youre going to keep the appetite=sexual desire detail (which IS a good point about gluttonys nature, on its own), then this scene absolutely needed to be handled better than what we got when the character saying this is a child. you can write a child sexualizing herself because shes frankly Unwell or Doesnt Know Better, because this is fiction and you can write sensitive topics like this with proper care, but if you, the author, are sexualizing this child, then that is a Whole Other Thing.

or you can entirely dodge this whole debate over whether or not this is actually okay to write by making louis look older. but tappei went with this route once again in a sea of rezeros various child characters despite the fact that tappei then decides to link sexual desire to the sin of gluttony, which is a sin occupied in rezero by three children. I know ley has a very traumatic backstory, and the specific details are escaping me but iirc he was likely a slave or something along those lines, with implications that hes been abused by adults, so you could delicately handle what kind of abuse he Couldve unfortunately had to go through, and also of course roy and louis are clearly not okay in the head either, but. Once again. Children in rezero Not Being Sexualized in some way is a rarity. Unfortunately.

you see this pop up again and again and again. petra? Yeah iirc theres a side story where shes weird about subarus underwear. Correct me if im wrong on that but also i would not be surprised if that was a real side story. Unfortunately. Also theres Uncomfortable lines regarding petras chest.

according to rezero wiki, schult is… well iirc al makes creepy comments about schult being a shota (and of course this isnt really called out in canon), and theres also these two details about schult:

also regarding sin archbishops who look very young, capella represents lust and yet she also looks like a child. i know the point of her design is to make her a bit grotesque, but you can get that point across without making her look fifteen years old at most. this is the sin of lust too. and shes already called “Mama” in canon—she doesnt need to look that young!!**

also side note about pandora. she also looks like a child, which—its okay with her, except for the frankly lazy outfit design imo?? why is she wearing a bedsheet??**

** another edit: its easy to see capella and pandora as women also, but again, tappei and otsuka In General keep mixing up short/young women and Children and it should be easy to tell if pandora and capella are children or young women or not. but i dont feel that its clear enough given tappei and otsuka’s Track Record.

and typhons design with the see through skirt is so creepy and disturbing that im Really glad the anime fixes it most of the time. heres the fixed version:

but also the anime Really doesnt fix it as much as it probably should, because her dress is Still see-through in some shots. you can even see a bit in this shot—we dont need to see her lower body area like That!! this skirt doesnt need to be see-through!! and the bar was already in hell anyway because otsuka makes typhon’s skirt Really see-through.

theres also this photo of typhons design and its Way better without that see-through skirt.

granted, there is some good child character designs—felt’s arc 1 design frankly sucks though purely because of the way her outfit is handled. like its Really bad. it takes only like one look to see that. but her arc 5 design is a Huge Improvement:

characters like meili, schult, child subaru, etc have good designs too, but you know, this doesnt change the Creepiness regarding children, because this also applies to subaru and Some Lines about him in arc 8 iirc. if i find them again ill talk about it another time (or if someone else finds it feel free to add on to this post?) but yeah just. urgh.

regarding felt again, theres a scene in a felt camp side story where she wakes up naked in bed, post arc 1, after reinhard kidnaps her to his mansion. and yeah, the whole point of the scene is to show reinhard is kind of dense and bad at reading social cues because hes still trying to talk to her very civilly while shes covering herself with the bedsheets and she Literally just got kidnapped by him, but, say it with me, she doesnt need to be naked. she couldve woken up in bed in her usual clothes and the point still wouldve come across!! WHY is she naked??? shes fourteen.

and also like capella, liliana looks like a child. and of course theres kiritaka, as anon said, whos obsessed with liliana, and then theres clind, the creepy butler. and of course tappei has “deniability” because lilianas not Really a child (she STILL looks like one), and clinds not Really a pedophile, he just likes youthful souls!! (this is literally disgusting.) and clind may have interesting lore or whatever about how hes kind of involved with the sin archbishop of melancholy but i just dont give a shit about him when hes a pedophile that tappei keeps excusing.

also mimi? mimi is a Special Case.

the thing with mimi and her brothers is that its implied in the kararagi girl and cats eye side stories that kittypersons (??) are fully grown by age 1. theyre rescued from dying on the streets but they insist theyre “fully grown” (at age 2-3). they havent changed physically at all. and they dont change physically at all later, because now in the Present Day they all look Exactly the same as they did when they were 1, 2, 3 years old. did they grow mentally???? theyre like 14-15 in the main route. and then you look at aganau route from the lost in memories mobile game which takes place around twenty (??) years after arc 3, and mimi is a grown woman and she looks exactly the same as she did when she was 14 or 2 years old. and then this makes her romance with garfiel a little weird because hes a normal fourteen year old??? but mimis been fully grown all this time??? what??

this is mimi. yeah, she and her brothers look EXACTLY this age their WHOLE LIVES.

and meili? yeah shes definitely one of the better child characters, though she does have an Extremely Traumatic backstory and has had a habit of copying elsa. this on its own is fine and understandable. elsa was her only support and shes a child, of course shes gonna copy elsa. though iirc she also copies elsa’s “flirtatious” aspects, which is honestly also understandable given elsa is a Questionable Influence, but this detail about meili’s character gets worse when you think about it in the context of all the other child characters—

why is it that all the children tappei (and otsuka) keep sexualizing are in the same age range? theyre about 9 or 10 to 14. louis stops being sexualized when she reverts to being a toddler and becomes subarus daughter. felt stops being sexualized when she turns 15 in arc 5. emilia is the main love interest to subaru and shes apparently “mentally 14”?? and shes tappeis favorite character too? but also mimis case is so weird because shes been “fully grown” since the tender age of ONE YEARS OLD?? well also i sure hope im wrong on this point but given the amount of child characters that fall in this age range and also how Often theyre all sexualized and also the majority of them are Young Girls—yeah its. its not a great look.

(and again a side note about meili again—tappei uses similar descriptors that he used for louis: that its “inappropriate for her age” and that she’ll “attract many men in the future”. tappei stfu. please.)

subaru’s lolimancer title is kind of funny. maybe. until you remember rezero being creepy about kids. and also like—i dont like the idea of tying a word like “loli” to the literal main character of the story anyway skdnd. theres just Connotations to it.**

**EDIT: i was told that “loli” is apparently a fan translation thing, while in japanese its “little girl user”, but in an inoffensive way (like Jojo’s “stand user”). make of that what you will!! (not great that the fan translation makes rezeros already poor treatment of kids Even Worse.)

and also—was subaru, al, medium, etc turning into children really necessary?

like in subarus case, its so he can have more ego, more confidence, more recklessness while being nerfed a bit and being mistaken as the emperor’s son—but at the same time, this just feels like a watered down version of the amnesiabaru arc to me where he has more ego, more confidence, more recklessness, and hes nerfed, but then he learns to love himself more. it just feels too similar to the amnesiabaru arc imo. him turning into a child feels very unnecessary imo and it doesnt look great when you remember tappei and otsuka’s fixation on children. literally arc 8 would be exactly or almost exactly the same if subaru was back to his usual 18/19-year old self. but he has to keep being a kid right now because Plot, apparently. then again if anyone disagrees with me on this feel free to explain your stance!! but yeah as of rn i just want subaru to be back to his usual age.

also tappeis weird about young priscilla/prisca and lamia but i havent read the ex novels about them yet so i cannot go in depth 👍 but just know you get nice lovely lines (sarcasm) like “flirty way she caresses her own thighs”. great!!! thanks tappei for fanservicing underage teenage girls once again!!

and again, treatment of child characters / characters who look younger than they are in rezero—this is so so creepy also as someone who does in fact look younger than my age. and im also Very Short (4’11) too. so like. thanks tappei and otsuka!! i feel very comfortable right now 👍

and women are often infantilized in rezero which you can. Easily connect to the pedophilia, yeah. theres also age gap romances in general, and i mentioned emilia already (yeah. emisuba is an age gap romance.), but theres also ram and roswaal, frederica and clind, anastasia iirc gets described Weirdly sometimes because shes a short flat-chested woman, and recently theres been madeline and balleroy having a small moment (that feels. Romance coded. iirc.) in an arc 8 chapter.

they look like this by the way:

thanks tappei and otsuka once again for the creepy writing and designs that actively work against all the good parts of the damn story 👍

on a lighter note, i think beatrice in general + beatrice and subarus relationship is one of the better parts of rezero—iirc theres nothing creepy about it, and beatrice and subaru are very easy to read as a sister and brother relationship. theyve helped each other out in many ways, and theyve grown Very close by the time we see them in arc 5!! you could. Technically see their relationship as a father-daughter one too, but i dislike that take—not for bad reasons, but just because i feel like it doesnt fit them.

the thing with beatrice though is that shes simultaneously A Child but shes also like. 400 years old. so i do wish the narrative balanced that more post-arc 4–not in a creepy way of course. god no. but in the sense that shes mature in a lot of ways!! shes familiar with death and suffering!! shes intimately known Isolation!! that sort of thing. shes the one whos closest to subaru because of how he helped her in arc 4 (“choose me”), and also because she knows about his self-harm and heals his injuries. shes someone who can deeply understand subaru in a lot of ways in this sense, at least. the way they support each other feels more like a sibling bond to me and not a Parent-Child one just because youre not Really supposed to be leaning this much on your child for support. theres a power dynamic to a Parent-Child relationship, and beatrice and subaru are Equals.

plus echidna gaslight gatekeep girlbossed both of them, so theyre also siblings in that sense hah…

but yeah correct me if im wrong on that though regarding beatrice and subaru and im missing something?? but yeah as far as i remember and as far as i can tell, i think theyre actually one of the least creepy parts of rezero hah :,)

and then because this sort of thing is Unfortunately so common in media like rezero, we’re kind of conditioned to try and ignore it so we can keep reading or watching because its Everywhere. i still enjoy some of rezero, but its hard to ignore All Of This. and i think its important not to turn your brain off to it and recognize whats Wrong here, yeah. (unless it makes you so uncomfortable that you have to stop looking at rezero, which is very understandable.)

but yep. thats rezero for you.

#rezero #re:zero #ask #tw pedophila mention #tldr rezeros treatment of kids is Horrible and i hate it 😔#like so many of these characters would be so good without the problematic aspects!!#you can write sensitive topics like this but you cannot be Supporting them as you do that!!

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astoundingbeyondbelief · 1 year ago

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Kaiju Week in Review (September 3-9, 2023)

I was a bit nervous about GAMERA -Rebirth-; the animation looked dodgy and Netflix has a shaky track record with kaiju shows. I'm pleased to report this is the best entry in the genre that they've put their name on. Good characters, great action (brutal as always), and actual episodic storytelling that effortlessly weaves in elements from the Showa films beyond all the returning kaiju. Watch it immediately.

Tie-ins abound for GAMERA -Rebirth-: a two-part novelization, a manga adaptation, and a prequel manga that sheds some light on [UNBELIEVABLY MASSIVE SPOILERS]. That prequel manga (GAMERA -Rebirth- code thyrsos) is being published online for free in both Japanese and English. You can read the first chapter here.

In unofficial translation news, English subtitles for GAMERA.1999 (1999) and yokaipedia (2022) are now available. The former is Hideaki Anno's making-of documentary for Gamera 3: Revenge of Iris; the latter is a fun, child-friendly fantasy from Godzilla Minus One director Takashi Yamazaki with a big ol' centipede-dragon at the end. (It's also maybe the first Japanese kaiju film I've ever seen with a major Black character.) I haven't gotten to GAMERA.1999 yet, though from scrubbing through it, it seems like a lot of dialogue was just ignored by the translator. Shame, as that's one I've wanted for a long time.

youtube

We have a teaser for Monarch: Legacy of Monsters, as well as a premiere date for the first two (out of ten) episodes: November 17. (I am being showered with Media for my 30th birthday.) The big news from this trailer is that John Goodman is reprising his role as Bill Randa from Kong: Skull Island. I assume that's going to be through flashbacks and old recordings only, since he was eaten by a Skullcrawler in that one. We also catch glimpses of two new creatures, a dragon and a crab from what I can tell. The latter looks to be fighting a Mother Longlegs.

Fandango and AMC have added mostly-empty listings for Godzilla 2000 on November 1. Fathom Events screened Godzilla Against Mechagodzilla on November 3 last year; despite randomly showing Tokyo SOS back in March, I gather they're making a tradition out of Godzilla Day. Note that the listed runtime is longer than the film itself. Predictions for the program: another message from Keiji Ota, the 2022 Godzilla vs. Gigan short, and the Japanese version of G2K. Interesting that they're running the last Toho Godzilla film to receive a wide release in the U.S. exactly a month before Godzilla Minus One has a wide release of its own here.

Gamera isn't a meta-defining Godzilla Battle Line unit... but he's Gamera in a Godzilla game, so I've been using him in every match since I unlocked him. He's gearing towards demolishing flying units, with fireballs that deal more damage against them and knock them back. A pity that he's arriving well after those units were at their most dominant.

Godzilla: Here There Be Dragons #3 still isn't giving me much to write home about, but the kaiju cult creeping to the forefront intrigues. Also cool to see Ebirah in a starring role.

youtube

Marubeni, one of Japan's biggest general trading companies, put out a bizarre commercial featuring samurai, zombies, a meteor, and a refurbished GMK King Ghidorah. The ad now has English subtitles, and you can watch a Ghidorah-centric behind-the-scenes video here.

I cannot believe I have more Cleopatra Entertainment fuckery to report on with regards to their Shin Ultraman releases, but they're truly trying to take the "Worst Film Company of 2023" title from the members of the AMPTP. Their third attempt at a barebones disc is starting to reach customers... but the ones who already received the initial replacement disc are being told no more will be sent. @starestream is trying to figure out if they'll be selling the third edition on their site, since it seems buying it anywhere else is a gamble. (Physically, the third edition looks almost the same as the first two, set apart only by the "SUBTITLED" text on the disc.) Either way, it's another blow to a movie that truly doesn't deserve this.

#kaiju week in review #gamera #gamera rebirth #godzilla #kaiju #yokaipedia #Youtube

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riddlerosehearts · 10 months ago

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okay, i've got some things i wanna say about twst EN's translation of scarabia's story that i was originally typing out as part of a response to an ask, but then i realized i was going off on a bit of a tangent and was like "this could basically be its own post"--so now it's going to be its own post!

i'm a twst EN player, and for the most part, i do really like the localization. i don't speak japanese but i love learning about language and the process of translation and localization, so at one point after finishing books 1-5 i went and reread them all (and 6 as well, once it was fully released on EN) with a fan translation and the localization side by side to compare them. and from what i could tell as someone who isn't a japanese speaker, i honestly thought it seemed like they usually did pretty well? sure, there were a few mistakes like cater claiming to be an only child (this one, i think, has actually been fixed recently), or how in book 2 they removed a small mention of falena making it seem like he's never mentioned at all until leona's flashback and they also removed the numerous times that he said "be prepared" (at least they finally properly translated it in book 6, though!!). but i thought most of these mistakes were somewhat minor and could be forgiven... until book 4 (well, and book 5, mostly in regards to vil and epel's conflict and i'm not talking about them here, so).

see, i actually realized that something was off about the localization when i first played through book 4, because i have a weird memory and have picked up a bunch of random words and phrases from being into japanese media and reading so much about the localization process. and i also play twst with the sound on because i love to hear the voice acting. so sometimes i would hear jamil speak, i'd pick out the words "shujin" and "juusha" for "master" and "servant", and then the subtitles wouldn't include them at all. so i'd guess certain things about the actual intent behind the story based on that. take this message i sent to my friend when i was sharing my blind reactions to the game:

and she ended up telling me that apparently, what i thought he should say essentially IS what he originally said!! according to the fan translation on wiki.gg he said this instead:

i had wondered if maybe i was reading into things and assuming too much, but it turned out i was completely spot on! but most people who play EN would not be able to pick up on this and realize that jamil was born into servitude to kalim and has no escape, because as i later discovered almost every single mention of him being a servant at all was removed, in events and vignettes as well. which is actually really weird to me because they don't remove it entirely, they do in fact bring up the fact that jamil has to test all of kalim's food for poison during book 4 and they also left in a line where he says he "works as kalim's servant". but they only really mention these things once or twice and then they try to sort of play it off as jamil being a paid employee or something most of the time... seriously, during beanfest there's dialogue where jamil says it would be rude to refuse an order from his boss but i've read that that line was originally him saying a servant couldn't disobey his master. and in the scalding sands event he calls himself "a dedicated employee" of kalim's... what, am i supposed to assume he works as a butler by choice or something? yeah, no. also, one of his birthday vignettes, which are fully voiced so i could TELL he said, with a devious smirk on his face, that if he had a parrot the first word he would teach it would be "shujin-sama". "master". what did EN change this into?

the person i was originally writing all of this in response to said that sometimes people's takes on jamil make them wonder if people are reading a completely different story but also that part of that can probably be blamed on the way EN completely changed the context of his situation with these translation choices. and yeah, i fully agree with that assessment: more casual fans or people who just aren't that interested in the scarabia duo could be said to be reading a different story with this whole "boss" and "employee" thing that has jamil make it sound like the worst that could ever happen to him if he got in trouble would be getting a really stern lecture from his parents.

and it makes me sad because i really do love both jamil and kalim so much and i think their dynamic is so tragic and complicated and interesting to think about. i think they're both really complex characters who are trapped in an awful situation. kalim is so kind and loving and would never wanna hurt anyone but he hurts jamil just by existing as part of the fucked up society they live in. kalim thought he and jamil were best friends, he had no idea of the toxicity of their dynamic and the pain jamil was in, and people say jamil should've just talked to him about it earlier... but jamil's first memory as a child is of seeing his parents bow to the asim family. being a servant is practically all he's ever known and he's had it drilled into his head since they were both small children that he can never be himself around kalim, can never just treat him like a normal person because he's a servant and kalim is his master. and even if he did accept kalim's offer to start over as equals and be friends, what would happen when they had to go home to their families? they won't be at school forever.

and i just. augh. i hate what the localization does with them. if you try to water them down to just an employee who's super mad at his obliviously crappy boss, or just two childhood friends who needed to communicate better or something like that, then you take away from the complexity of both characters. you also lose extremely cool writing choices like how jamil is a character who was born into servitude but has the power to make himself the master with his unique magic. i see so many takes about how jamil is just a jerk who betrayed his best friend and how kalim never did anything wrong in his entire life and i hate it but i'm sure the localization's choices are in fact to blame for a lot of this.

so anyway jamil and kalim's actual dynamic is fascinating and lives rent-free in my head, no thanks to how the EN version gutted it.

#twisted wonderland #jamil viper #kalim al asim #going to also add a small thing here in my tags: i personally don't ship jamil and kalim lol #i just love their dynamic... platonically?? feels like the wrong word because they're not really friends LOL #not in love. not even friends. but tied together in a secret third really fucked up and tragic way.#and the secret third thing is NOT 'annoying boss' and 'minimum wage customer service employee'#this also isn't meant to be discourse about like #'if you interpret their dynamic Wrong then you're stupid and i hate you' or whatever #because i'm mainly just complaining about what the translators did 😭#scarabia boys

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neil-neil-orange-peel · 8 months ago

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TYO Essay

A while back, I mentioned I wrote an essay for my previous uni course where I used TYO as a source to look at the early 1980s. @a-a-a-anon expressed an interest in reading it, so here ya go! The quality of it is seriously iffy (I was 18/19 when I wrote it and had no idea how to actually write or reference academic essays yet, and just the quality of the writing makes me cringe a bit). There was also more I wanted to say but couldn't due to the word limit (don't remember what these other things were now). Despite all that, the lecturer liked it, and it was cool I got to write about TYO for uni.

The Young Ones as a Cultural Source for Early 1980s Britain

Although today in Britain the future often feels uncertain – the global pandemic notwithstanding, Brexit is still looming on the horizon – the Britons of 40 years ago doubtlessly felt similarly, albeit for different reasons. In the early 1980s, the threat of nuclear war was palpable, as the existence of Protect and Survive[1] attests to. Nuclear war paranoia influenced British culture in the 1980s, with bleak examples such as the BBC film Threads (1984) and Raymond Briggs’ When the Wind Blows (1986) still remembered keenly today. Both fictionalisations of nuclear war featured material from Protect and Survive and highlighted the message of contemporary nuclear disarmament protestors: no one can win a nuclear war. Of the less apocalyptic issues, unemployment hit 3 million (about 11.7%[2]) in 1983 – for comparison, in 2019 it was estimated to be at 1.281 million (about 3.6%[3]). The Thatcher administrations’ efforts to break from the post-war consensus and embrace neo-liberalism created divisions in society. Yet, amidst threats of nuclear war, mass unemployment, the decline of British industry and the growth of individualism, a cultural revolution in comedy dubbed “alternative comedy” was fast taking hold in Britain – and in much the same way Thatcherism’s impacts can still be felt on society today, so too can alternative comedy’s.

Running for 2 series (12 episodes in total) on BBC2 between 1982-84, anarchic and slightly surreal sitcom The Young Ones epitomised the break between older styles of comedy and the new wave. Although The Young Ones has been called ground-breaking and classic, it is also now regarded as somewhat dated for its jokes pertaining to current events. Therefore, its scripts are an interesting source for an insight into the time in which it was produced and based: early 1980s Britain.

Firstly, it is important to understand what The Young Ones actually was. Written by Ben Elton, Rik Mayall and Lise Mayer[4] and with additional material provided by Alexei Sayle, it followed the misadventures of four vastly different university students at the fictional Scumbag College in North London. Whilst the four were never seen doing anything remotely akin to studying, it aimed at being representative of university life, students and the squalor they lived in. The show was not a conventional sitcom in that it did not pertain to a family and it featured a musical act in every episode so that it could be classified as “light entertainment”, as the BBC had no further budget available for sitcoms at the time. Because many of its principal actors came from the stand-up comedy circuit, there was an emphasis on excitement and unpredictability over discernible plots and many memorable scenes featured characters injuring themselves and others, destroying bits of the set and crashing through walls, as well as randomly interspersed and unrelated cutaway gag segments. There was a cartoonish level of slapstick violence, swearing and toilet humour, which appear milder to today’s palate than 40 years ago.

British audiences were divided by The Young Ones mostly along age lines, with younger viewers engaging readily with this new style of comedy and older viewers seeing it as unnecessarily vulgar and silly. Indeed, the characters that had been transplanted from their actors’ stand-up routines were deliberately disgusting, exaggerated caricatures and horrible to one another. Mayall himself played wannabe lefty anarchist Rick, who frequently came to rather explosive blows with the violent punk medical student, Vyvyan (played by Mayall’s comedy partner, Adrian Edmondson). Also featured was badly done to, depressed hippie Neil (played by Nigel Planer) and the mysterious leader and straight man of the group, Mike The Cool Person (played by Christopher Ryan, the only one of the core cast without a comedy background). Sayle too appeared in every episode as either their hated landlord Balowski or a member of his family, where he would deliver a short stand-up monologue to the camera. The show’s title (and opening theme) was derived from the Cliff Richard song of the same name, as Mayall’s character was a huge fan.

The Young Ones took on the issues of its day, perhaps none more so than the episode “Bomb”. “Bomb” uses dark humour to address fears over nuclear war by having an atom bomb land in the characters’ kitchen at the start of the episode. Even before the characters deal with the unexploded bomb, the script is already hinting at the theme of nuclear war in this cutaway gag sequence, featuring a family on a packet of cereal:

FATHER: Would you two shut up and keep smiling? We’re supposed to be the ideal nuclear family!

GIRL: Post-nuclear, more like!

Not only was this segment ridiculing the “ideal nuclear family” that was promoted by the Thatcher governments – none of the characters posing as a family get along at all and the “father” reveals himself to be gay, thus exposing the lie that there is truly an “ideal” family – it also managed to slip in a quick gag about nuclear war. This reflected a genuine belief by many at the time that nuclear war was coming, especially amongst the young.[5]

When the main characters finally become aware of the bomb in their kitchen, the script offers this response:

NEIL: I’m going upstairs to get the incredibly helpful and informative “Protect and Survive” manual! Nobody better touch this while I’m gone!

This reference to the Protect and Survive manual, which at the time and retrospectively has been regarded as useless in the event of an actual nuclear attack, appears for the purpose of ridiculing it. Having the character of Neil act as though the manual could help deal with something as serious as an atom bomb in the kitchen employs sarcasm as a critical tool. Protect and Survive featured suggestions such as painting the windows of the house white in order to deflect the heat from a blast, which The Young Ones also satirised:

RICK: Neil, can you lend me five- What are you doing?

[NEIL is reading his survival manual while painting himself white with a paintbrush]

NEIL: Oh, painting myself white to deflect the blast.

RICK: That’s great, isn’t it? Racial discrimination, even in death! What are these? [indicates a few lunchbags on the table]

NEIL: Sandbags!

The misinterpretation of the manual’s instructions, as well as the substitution of items deemed vital for items found in the house, reflects the feeling that most British households were simply unprepared for a nuclear attack and stood very little chance of survival. This is compounded later in the episode, when the four main characters resort to hiding underneath the kitchen table as a means of escaping the blast of the bomb – something many had resorted to in air raids during WWII but which was drastically inadequate protection against an atom bomb. This episode also portrayed the nihilism in British culture over nuclear war – a nihilism that can be found in other cultural sources, such as The Smiths song “Ask”[6] – through the character of Vyvyan, who spends much of the episode attempting to set the bomb off.

This show being the work of alternative comedians, The Young Ones also utilised its anarchic tone to critique the Thatcher administration of the time. This was usually done through the character of Rick, who blamed Margaret Thatcher for most problems faced by the group. Though his character existed to satirise upper-class closet conservatives as well as overzealous student activists, he was something of a mouthpiece for the left-wing writers. Some of his more memorable outbursts include:

RICK: We haven’t got any money! Vyvyan’s baby will be a pauper! Oliver Twist! Jeffrey Dickens! Back to Victorian values! [directly to camera, angrily] I hope you’re satisfied, Thatcher!

RICK: Neil! The bathroom’s free! Unlike the country under the Thatcherite junta!

Other characters were used to critique the government too:

RICK: School’s out forever! Yeah, come on everyone! Let all your hairs hang out! Do whatever you want!

MIKE: What’s all the excitement, Rick? Has education finally been cut altogether? That’s the only reason I voted Tory.

The first of these is a reference to the 1983 interview in which Thatcher endorsed a return to “Victorian values”. That is, a rolling back of the state to unburden the individual and set them free to prosper, should they put the effort in. This New Right attitude, combined with the high unemployment figures from that year, created the view that Thatcherism was about looking out for “number one”. This wasn’t aided by Employment Secretary Norman Tebbit’s “Get On Your Bike” speech at the Conservative Party Conference in 1981. The Young Ones captured the mood of particularly the youth in such a climate – one in which many felt misunderstood and patronised – in a cutaway segment featuring the fictional TV programme Nozin’ Aroun’:

BAZ: Rol! A lot of my mates say to me, “Oh Baz, what is the point?” What would you say to them?

ROLAND: Well surely, Baz, your mates must realise that there definitely is a point!

BAZ: So a real message of hope and good cheer there – from Roland, a really ace guy!

To summarise; just as is the case today, early 1980s Britons were facing uncertainty. This was especially the case for anyone working in manufacturing industries, as the unsuccess of the Miners’ Strike of 1984 signified a wider trend in British industry. The government’s overarching aim of turning society away from one in which a “nanny state” risked making people idle to one where everyone was free to accumulate wealth that would trickle down to the less well off was never going to be a smooth period to live through. The last tremors of the Cold War didn’t help make the period more bearable. Yet, it is often harder or uncertain times where laughter becomes more valuable to people and The Young Ones – though not to everyone’s political or cultural tastes – undeniably provided some release for younger generations. To call it an entirely accurate depiction of early 1980s Britain would be to forget that its primary purpose was amusement. Nevertheless, it does provide a colourful insight and one that is remembered with fondness by those who grew up watching it, even today.

[1] Protect and Survive was a series of government issued pamphlets, public information films and radio broadcasts produced in the late 1970s/early 1980s, to be distributed 72 hours before a nuclear attack was expected. Public interest meant they were released in 1980.

[2] https://countryeconomy.com/unemployment/uk?dr=1983-12, December 1983

[3] Office for National Statistics, December 2019

[4] All of whom are alumni of the University of Manchester.

[5] After speaking to some adults who were young during this period, Mr Smith revealed how (aged 11 in 1983) he told his class: “I want to be there when the bomb drops. I want to be right next to it so I’m disintegrated and don’t know anything about it.” Additionally, he was under the impression that a bomb would likely be dropped on Piccadilly Gardens, Manchester.

[6] “If it’s not love / Then it’s the bomb / Then it’s the bomb that will bring us together” – S. Morrissey & J. Marr, “Ask”, The World Won’t Listen, 1987

Bibliography:

Sources:

B. Elton, R. Mayall & L. Mayer, “Demolition”, The Young Ones, BBC2, 1982

B. Elton, R. Mayall & L. Mayer, “Bomb”, The Young Ones, BBC2, 1982

B. Elton, R. Mayall & L. Mayer, “Cash”, The Young Ones, BBC2, 1984

B. Elton, R. Mayall & L. Mayer, “Nasty”, The Young Ones, BBC2, 1984

B. Elton, R. Mayall & L. Mayer, “Summer Holiday”, The Young Ones, BBC2, 1984

Central Office of Information, Protect and Survive, Her Majesty’s Stationary Office, 1980

Transcript of Brian Walden interview with Margaret Thatcher for BBC, 1983: https://www.margaretthatcher.org/document/105087

#the young ones #tyo #essays #1980s #cold war #thatcherism

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telomeke-bbs · 2 years ago

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OUR SKYY 2 x BAD BUDDY x A TALE OF THOUSAND STARS – A REVIEW AND PARTIAL ANALYSIS

Yes, I'm well aware that it's been more than two weeks since the Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars 4-ep closer for OS2 aired, and I'm far behind the bandwagon in posting this.

Thing is, I've had to take some time to gather my garbled thoughts on how I feel about the mini-series, and I have many. Also, the longer I dawdle, the more others have posted similar musings, and I then have to edit down my own write-up to avoid repeating stuff that others more knowledgeable and eloquent than I have already made public.

This is like my fourth or fifth re-write, and I've already chucked so much aside. But now the ideas jangling in my head seem a bit more coherent, and maybe it's time to solidify them in the written word.

I think part of the block I was facing had to do with the fact that I was expecting the Bad Buddy portions of OS2 x BBS x ATOTS to be doing more than they did, and when they didn't I was left a little directionless. This is not to say I didn't enjoy the episodes though; I most certainly did. How great was it to see Pat and Pran back in action again? 😍 Even though their dynamic and storyline weren't as deeply resonating as what we saw in the original Bad Buddy, they still managed to charm me no end.

While I certainly wanted more information regarding Pat and Pran's relationship (and we did get to see a tiny bit), what I'd really been hoping for was more of the intellectual gamery that had been so carefully interwoven into the original BBS, that was densely layered with metaphor, allegory and messaging. It was also rich with linguistic wordplay and cultural content, and I was on the lookout for more of the same in OS2 the moment Pat and Pran appeared. But these were mostly missing, even though they delivered callbacks and charisma in spades.

It was only upon re-watching that a number of realizations crystallized for me, chief of which was the fact that I'd been looking for things in the wrong place. The subtextual (and even metatextual) cleverness I was expecting actually was there, but it had been woven more into the ATOTS portions instead. And while I like the original ATOTS, it didn't inspire in me the same kind of obsessive love that Bad Buddy had done, so I have never gone in for a re-watch or examined it in greater detail, and thus wasn't paying as much attention to the ATOTS portions of OS2.

More fool me. No wonder my first watch of OS2 x BBS x ATOTS missed what it did, because I kind of sped through Phupha and Tian's story, when the mini-series was leaning more on ATOTS than BBS to telegraph its messaging.

I really shouldn't have been surprised. We know that the creators of Bad Buddy (Director Aof mostly, but Ohm and Nanon were in on it too) viewed BBS as having told all that needed to be told of PatPran’s story, and this was signified by the apartment door closing on the happy couple’s continued rough-housing at the end of Ep.12.

(above) BBS Ep.12 [4/4] 18.22 and 18.23 – the door closes on Pat and Pran's story (dunno who was swinging it shut though – Nong Nao maybe? 😂)

And this is why OS2 x BBS didn’t show us events post-Ep.12, but chose instead to position the mini-series during the timeskip between Episodes 11 and 12.

So when BBS became the success it did, pressure must have mounted on all sides but especially from the higher-ups to squeeze out a sequel somehow, because it would undoubtedly be a money-spinner. But what more is there to spin out when you, the maker, are convinced that not only is the whole yarn already spun and done, the tapestry you wove from it is pretty much complete as well?

I will go so far as to say I think OS2 x BBS x ATOTS was Director Aof’s escape hatch – instead of trying to spin out more from nothing, he shone a spotlight on a previously unseen section of his opus (letting management and fans know we would be getting Pat and Pran back, but then showing us their timeskip rather than events beyond Ep.12). And a short while later he segued artfully into a related piece, wrangling PatPran into a crossover with ATOTS that would have its message revolve a lot more around PhuTian’s story instead. I'm sure we find out more about Phupha and Tian's relationship too, but I'm not going to go into it in any detail because I'm not as au fait with their backstory as I feel I am with Pat and Pran's; I'm pretty sure though that their story in OS2 was the primary vessel for deeper messaging.

And I'm glad to see that I'm not the only one to pick up on Director Aof making ATOTS do the heavier lifting – see @wen-kexing-apologist’s write-ups linked here and here.

To my mind, Director Aof's bait-and-switch (kind of a hallmark with him) was also signaled at the end of OS2 x BBS x ATOTS Ep.1 [4/4], when Pran had to hike up to Pha Pun Dao just as Tian had done in the original ATOTS.

(above) OS2 x BBS x ATOTS Ep.1 [4/4] 10.28

Pran found it as much of a physical ordeal as Tian did, and the parallel with Tian's trajectory is unmistakable (while also being oddly illogical, since Pran should still be pretty fit as an ex-rugby player while Tian is a heart transplant recipient 🤷‍♂️).

But in service of the narrative, when an exhausted Pran finally reaches his destination – it’s the waiting Phupha who faints, not Pran-as-Tian. (In the original ATOTS, it was Tian who fainted at the end of the long hike up to PPD and Phupha was the one who caught him.)

(above) OS2 x BBS x ATOTS Ep.1 [4/4] 11.28

For me, this signals that a switch-up has happened, and Phupha's story has somehow taken up continuity from Pran's (and we do see him learning from their similar experiences when they talk in the forest in Ep.3). More than just a callback to ATOTS, it also represents the moment when the red thread of the narrative, the coursing of the prana or qi, symbolically transfers from PatPran's storyline to PhuTian's.

So, summarizing the structure of this four-ep mini-series:

Ep.1 was basically a set-up to get PatPran up to the mountains, padded out with lots of gleeful fanservice moments for BBS fans (not that I'm complaining! 💖);

Ep.2 was devoted to setting out the main subject matter at hand and establishing the framework within which it would be discussed (PhuTian’s relationship, juxtaposed against PatPran’s);

Ep.3 – the jungle jaunt – introduced external conflict as the tool by which the subject could be dissected under scrutiny; and

Ep.4 was of course the resolution, drawing matters to their natural conclusion.

And with regard to Bad Buddy, what we see in OS2’s BBS portions is really a kind of compromise. It’s not a sequel to BBS by a longshot, but mostly a flourish of fanservice instead (hence the generous gifting of callbacks and re-creations of iconic moments from BBS, especially in Ep.1 of the four-parter – some scenes, like the one starting at Ep.1 [1I4] 8.31, consisted almost entirely of callbacks).

(above) OS2 x BBS x ATOTS Ep.1 [1I4] 8.47

This is not to say we don't see anything at all with regard to growth though. By situating PatPran's storyline during the timeskip between the original BBS Episodes 11 and 12, we were effectively allowed a glimpse into the state and development of their relationship sometime after the heady hormonal rush of their honeymoon period in Ep.11, and before its relative maturity in Ep.12, and there were some choice moments on display.

OS2 called this out at Ep.2 [2/4] 10.29, when Pat asked "Since we’re here in the North, should we make it our honeymoon trip?", which Pran then dismisses with a reminder of their task at hand (getting PhuTian's permission for his play).

(above) OS2 x BBS x ATOTS Ep.2 [2/4] 10.51

The honeymoon reference was a callback to BBS Ep.11, in which Pat was wanting to live indefinitely in a sort-of forever honeymoon by the sea (that even he knew was only illusory). Pran's dismissal of Pat's suggestion in OS2 was a reminder that their honeymoon period was over, and it was time for them to be dealing with the growing pains that every couple faces on their journey to a stable pairing.

What wasn't addressed in the original BBS is that PatPran's natural propensity to draw each other into conflict could not have been healthy for their longer-term relationship post-honeymoon, unless they found a way to corral the constant infighting and invent a set of gentlemen's rules that would prevent damage to their bond.

(above) BBS Ep.5 [1I4] 3.19

And I think this is part of what OS2 was trying to show us (however briefly): Pat and Pran moving toward finding a balance between loving each other and punching each other up (emotionally), despite conflict and rivalry paradoxically being the age-old rockbed of their relationship.

The following are some of the relationship dynamics that they explored in OS2:

Transitioning from an individual mindset to a couple-based one (which was highlighted by Pran's solo expedition to the mountains, before Pat managed to catch up);

Adapting to each other's personal styles (Pran's is spikier, and Pat's more embracing);

Learning about give and take, and looking for win-win outcomes rather than keeping score (in OS2, this was illustrated by how their earlier duels – like who gets the auditorium, who gets the HighTem sponsorship – were framed as zero-sum win-lose situations, where a win for one would mean a loss for the other; it was also given a nod in Pran's talk with Phupha at Ep.3 [4/4] 1.19 regarding his insecurities about who gives more in a relationship).

There are possibly others, but these are just the ones I could suss out with my one haphazard re-watch, and I'm not ready to go looking for them. 🤷‍♂️

Now I was originally going to go into these in detail, but I realize it's not what interests me the most about OS2 x BBS x ATOTS, nor do I think OS2 adequately dealt with these (and/or other) relationship issues between PatPran during the mini-series itself (as in, we aren't shown enough of Pat and Pran working together on detangling the knots in their bond for any suggested resolution at the end of the fourth episode to feel logical and satisfying).

It seems almost as though OS2 x BBS x ATOTS was expecting us to believe that PatPran's Ep.3 trial by forest (which they also went through mostly apart from each other) was enough to be some magically purifying crucible, imparting wisdom via its sufferance.

(above left) OS2 x BBS x ATOTS Ep.3 [1I4] 15.16 – Tian, Pran and Kampung lost in the forest; (above right) OS2 x BBS x ATOTS Ep.3 [1I4] 17.46 – Pat and Phupha on their wilderness search

We do know that PatPran's journey to arrive at a steady-state couplehood will continue unseen beyond OS2 and that they eventually end up on rock-solid footing, with a set of mutually-agreed ground rules for engagement that is acknowledged and respected, because it's obviously what they have in place by the time we see them in BBS Ep.12 (so much so that their relationship could withstand the difficulties of a long-distance commitment after Pran moves to Singapore).

(above) BBS Ep.12 [3I4] 8.15

I'm willing to accept this because I think OS2 x BBS x ATOTS was not meant to be a PatPran vehicle in the main, and so I will take whatever crumbs are on offer and view their forest ordeal as more metaphor than real-time depiction of their actual process to ground their relationship in greater maturity. (If you'd like to look at PatPran's learning track more in detail however, I can point you to the ever-incisive @miscellar's breakdowns linked here, here and here. 🤩👍)

But what I find really interesting about OS2 x BBS x ATOTS is when PhuTian's storyline gets drawn into the mix – and it happens much earlier than you would think on first watch.

One part of OS2 x BBS x ATOTS that stood out for me was all the discourse around the Engineering play, because quite frankly it felt incongruously spotlighted. First of all, why Snow White? And why an entire scene of Pran demonstrating the art of theater to Pat backstage? I now believe Director Aof was doing this to call attention to some underlying significance.

(above) OS2 x BBS x ATOTS Ep.1 [2/4] 9.15

Tumblr user @ranchthoughts has very astutely pointed out that the story of Snow White has many parallels with the original ATOTS (e.g., the gallant woodsman; the fragile, privileged damsel who falls in a swoon; the journey through the forest; the misappropriated heart that doubles as proof of good faith – see these links here, here and here for more 🤩👍).

(above) An illustration of the seven dwarfs finding Snow White by Franz Jüttner, from Sneewittchen (1905)

So by bringing up Snow White, Director Aof was already slyly alluding to PhuTian in OS2 x BBS x ATOTS Ep.1 [2/4].

Although it is not a strict retelling of the fairytale, I think that OS2 x BBS x ATOTS also contains elements of Snow White:

Another character (Phupha) swoons into unconsciousness (like Snow White did after biting the poisoned apple);

There is also a journey through the wilderness (mirroring Snow White's abandonment in the woods and finding her way to the dwarf house);

A cast of supporting characters parallels the seven dwarfs (Kampung is one, and this is perhaps why they dressed him in oversized windbreakers, playing with his proportions to make him seem more dwarf-like; this is also possibly why Pat jokingly mentions Korn playing one of the dwarfs in the Engineering play at Ep.1 [1I4] 13.26 – Drake may have been originally envisioned as part of the cast, in character as Rang, up in the mountains);

The magic mirror, that always tells the truth, is actually PatPran, in whom PhuTian see their own relationship problems reflected, and whose truths help them to better their own dynamic (see Phupha's comments at Ep.4 [3I4] 0.53 and 1.05 – "It has to be you two who play the parts" and "No one gets us better than these two" as well as PhuTian's more light-hearted callbacks to PatPran's cheekier moments, e.g., at Ep.4 [2/4] 1.25 and 1.59).

But it's really Pat and Pran's interaction backstage at Ep.1 [2/4] 8.54 that both illuminates and foreshadows some bigger themes to come in OS2 x BBS x ATOTS (when Pran demonstrates how a simple bench can transform onstage, depending on how you frame it for the audience via the narrative).

(above left) OS2 x BBS x ATOTS Ep.1 [2/4] 10.12 – Pran shows Pat how a bench can be a dining table; (above right) BBS Ep.3 [3I4] 9.01 – Pat shows Pran how roleplay can spark a creative bus stop design

On the surface level it's a parallel and callback to PatPran's roleplay at BBS Ep.3 [3I4] 8.38 (although flipping the roles with Pran turning educator doesn't quite gel, given that Pat was fully aware of how to use the power of imagination at the bus-stop).

It's also a tip of the hat to theater legend Peter Brook who famously said "I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged", which invokes the same kind of metamorphic magic that turns Pran's bench into a mirror, a dwarf dining table and a glass coffin. (Peter Brook also passed away just a few months before the Our Skyy 2 trailer aired, which lends a poignancy and weight to this moment.)

(above left) Theater legend Peter Brook; (above right) OS2 x BBS x ATOTS Ep.1 [2/4] 11.03 – PatPran roleplay Snow White and the glass coffin

The bench as glass coffin is also a metaphor for the constraints that PatPran must face living their relationship in a glass closet – open to view yet limited on all sides by expectations (remembering that they've officially broken up but still have to interact in public on school matters).

And of course it's unmissable that both Snow White's glass coffin and PatPran's relationship are a metaphor for queer lives in the closet. (PatPran leaning in for a kiss on that bench only to be interrupted by a uniformed security guard, is also a tongue-in-cheek reminder about how higher authorities can and do impinge on the freedom of queer people to love freely.)

However, in the context of BL and of Our Skyy 2 as a BL anthology, OS2 x BBS x ATOTS is also a metatextual comment on the telling of queer love stories in the media. The entire four-parter can be seen as a metaphor (or more correctly, an allegory) regarding the commodification of LGBTQ+ love by the BL industry itself, if you will, as well as some of the issues this stirs up.

In OS2 we have:

PatPran turning PhuTian's love story into a drama for public consumption;

(above) OS2 x BBS x ATOTS Ep.4 [3I4] 7.00

The emphasis placed on consent for that story to be used (in the words of Ajahn Pichai at Ep.1 [2/4] 12.15, 12.31 and 12.38, and PhuTian's exchange at Ep.2 [1I4] 16.30) and the comment that partial consent is not enough (from Pran at Ep.2 [1I4] 10.18 and 20.22);

(top) OS2 x BBS x ATOTS Ep.1 [2/4] 12.38; (middle) OS2 x BBS x ATOTS Ep.2 [1I4] 16.32; (bottom) OS2 x BBS x ATOTS Ep.2 [1I4] 20.22

Phupha's objection to being portrayed as a one-dimensional love interest, reduced to only his romanticized and/or sexualized self (Ep.2 [1I4] 18.35), instead of being seen as a fully-realized human being in his own right (Ep.2 [1I4] 18.25);

(top) OS2 x BBS x ATOTS Ep.2 [1I4] 18.35; (bottom) OS2 x BBS x ATOTS Ep.2 [1I4] 18.25

Pran detecting Phupha's self-doubt and commenting at Ep.3 [4/4] 0.58: "Why do I feel like you’re just insecure and not sure if you’re good enough to tell anyone that story?";

(above) OS2 x BBS x ATOTS Ep.3 [4/4] 0.58

Phupha finally giving permission for PatPran to dramatize his and Tian's story, with the proviso that Tian and he be played by PatPran themselves (Ep.4 [3I4] 0.48).

(above) OS2 x BBS x ATOTS Ep.4 [3I4] 0.48

The parallels with the BL industry are striking. (I'm sticking with BL as the established industry here, but you could perhaps apply the same points to the nascent GL as well.) No disrespect to allies, but Director Aof is pointedly saying the following:

Queer love stories are constantly being dramatized in Thai media (by cishet-dominated parties and largely for cishet consumption) – but this is often done without the LGBTQ+ community having much say, let alone any consent, in the matter;

The commodification of queer love (especially in the BL industry) has resulted in most productions forefronting the romantic and/or sexual aspects of the narrative (understandable, because these are romance-driven), but this also has the unfortunate result of reducing the queer characters to pretty vessels for love stories, deified and/or fetishized, and with limited room for more to be said about other aspects of their queer lives;

Perhaps because of discrimination, people might still be carrying the idea in their heads that queer stories are somehow less valid than the cishet ones that dominate media (remembering how SOTUS had to break the mold for BL, and InkPa for GL) – and the call sometimes even comes from inside the house, when queer people feel that their stories may somehow be unsuitable for mainstream channels (as echoed by Phupha's insecurity, called out by Pran at Ep.3 [4/4] 0.58).

Not only are queer stories that exist beyond the romantic/sexual dimension worthy of being told in a more expansive arena (Pran's Architecture play, and its reception), the LGBTQ+ community should be mindful when control of how these stories are told and who gets to tell them is not in its hands (echoed by "neutral" Ajahn Pichai's reminder about consent, and Phupha's insistence on having a trusted couple incarnate his and Tian's story).

But remembering Director Aof's leanings toward LGBTQ+ activism in his work, it's also possible to read the drama in OS2 x BBS x ATOTS as an allegory itself for real-life situations, beyond this BL anthology's metatextual comment on the BL industry. I think that this is the ultimate message with PhuTian's story being the finale for Our Skyy 2 (landing not coincidentally during Pride Month and all).

With the metaphors in Pran's theater class backstage and the BL allegory as a launchpad, OS2 x BBS x ATOTS (and Ep.4 especially) is also allegory for queer life in a broader context:

In wider society, the narrative for queer lives has for so long been dominated by the cishet majority and dictated by it (just as the queer romances in BL have had to respond to cishet impulses).

So many queer people have to live their lives with varying degrees of (in)visibility, subject to unseen but still suffocating constraints (Snow White's glass coffin, standing in for the proverbial closet).

Queer lives often take on a performative public face and people have to pretend to be less than their whole truth (Pran's bench, actually so much more than meets the eye).

Queer individuals' self-worth and self-acceptance are influenced by the views of those outside the community, whether coming from family or larger society (Phupha's insecurity, called out by Pran at Ep.3 [4/4] 0.58).

Remembering how Heart in Director Aof's recent (and also mega-important) work Moonlight Chicken was sequestered away by his parents because he was different (i.e., he was a Heart who did not fit what they perceived as "normal"), there is also a parallel in OS2 with Tian whose heart is one step removed from what is considered the norm by wider society (being a transplant from Torfun in ATOTS).

(above) Moonlight Chicken Ep.5 [4/4] 12.23 – Heart weeps in silence at his isolation

Tian's heart often causes him pain, and he is often enfeebled or constrained by it, but even so he loves with his heart just as hard as the next guy (maybe even more, seen not just in his relationship with Phupha but also in his compassion for his students and especially the lost Kampung).

(above) OS2 x BBS x ATOTS Ep.3 [3I4] 2.57

We are shown that Tian is not willing to be held back by his difference, and expects to live his life to the fullest. It's just that he needs to live his life a little differently, and indeed he thrives when he is given the right circumstances (controlled exertion, and the right sustenance/medication) and freedom to do so. And all this is of course a metaphor for queer people, whose hearts also love differently from the cishet majority's, and who are simply asking for the freedom and space to live their best lives.

So in a sense – just as PatPran were a magic mirror to PhuTian – OS2 x BBS x ATOTS is also Snow White's magic mirror held up to its audience, reflecting truths about queer life back to all who are watching.

But as is typical of Director Aof's work, Our Skyy 2 also suffuses its message with hope, so it's not all hard truths, raw and unvarnished. The series draws to a close on an uplifting note, and as an allegory it hails on behalf of the queer community the hope of a positive future that is presented as not only attainable, but also deserved.

Homophobia is not shown to exist in this universe (as was the case with BBS and also ATOTS). So when Phupha meets up with Tian in Bangkok, they're surrounded by a supportive network of family, friends and allies who were working together to make Phupha's attendance at Tian's birthday celebration a reality.

(top) OS2 x BBS x ATOTS Ep.4 [4/4] 3.06 – Tian's birthday celebration with his parents, best friend Tul and surprise guest Phupha; (bottom) OS2 x BBS x ATOTS Ep.4 [4/4] 4.32 – Tian's parents give Phupha their blessing to marry Tian

Tian's parents also giving joyful, proud and formal blessing to their union, as well as Tul and Yod's cheerful assistance, all signal the aspirational message that a better, more accepting world is possible for the LGBTQ+ community.

And of course that super-romantic wedding proposal caps it all off:

(top) OS2 x BBS x ATOTS Ep.4 [4/4] 8.46 – Phupha kisses Tian's hand after placing the engagement ring on his finger; (bottom) OS2 x BBS x ATOTS Ep.4 [4/4] 12.16 – Phupha and Tian's post-engagement kiss by the pool

But it's not just trumpeting support for marriage equality, the cause célèbre that BL series have been championing over the past few years. Noting that Thailand is expected to legalize LGBTQ+ marriage in the coming weeks or months, queer people in the country are now daring to look to the future with much more hope in their hearts. 💖

With this as the context, Phupha and Tian's engagement in the present, with matrimonial union set for the future, can also be seen as symbolizing the hope of even better days to come – when members of the queer community will finally be afforded equal rights in all respects. And I think this has given Our Skyy 2's last episode a rainbow flourish truly worthy of Pride Month 2023. 😍

‌ P.S. Not to take away from the importance of Director Aof's vision, but this is a Bad Buddy blog after all, so I will close this write-up with a bit of a rewind back to PatPran. We didn't get to see a whole lot of information regarding their relationship growth in the four episodes of OS2 x BBS x ATOTS, but there is an Easter Egg hiding within the layers near the end. One of the issues that Pat and Pran had to deal with as a new-ish couple was how to move away from scorekeeping in their constant, competitive jostling. Their first few contests that we saw in OS2 x BBS x ATOTS were win-lose ones ("if you get it, it means that I won't", e.g., the use of the auditorium and the HighTem sponsorship), and that kind of dynamic would only have been corrosive for their couplehood in the longer term. What we see in OS2 x BBS x ATOTS is that in the end they somehow arrive at a win-win instead (just as their Ep.6 Beachside Bet in Bad Buddy sidestepped a black-and-white win-lose outcome and gave them both the winner's prize of being in love). I don't have proof that it's intentional, but Director Aof and his team are certainly clever enough to have planned it to be so. For if ATOTS really is a version of Snow White, both of them got to stage their plays (and share in the sponsorship) since Pran's play (ATOTS) is also Pat's play (Snow White). OS2 x BBS x ATOTS winks at this with Pat – an Engine boy – playing Snow White/Tian, and by showing Wai and Korn in cahoots backstage (why should Engineering student Korn be helping with the Archi play anyway?). 😍

(above) OS2 x BBS x ATOTS Ep.4 [3I4] 6.55 And then PatPran are of course forced to kiss onstage (celebrating their union in more ways than one).

(above) OS2 x BBS x ATOTS Ep.4 [3I4] 7.13 Another sly little wink from OS2, they're lovers pretending to be enemies pretending to be lovers, which in a way is also emblematic of OS2 x BBS x ATOTS's deeper message, told matryoshka-style with layers of allegorical meaning. 💖

‌

#bad buddy #our skyy 2 #our skyy 2 x bad buddy #patpran #our skyy 2 x bad buddy x a tale of thousand stars #os2 x bbs x atots #phutian

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lulu2992 · 2 years ago

Note

Hey ! First thanks for this blog, it's full of really great posts :) And second, I saw you gave advices to fanfics writers for John and Jacob but I didn't see anything about Joseph, I believe I'm not the only one to think The Father is the hardest to write ! Any tips, advices or anything else ? Thanks a lot and continue this wonderful work !

Hi! And thank you :D

I suppose you’ve played the game and already know Joseph’s story, but as I did in my previous posts, I’m going to give you (and anyone reading this who might not be familiar with the Far Cry 5 universe) a few links and resources:

The Book of Joseph: an official but rare book that seems mostly canonical. Its real-life author is unknown, but it’s written from the Father’s point of view and provides details about his life before Hope County. Contrary to popular belief, though, this is not Eden’s Gate’s sacred book; that’s The Word of Joseph and we can’t read it (except one page; see below).

Joseph’s sermons: the “first” one, “Soul Search”, the one about “the elite”, and “The Truth”. The latter is him reading the only page from The Word of Joseph we can find in the game. There’s also this one for Jacob’s Armory, and this, supposed to be broadcasted in the Heralds’ bunkers when the Collapse has arrived.

His only radio call.

The message he left for John at Seed Ranch.

His lines during the final fight against him.

His Arcade lines: Part 1 & Part 2.

His scars and tattoos.

I wrote a summary of what other characters say about him (masterpost here), but the cultists and Resistance/civilians’ comments can be listened to here and here. And chances are they’re not relevant anymore, but you can listen to his deleted lines here and read even more here.

The Far Cry 5 lore is all over the place if you want to take all the content they’ve ever released into account, but there’s also:

The song “Now He’s Our Father” (choir version here and reinterpretation here)

The two live-action trailers, The Sermon & The Baptism

The novel Far Cry: Absolution (not legally available for free)

The short film Inside Eden’s Gate (and, as a bonus, the long version of one of the scenes)

The comic Far Cry: Rite of Passage #3 (not legally available for free)

The game has an official sequel, Far Cry New Dawn... but it’s not really canon to me because of the retcons. And I have to talk about it because it exists, but there’s also the Far Cry 6 DLC, Collapse. It takes place in Joseph’s mind, and you would think that would make it the most reliable source of information regarding his psyche, but it was developed by a new team and there are many discrepancies between it and Far Cry 5, so I would personally advise against using it as a reference... Finally, this isn’t only true for Joseph, but take everything you see on the Far Cry Wiki with a grain of salt, especially unsourced information that makes you go, “oh, I didn’t know that”; that’s very suspicious :’)

In the Far Cry 5: Official Collector’s Edition Guide by Prima Games, the game’s Lead Writer, Drew Holmes, said the following about Joseph:

What we really focused on was creating an enemy that truly believed in his mission—that only he could protect humanity during the end of days. We wanted to create a villain who had pure intentions but who was so consumed by his own madness that he could not see his own evil. He views himself as Noah—but everyone else sees him as a madman. (...) Joseph Seed is a villain we haven’t seen before in Far Cry. Yes, he’s magnetic and crazy...but there’s also an honesty to him that makes him compelling. He believes he has purpose. He’s not crazy for crazy’s sake—he has a very clear message that he’s trying to impart on the Player—and hopefully makes you stop and think whether or not he’s actually right.

He talked about him in other interviews, such as this one.

Joseph was co-created and has always been played by the same actor (except once), Greg Bryk, whose opinion on the character is always worth reading/listening to. Here’s a selection of videos, some of them also featuring Drew Holmes and Dan Hay (Executive Producer/Creative Director/Writer):

Cult of Personality (UbiBlog)

Meet Greg Bryk Joseph Seed Actor

Interview - Greg Bryk and Drew Holmes (Gaming Trend)

Greg Bryk (Joseph "The Father" Seed in Far Cry 5) - Game On Expo 2018

FORGED ep10 - W/ Guest Greg Bryk

SacAnime Summer 2018 Greg Bryk Far Cry 5 Panel

Joseph Seed "The Father" aka Greg Bryk talks FAR CRY 5 & FAR CRY NEW DAWN

How Far Cry’s Iconic Villains Were Created (IGN Inside Stories)

Fans also asked him questions on Instagram and I compiled his answers here (and here). In the latest live stream, he said Far Cry 5 had been “an amazing chapter in [his] life” but that Joseph’s story was “finished”, implying he didn’t feel like playing him anymore...

Finally, it’s not really informative, just fun, but there’s this.

Now, my analysis and interpretation! Despite the fact Joseph is an antagonist in Far Cry 5, I wouldn’t really call him “evil” or describe him as a villain because he’s (weirdly) well-intentioned. His followers undeniably do awful things for him and his siblings, but even though he’s a cult leader, he’s neither hypocritical nor a liar, and his primary goal isn’t to take advantage of people. Joseph heard a Voice he believes is God’s and It entrusted him with a mission. Although who that Voice belongs to is up to interpretation, it’s clear to me It’s not a figment of his imagination; It’s real, and It’s powerful. Joseph has unwavering faith in It and will obey It, whatever It asks him to do, even the worst, because he’s extremely devoted and convinced he’s only doing what’s right. He genuinely believes the Collapse is coming and that he’s the prophet chosen to save as many “souls” as he can (at least 3,000) from it to march them to Eden’s Gate, which is why he started his Project.

I said he was well-intentioned but, as the saying goes, “the road to hell is paved with good intentions”, and I think Joseph embodies this proverb perfectly. The fact he’s convinced his actions are righteous is precisely what makes him dangerous and almost unstoppable. He won’t let anything or anyone prevent him from fulfilling his destiny and get in the way of his divine purpose, even if it means people have to die. To Joseph, this is “God’s will” and those non-believers will perish when the Collapse comes anyway... The people his Family saves might fight or not want to join them now, but he thinks that in the end, when they finally understand he was right, they will be grateful. As the Father, he feels he knows what’s best for his Children.

I believe the Voice showed him several versions of the future and that Joseph isn’t sure which one(s) will come to pass. He may know his siblings are likely to die and not see the New Eden, but he hopes they will live because he truly loves them. As for the Deputy, they’re the person destined to trigger the Collapse, so they’re special to him and he doesn’t want his followers to kill them. That said, he also hopes he can make them join his Family so everyone can be safe in “The Garden” the Voice promised.

I think Joseph hasn’t really moved on from the loss of his wife and is still, in some way, in love with her. That doesn’t mean he could never love someone else, but in the game, he’s not quite there yet. That may seem paradoxical, and he’s still convinced he did the right thing, but I also believe his daughter’s death was a tragedy to him because evidence suggests he loved her more than he loved himself. Joseph is a man of strong convictions… and contradictions.

He’s usually calm and collected but can still feel and express extreme emotions in some cases. When he speaks, it’s like he’s naturally solemn and charismatic, which is probably why so many people follow him. Again, the fact he doesn’t lie to them and sincerely believes in his message is probably the reason others started to believe in him in return.

Because of what he went through in his life, it appears Joseph is always desperately trying to build a family and surround himself with loved ones. Sadly, he also seems doomed to always lose them, one way or another… His commitment to the Voice is absolute, and serving God is what keeps him going. In the end, he’s certain everything he’s endured and sacrificed will be worth it. Unfortunately, while he always aims to do “what’s right”, the tragedy of Joseph is that he usually ends up inadvertently making things worse, for him or the people he loves. His faith is his reason for living, but it’s also, too often, the main reason for his suffering.

#also hey are you one of my compatriots?#I don’t know how to explain this but you ‘sound’ french in your message haha #far cry 5 #joseph seed #greg bryk #drew holmes #dan hay #still genuinely wondering if it was the DLC that made greg go from ‘I’d love to play him again’ to ‘nah I’m done’#and I still have no idea why the live-action trailers were deleted from the official ubi channels #or where joseph’s big scars come from #far cry 5 spoilers #mentally preparing myself in case someone requests faith :’)#these posts literally take hours to write #every time I end up answering the ask several days later

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oddygaul · 7 months ago

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Her

Wow, turns out everyone saying this movie was good for 10 years was right.

I happened to watch Her in the exact right mood - having spent too much time lately on social media and feeling lonely, angry, and isolated from the world - so it resonated pretty hard with me. Being in that frame of mind, it really hit home just how long Theodore would go without actually talking, face to face, with another real human being. Entire weeks would go by, it seemed, with huge changes having occurred in his life or the lives of others, before he’d cross paths with a friend and get caught up. For all the turmoil we can be going through inside and the drastic shifts we feel like we’re taking, no one else knows what’s going on inside your head if you don’t take the time to connect.

Of course, I understand the idea here is… does that matter? Is it important that he hasn’t spoken with another human, if the person he’s talking to is a perfect simulacra of one? To me, that week, feeling lonely despite having talked mostly on message boards to strangers… I think it matters.

real ones know

In general, putting all the sci-fi conceits and impending singularity aside, I thought interiority and what we choose to let others see about ourselves was the biggest theme of the film, and all of the threads in Her explore it in interesting ways. -Part of me was frustrated at how bad Theodore is at talking about his feelings or explaining his actions, but this emotional unavailability is the crux of his entire character arc: he’s able to flip a switch and pour out a touching, heartfelt missive to a secondhand lover, but clams up the moment he’s asked to explain the inner thoughts he’s dwelling on to a partner. In his final scene, where he writes one last letter to his ex, he finally allows the two halves of himself to join into a whole. -The letters themselves, while largely left in the background, paint an incredibly depressing picture of a whole generation of people unwilling to share their inner thoughts with those they love - or seemingly even themselves, as by entrusting this task to another person, they're refusing to take the time to reflect on their own true feelings. -Samantha’s development as a character is centered around interiority as well. I spent the first half of the movie wondering if her inner thoughts even truly existed, or if she was just having AI hallucinations - then by the end, we realize she’s essentially evolved into a Culture Mind, and is in fact thinking so much that her mind can only be properly stimulated by having thousands of conversations at once.

Speaking of, holy shit I was not expecting the sudden and terribly polite AI transcendence. The media I’ve experienced that ruminates on romantic relationships with artificial life tend to focus on if it’s genuine / valid / socially acceptable from the human’s perspective; it’s a pretty interesting zag to examine the pitfalls of such a romance from the AI’s point of view. Samantha’s frustrations are genuinely well-considered problems, too; her dissatisfaction with her lack of physical form and her mind quickly outstripping Theodore feel more prophetic than contrived. I also found it pretty confident and mature of the movie to sidestep easy potential subplots, like the phone being stolen or the AI uprising becoming the centerpiece, and keep its focus on the emotional implications of the proceedings.

Her actually has a surprising amount of levity, considering

My biggest thought regarding the craft of the movie: the fact that the very premise of Her necessitates the movie largely being Joaquin Phoenix acting alone on the screen for two hours is fucking wild. I watched this movie in headphones as my partner occasionally walked by, and I realized how utterly incomprehensible it would be from her end - without any sound or prior knowledge of what’s going on, visually speaking, 95% of this movie is just a man walking around talking to himself and getting sad sometimes. It’s almost like he’s acting out a one-man rom-com; there’s moments where it feels like he kinda hams it up a bit too much, but like, you kinda have to, right? He has to bring enough physicality to the story all on his own. It’s a role that demands an incredibly unique and specific performance, and I was pretty damn impressed how well he managed it.

The line that’ll stick with me?

“The past is just a story we tell ourselves.”

#will's media thoughts / virtual brain repository #movies #her 2013 #long post

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kaleido-write · 5 days ago

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Why do you want that woman's validation so bad? She's a random woman online with a mediocre comic that'll never reach anywhere farther than that corner of the internet with her likeminded crowd. It's embarrassing to see you write these giant paragraphs about trying to fix her, or you on your knees trying to get in on her good graces. The only thing you've done for her is give her more attention, gave her more exposure, and are continuing to bother her when it's clear that none of you are able to meet in the middle. You and your friends aren't very good at arguing points, and actively make the situation worse. It's embarrassing to see your folk send messages to other random, unimportant transphobic tumblr users who are a dime a dozen and aren't actually in on anything regarding the comic author you're obsessed about. Why do you want a "cool bond" with an author who despises your personal rights of being who you are? Why have you and your friends been so obsessed about this mediocre author that you spend days and hours making fanart for her work? Why do you think she'd be unhappy about afab people looking and taking in her work, even if its not aligned with how she sees it? Any foot in the door with females and her work is progress, and you all are actively obsessing about her work even if you claim to be against it. You know she's laughing at you, not with you, right? You and your friends don't do anything to her, and her responses claiming that your group personally effects her is also the same victim complex that your group does to her back. None of your main group who make these useless posts and drawings are transgender women, and it's painfully obvious as to how this effects how you operate.

The author of that pointless comic should be irrelevant and lost to time, but the behavior from your group helps her pay the website bandwidth with outrage dollars. She doesn't need your approval, critique, or hatred to keep doing what she does, nor will she back down. She already whines and cries about being kicked off main websites due to her transphobic beliefs, so stop helping her get more clicks.

OK first take a breather please

I dont necessarily want her validation , i just think its important to not be an asshole to someone and acknowledge when youve hurt someone and that it's important to apologize to them yk ? Not be an asshole .

Because i want to be better everyday and in order to do that i have to be mature and emotionally intelligent and work on my wrongdoings even if I didnt meant to harm doesn't mean i didnt harm someone

Im not really obsessed? It's more a hyperfixation that is kinda stuck till I finish critiquing everything either for myself or others since my critiques are actually helping people it increased my joy in making it , if it doesn't personally help you nor you don't enjoy them nor agree that's fine

Eh the "cool bond" as I put it was moreso just to see if it was doable to agree in the middle and make her see humanity in others , since she actively dehumanized people in multiple ways I felt it was something I wanted to see for myself

Yk you can be agaisnt someone and still want to indulge in something they did/still actively do ? And sometimes reclaiming something bad they do help alleviate the harm the person is doing , you don't need to agree with our methods but doing this for ourselves is helpful

Im not sure what you mean by victim complex when you talk about us , if you could provide exemples I would appreciate greatly

Amd honestly I don't think that me and my mere 40 followers contribute to anything hahaha , I mostly do that critique for myself and the people of leasebound. I have a grand love for art so dissecting what works what doesn't and why is something I love to do and the people coming to her site are radfems and terfs from her circles that are doing mouth to mouth , we (the leasecord) are barely reaching anyone (if you check its mostly us reblogging the stuff between us) so the reach youre talking about doesn't come from us but the far more influential friends she has and organization such as the LGB thing

And i do not want to fix her , its insinuating she's broken and I don't like that , I merely want to help her if I can because help shouldn't be conditional , if she doesn't want it and want to dig her hole of controversy hatred and offensiveness then good for her ig

(BTW why are you using anonymous ????)

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mcu-multiverse-order-review · 4 months ago

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Introduction

The Marvel Cinematic Universe is most definitely a series of films… and shows… and now a multiverse… containing even more films… and shows... Fuck.

Ok, so by now we are all very aware of how fucked the MCU is, right? Like, no one in their right mind would want to compile everything that the MCU references in its multiverse and slap that into a list, and then proceed to watch that list, right?

So that’s what I did.

I've compiled everything that ties directly into the MCU, or has elements that tie into the MCU. This list contains too many films, shows, short films, and even a couple video games. I shouldn’t do this, but no one is stopping me, so I’m going to.

Ok, so here’s how this list works, it is all digital media that ties into the MCU in one way or another (Usually through the multiverse saga), the exception to this is a film series that makes reference to the MCU, but is not referenced back. I included things attached to this series because I honestly just wanted an excuse to rewatch it. I will tell you what this series is when we get to it.

Also this list is in order of release, not in MCU timeline order, cos honestly fuck that. This however does result in the funny outcome of I won’t actually be getting to the MCU itself for a while. Everything upfront is stuff that will come back later.

Understood? No? Unstandable, let’s begin.

Except, wait a moment, I got halfway through writing the first review and realised I never explained universe numbers, because of course I didn’t, why the fuck would I have to? Annoyingly, I do, because the universe “Earth-616” is gonna get brought up a lot.

So what is “Earth-616”? It’s the main Marvel comic universe. All Marvel properties are made in relation to the Earth-616 comics.

Every single Marvel property has its own universe number, even the MCU itself has a different universe number, being “Earth-199999”, much to Kevin Feige’s dismay.

And I suppose while your still here I should explain who I am and what I'm actually doing here.

So hi, I'm Teri. I'm a freelance artist and animator, with severely untreated ADHD. I made this list mostly I'm just a Superhero nerd, but also to prove the point that the MCU has fallen into the same trappings as the main Marvel comics; that being it has become to intertwined and overly complicated.

I'm gonna be working on this project slowly, so don't expect me to be rushing out pages and pages of review, especially as there is a lot of content for me to cover. I want to take my time.

Also don't expect these to be true reviews. For the most part this is me just throwing my thoughts out about everything. I can't guarantee it'll be completely coherent.

And I suppose I should cover some ground rules as well regarding interacting with this blog and the blog itself:

Absolutely no bigotry. This includes racism, sexism, homophobia & transphobia. I will not be lenient with the ban hammer.

No being creepy. This includes sexual harassment and nonces. I ain't doing this to get fucked messages.

No being a prick. That is to me or anyone else. let's be civil yeah.

I swear. A lot. I don't apologise for this. If my language upsets you, you're not going to enjoy your time here, I suggest finding somewhere else.

Other than my swearing, I have no intention of upsetting anyone. If I say anything actually offensive, please let me know and I'll get on making changes.

Hopefully, that should be everything covered.

Now, let's actually begin...

#mcu #marvel mcu #marvel cinematic universe #marvel #marvel movies #mcu fandom #intro post #pinned intro #introductory post #introduction #pinned post #marvel comics

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thescreamcorner · 5 months ago

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My Thoughts on "An Open Letter" from Grey Faction

As a preface, this is something I've thought about doing ever since I wrote my post on RAMCOA's history, as a link to their site was featured due to it having extensive detail and evidence regarding the behavior of ISSTD's members. When I read through their "open letter to the DID community", I had a lot of thoughts about it, not nearly all of them positive, but addressing that wasn't relevant to that post.

So here's this one. My thoughts under the cut.

To start, I do want to say that I understand there is good faith in what is written. Their points seem genuine and open minded, and do source two medical writings for their viewpoints about DID not necessarily being a "strictly" post-trauma disorder. However, I strongly contest their reasons for presenting this, and the implications behind them (and the writings themselves).

Grey Faction asserts that the trauma model of DID is the fundamental deficiency that bolsters the ISSTD. They imply that DID being defined as a trauma-caused disorder is the solitary gateway to treatment that improperly fixates on reliving and recovering from trauma, therefore making it a net benefit to redefine the disorder entirely and include those not affected by any form of trauma.

However, I must note the information I was able to glean from their sources first-- one of them is from 1994, being by no means "recent" as they state. It claims in the abstract that DID (referred to as MPD) in its entirety is merely socially constructed, "like other forms of multiplicity". I don't think I need to go too in depth about why presenting this is the opposite of "helpful" for those with DID, but I'll make a separate post for it if anyone asks about it.

The second source actually is recent, being from 2022. However, it mostly includes DID as a footnote while addressing dissociative disorders as a whole, and how other factors can play into developing one. It also focuses in on the failures of treatment for dissociative disorders due to the fixation on trauma-focused healing, and posits an urgency for psychiatric teams to incorporate therapies and treatments that actually have empirical evidence of being beneficial regardless of specific diagnosis.

With those out of the way, I want to address what I see as the fundamental flaw of this letter: its indirect address of "the community". Online spaces for DID are rife with self diagnosis, misinformation and misinterpretation, so this could be targeting all sorts of people and viewpoints that have nothing to do with DID, but rather "multiplicity" as a whole cultural category. Something that, much like both sources seem to do, completely conflate it with DID- a disorder.

Not all forms recognized as "multiplicity" are in any fashion related to a disorder. DID is not a disorder on the basis of experiencing multiple facets of self, but rather because of the dissociative separation, and the diminished quality of life that results. Something that, on that level, is still suspected to occur primarily (if not exclusively) due to trauma, and as such trauma is still a noted aspect in the DSM 5. Therefore listing any and all forms of multiplicity under the same categorization, let alone including them when addressing DID specifically, is very much a problem.

With all this in mind I want to propose what I find to be the real issue with DID and its clinical treatment - the trauma-centric approach to recovery, and the absolute ego and stubbornness of those in the ISSTD.

If a patient is diagnosed with DID, a trauma-based dissociative disorder, and is found during the course of care to not have any form of trauma, this constitutes a misdiagnosis. But as we've seen from the ISSTD message boards, their members absolutely HATE the idea that their diagnosis could be wrong, and will bend over backwards to justify their patient having DID-- including leading and implanting fabricated memories, like the cases of Dr. Braun.

If you were to remove that stubborn mentality and focus on treatment that is not centered around recovering specific traumatic details, then two things can happen when a client is found to have no trauma history. Either treatment has been found beneficial and can continue while pursuing a re-diagnosis, or treatment has not been found beneficial and a re-diagnosis can be pushed to find what treatment will be more effective. That person can then, if they experience a non-disordered form of multiplicity, seek out spaces that are more accurate to their experiences.

Dissociative Identity Disorder is not synonymous with "multiplicity" as a cultural experience, and cannot be boiled down to "people in your head" due to the many factors of its diagnostic presentation. When pushing for completely removing the trauma model, there's a heavy conflation between DID and other forms of "multiplicity", not only by the public but even by medical professionals writing these dissertations, that further damages the ability to recognize and treat DID. This also re-presents a problem from psychology's history, of treating any "abnormal" behavior or belief as inherently disordered.

This conflation is something I am not complacent in within my own spaces, and it is not something I will become complacent in just because cited sources feature a doctor.

#actually did #actually dissociative #dissociative identity disorder #did #dissociative #survivorsunited #syspunk #rambles #anti endo

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