#rather than a discussion that needs to be confined to this specific story

[metanarrates]

i tend to read otome isekai manwha when I'm not feeling well, and since my back pain is bad lately, I've decided to pick up perks of an s-class heroine!

overall, i think it's decently cute. I definitely see why people call it "shoujo orv" - it's got a lot of similar trappings in terms of worldbuilding and concept. however, its focus is completely different, and it's tonally much lighter. its main character IS inside a time looping novel with an overpowered protagonist facing continual destruction and gods watching her every move, but that's about where the similarities end. the whole story is a pretty fluffy power fantasy in which ailette becomes more and more powerful and talented while collecting a cute cast of characters to help in her journey.

I did like it well enough, but this genre isn't really "for" me in a strict sense. I enjoy it as a popcorn read, but I wouldn't consider myself a big fan of it, at least not in a conventional sense. (longtime followers know that I tend to be interested in analyzing the genre trends rather than being a fan of any specific manwhas.) if you do like fluffy otome isekai, though, this one is a very well-executed example of its genre! it's funny and it's got a lot of cute, well-designed characters in it. it's not particularly deep, but that can be a plus if you just wanna relax and read a lighthearted story. nic stamp of approval 👍

[chaos0pikachu]

I am here actually to appreciate your post. I saw a blogger’s post saying The sign would have been ‘successful’ had it got filled with fantasy and romance and limit action to 10%. I wondered why that person, who says BL is all about romance, watched a show whose genre is action. Then I saw your post about people watching many shows to stay in fandom and I agree. Also you are right about dramas with a complex story receiving heavy criticism. Everything (even lack of proper plot or conflict) is exempted in a romance drama. No wonder most BLs are confined to ‘2 boys and their jealous & crying moments, routine conflicts enhanced by Escola or leads explaining how important Nikon printer is for their relationship’

Well damn hit me in the feels with this appreciation I'ma get all shy and shit.

I always wonder if by "successful" people mean in terms of critical acclaim, story telling, or monetarily. When it comes to Thai shows - and some please correct me if I'm wrong - it's difficult to tell how "successful" they are terms of audience reach/monetarily because there's no easily verifiable information. Like, there's Youtube numbers sure, but The Sign as an example, aired on Channel 3 what were it's ratings total on that channel? Idk, does anyone know that? Sincerely asking lol

Personally the way I like to judge a piece of media is what I call the Roger Ebert method; he often judged films based not solely on whether they were "good" or "bad but by how successfully they accomplished their goals.

If you read his review of Space Jam while it's clear Ebert doesn't think the movie is high art, "You can watch the movie on the sports and cartoon levels, and also appreciate the corporate strategy that's involved. [...] It is difficult for an actor to work in movies that combine live action with animation, because much of the time he cannot see the other characters in a scene with him. But Jordan has a natural ease and humor, an unforced charisma, that makes a good fit with the cartoon universe."

Ebert praises that the film, while filled with obvious product placement and banking on both nostalgia for the toons & star power of Jordan, accomplishes it's goal of being a family for that can be enjoyed by adults and children, and also the ability to blend techniques of live action, animation and 3D rendering.

I bring this up specifically b/c when I see "reviews" of shows in BL - the most common form of meta I see in BL fandom as a whole and that's not a knock just an observation - it's usually always about the narrative. Nothing about the filmmaking. And if there is discussion about he filmmaking it's usually misinformed or worse misinforming - no that's not what aperture means, yaoi framing isn't really a thing in film, the t-shirt is really just a t-shirt, etc, etc.

And like I get why. Fandom is more about story, what the words on a page or what the characters on screen are doing and saying. It's easier to talk about the amazing communication two characters have b/c you don't really need a film knowledge to discuss that. Which is a factor in why I think shows with lower stakes, more streamlined and straightforward plots get praised at a higher, less diligent and harsh level, than shows that are a bit more daring. They're less challenging in structure, they take less risks, so there's less to critique, and there's less room for a show to disappoint.

There comfort food, rather than trying something new at the restaurant. I'm not saying this is a bad thing, again, this is just a general observation.

To me, The Sign is miles better than Cooking Crush on a simple technical level. I only watched one episode of Cooking Crush and I found it pretty mediocre at best from all technical points: acting, editing, cinematography, directing, storytelling.

This isn't to say Cooking Crush is "bad" or that even if Cooking Crush was "bad" people shouldn't like it. I don't give a fuck if people like it, good for you chase the things that spark joy! I like lots of "bad" media, have y'all ever watched Jason Takes Manhattan?

For me, The Sign, like Space Jam, accomplishes it's goals and those were ambitious goals. An action fantasy BL that actually lives up to that premise and looks good?? The fight choreography looks great considering the obviously budget??

Like one of my issues with Laws of Attraction - aside from how painfully disinterested those kisses looked - was the fight choreography was bad.

The characters very rarely land hits in a way that looks real, or even marginally real. I can only speculate they didn't hire a stunt coordinator and/or couldn't hire stunt doubles so there was a worry of injury on set (for both reasons).

This isn't a disparagement on the actor(s) either, like stunt work is difficult and it's important to have professionals on set who can walk an actor through the steps so both them and others don't get hurt. Jackie Chan is probably one of the best known actors alive for stunt work, but watch how many times he fumbles and potentially hurts himself to the point where other actors are actively worried for him:

So yeah I'm going to give The Sign it's fucking gold star stickers b/c aside from some missteps in the gun handling - to many one handed gun fights but even then it wasn't all the time and bullets ran out of ammo! Y'all don't know how exciting for me that was to see - the fight scenes look damn good.

I understand the work that went into them, I understand the pre-production time that it took for the crew and cast to learn that and filming them well is another beast too.

There's a couple scenes with shaky cam that I dislike, but god do I love that first long take in The Sign. I love how good the CGI looks overall again, considering what is probably less budget than Black Christmas (2019).

I'm admittedly, fucking picky about what I watch b/c I'm really lazy and prefer watching films in general. I don't really like TV all that much, but if I am watching a tv show I wanna be impressed with more than just the characters talking to each other. Especially if said show is 12 hours or more.

When I'm looking at a piece of media - a comic, a novel, a film, a tv show - I'm thinking about stuff like "what were it's goals, and did it accomplish them? How was the filmmaking? How was the narrative structure? What is the time/place/culture this was made in?"

I'm not sure if people are arguing if The Sign was "successful" in terms of narratively, monetarily, or critically.

In reality we can only really speculate on how successful a Thai BL is based on data that's not not entirely accurate - social media, youtube stats, awards, etc - and even then most of that is based off international audience.

I can glean that 2gether was successful for gmmtv b/c it got a second season and a film, pretty much skyrocketed Bright and Win's individual careers but again, and created a cross country alliance for activism. But even all that is still speculation not facts (except the alliance that's a real thing that happened lol).

[This is all regardless of my own feelings regarding the show which is not kind. But feelings have nothing to do with individual discussion about how monetarily successful or accomplished a show is or isn't.]

Like it might be valid speculation on both shows but it should always come with a disclaimer of - these are not facts. Also, what is "popular" or "successful" can and will be dependent on individual countries too.

Take Cutie Pie for example, I would argue that it wasn't super "successful" here with American fans, but given how overwhelmingly popular Zee and NuNew are in both Thailand and Korea, I would then argue that the show was a success in Thailand and Korea. So was Cutie Pie "successful" or not? I would say yes!

Because "success" isn't and shouldn't be measured only by how western fans receive a piece of media.

In regards to The Sign, I'd argue it appears to be very successful with only the partial data I have at hand - social media which includes places like twitter, facebook, tumblr, the success of their sold out showing for the finale, a special episode, etc. If people argue it was unsuccessful in terms of narrative, well that's debatable and I have no interest in debating why the show is good except in terms of technical filmmaking and storytelling.

And even then it's a pointless debate like or dislike whatever just don't lie or mislead people regarding film terminology and techniques or harass people because they did like A Thing or clog up the tags with annoying posts about how you didn't like said Thing.

Overall, I don't give "reviews" on things I watch either positive or negative cause, well, I'm lazy lol, I don't believe putting how much I hate a show in it's tags and a thorough rating system would be to much work. I actually like how My Drama List rating system works, I just find most reviews on it to be Annoying lmao. Like giving Kinnporsche a 5 or below is absolutely bonkers to me but whatever es lo que es. But I also don't think my thoughts and opinions on shows are that valuable in terms of discussion.

These are mostly my general thoughts on fandom at large and it's not directly at any particular people its just observations at large across various social media platforms.

I think if you like more squeecore shows that's totally gucci, I just wish didn't proposite that 1) those are the only valid shows in terms of BL/queer media and 2) didn't overhype them to such sky high levels

[ddddaikon]

Thinking about media criticism and how a lot of modern "feminist" media fails so hard because it has nothing to do with self-actualization of its characters and everything to do with a specific set of actions and character tropes. Why does this female character engage in competition with male characters in the story? The broadest answer is (usually) always "to sell something," but then the other common answer is the idea of girl power. And girl power and girl bossery is still like, it only exists to sell the idea that women are just as worthy as consumers or as workers generating profits. And like when we try to pretend that it doesnt all boil down to capitalism its about keeping genders strictly defined and proving that women are as capable as men based on antiquated ideas that men as biologically and fundamentally different than women. And yeah a lot of that bias still exists everywhere, but in the real world when gender bias presents itself its not as obvious as it is in media. Theres a difference between a female character like, winning a basketball game against a male character who brags about how girls are no good at sports and the persistent and pervasive idea that when it comes to raising children, boys are easier than girls. The other point, about keeping gender defined, is that its almost always about assigning roles and talents based on gender and claiming that women are also good at boy things! Theres also the fact that these instances usually have to have the characters obnoxiously declare that women are also good at boy things.

Back to the original question is why does the female character need to prove this? But instead within a cultural or a story context. In a cultural context its like, very recently in the internet age its about ideas of morality defined by active negation of tropes that can be considered harmful. We want the audience to think that the female character is feminist because feminism is moral. Even if we have an antagonist, we still dont want to use harmful tropes, so we still have the character do something to specifically address those tropes. Rather than not incorporate those tropes at all, we actively call them out in the most obtuse way possible.

As for story context, often in the case of very large media companies that spend millions of dollars to make every show and movie they release have the same benign, easily digestible flavor, there is no story context. If there is, its weak at best, and really only to fill the previous check marks. For anything else, the story context is also usually negligible, or hamfisted to be able to fit within the narrowly defined confines of how we lamely qualify feminist storytelling.

And i mean like, trying to define a piece of media as feminist is kind of useless anyways. Its a way we try to distill broader issues with media that enforces gender divided culture. Like its not something that can be meaningfully discussed or addressed by asking "is this movie feminist?". Its the same with how we can't just ask "is this thing good or bad" in literally any other context.

And i dont have a much of a conclusion otherwise its just this is what annoys the shit out of me when it comes to the quality of modern books. Also: this is what annoys the shit out of me when it comes to critique of modern books too.

[digital-era101]

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[tracinginwardinvestigation]

Note #40: Prelude to the Stupid, Silly Detective Fiction

“Rather what we are categorizing as stupid media pertains to form more than it does to content. Stupid media is stupid precisely because it fails to meet the criteria of an established category—be that genre conventions, narrative structure, formal cinematic syntax, or an uneasy tension in emerging media and storytelling” (Kerner and Hoxter 9)

I have been reading the introduction of Theorizing Stupid Media: De-Naturalizing Story Structures in the Cinematic, Televisual, and Videogames by Aaron Kerner and Julian Hoxter, and the concept of stupid media reminds me a lot of my usage of the term “silly narrative”. As someone who has grown up reading more manga than novels, I used to call the content of many manga “silly” compared to its supposedly counterpart, high literature. I did not use “silly” here to imply negativity (wellll, maybe a little), but more so to refer to works that do not confine to conventional storytelling convention. When I stumbled upon Theorizing Stupid Media and saw Kerner and Hoxter’s unusual usage of the term “stupid”, I could not help but think: “Hey, this looks like my thing!”

Although the book’s introduction mostly talks about stupid narrative in new emerging storytelling mediums such as cinema, TV shows, and video games, I wonder if I can consider detective fiction, a very classic genre, as stupid narrative? Detective fiction does fit the definition to some extent. For one, it is a rigid, formulaic genre, in which most stories tend to follow a specific plot structure with minimal deviations; this rigidness is also where most of the genre’s criticism directs toward. Secondly, these stories tend to appeal to a need for escapism as the main subject explored in these texts are less about dealing with controversial societal topics, and more about solving an arbitrary clue-puzzle in the form of an “unrealistic” mystery. And while these stories do have a linear engaging plot, they tend to appeal “to the body, rather than to emotion” (9), a common characteristic of stupid media; the WOW factor when the culprit gets revealed, for example, definitely relies more on bodily excitement than deep emotions (of sorrow, of heartfelt, of gut-wrenching, ...). Especially, what Kerner and Hoxter considers to be a main characteristic of the stupid narrative—“[t]he stupid pertains to the (in)stability, the integrity, the understood bounds of categories (e.g., narrative conventions, genre)” (13)—seems to be a common characteristic in detective fiction also. After all, not many people would consider detective fiction to be high literature back then and even till now, in part because of its unconventional storytelling. I think it is safe to say that detective fiction is surely a stupid media.

But why do I need to categorize detective fiction as stupid? For one, it would be nice to use theories I learn from this book to apply to detective fiction, but the other reason is that the term “stupid” compels me. Stupid is a strong word, but in a way that it is so normal and everywhere. When I used to browse social media a lot, seeing people calling unconventional narratives as “stupid” or “dumb” was a frequent occurrence. They were not wrong with their assessments if they were to examine those works by referring to criteria used to determine high literature. In a way, the usage of the word “stupid” in a discussion about a text often leads the whole discussion into debating about how the work is not high literature, and less about what the work is. Take detective fiction for example, detective fiction is itself a genre that has always been met with disdain. Indeed, if we go by the definition of high literature, most detective fiction rarely meet the (supposed) criteria; hench, stupid media. End of discussion? No. The more intriguing conversation I am interested in is how to analyze these works in their own terms, without relying on a comparison to high literature. To enter that conversation, however, will require me to first understand what makes detective fiction stupid in more depth, or in other words, what makes the unconventional writing style of detective fiction discomfort readers of high literature.

Of course, it goes without saying that the purpose of my attempt to understand stupid media is not to debate whether stupid media is “better” or “worse” than high literature. What I care most about is exploring more alternate ways to analyze a text. Once I am done reading Theorizing Stupid Media, it might be fun to write a whole essay on its application to detective fiction.

[themagnuswriters]

Asexuality in Fic Roundtable - What We Like

How do I write a convincing asexual character in a fic?  Is there a way to address a character’s sexuality outside the context of sex or coming out?  Can a story feature a character's asexuality aside from exploring the negative aspects of the asexual experience?  It’s usually not too hard to find lists of what not to do when writing asexual characters, but much more difficult to find the opposite.

The asexual members of The Magnus Writers discord gathered to discuss their favorite ways to incorporate the day-to-day details of asexual peoples’ experiences into fiction.  We also discussed depictions that we’ve enjoyed in the past, or would love to see more of.  Note that this isn’t an Asexuality 101 resource, so if you don’t feel familiar with the basics, feel free to check out the resources we will link in the reblog of this post.

This conversation included a variety of ace-spectrum people from multiple countries, including both arospec and non-aro people, various genders, and varying relationships to sex and sexual content.  Just like all asexual people are different, the things that we enjoy reading are far from universal.  Some tropes/details brought up as favorites can vary widely--for example, “innuendo completely flies over their head” vs. “they understand but are completely unfazed by innuendo.”  Additionally, some aces love tropes that others would prefer to avoid: for instance some enjoy discussions of physical boundaries to be included in the fic, and some prefer that to be established as happening in the past.  

The examples brought up in our discussion are also far from comprehensive, and can be seen as the beginning of an endless list of possible ways to write asexual characters.  Some examples given are specific to the Magnus Archives, but can apply to any writing.  Take these as inspiration and a way to broaden your understanding of who we are and what we like to see!

ASEXUALITY IN YOUR SETTING

When writing a story including asexual characters, one of your first considerations may be for how asexuality is contextualized within your setting:  Is it fully normalized and accepted?  Does it reflect real-world stigmas?  How is asexuality treated by the narrative and the other characters?  Contributors showed interest in a variety of approaches on this front, with no single approach being worth more than other:

Fics including negative real-world experiences

These would include fics in a realistic setting, where characters may struggle with internalized acephobia, stigma, social pressure, microaggressions, dysphoria, and so on.  This isn’t limited to just “issue fic,” where the focus of the fic is about examining and confronting a struggle, but rather encompasses anything that includes this consideration in its worldbuilding and characterization.  While brighter settings can be refreshing, contributors described reasons why this kind of fic appeals to them:

Feeling seen: Reading about ace characters whose experiences reflect their own

Feeling validated:  Being exposed to only stories where there are no issues on this front can feel like we’re the only one facing these struggles.  It can be extremely cathartic to read something and think “I thought I was the only person who went through this.”

Exploring improvement/hope:  From ace characters learning to accept themselves or other characters making mistakes and accepting correction, these can be validating and encouraging.

On top of ace readers finding worth in these fics, the act of writing the fic can also be very cathartic for many ace authors.

There is a lot of variety for how these fics can be written, such as:

Stories that focus on the negative experience

Stories where that experience is just part of the setting or characterization

The character(s) getting external support and validation

The character facing mixed dismissiveness, acceptance, prejudice, etc. from different people

The story resolving in a way where the situation is resolved: for instance, cutting off an acephobic relationship, or someone apologizing for a microaggression.

Stories where well-meaning characters are accidentally insensitive about asexuality, but learn better and change their behavior

The character confronting or overcoming an internal struggle

Stories where the issues aren’t fully resolved by the end, such as an insecurity not fully going away.

Negative asexual experiences don’t have to be the focus of a fic to be acknowledged. While “issue fics” that closely examine and explore these experiences are valuable, contributors also described enjoying stories that included them as simply an element of the worldbuilding or characterization.  For instance, a story may reference Jon having bad past relationship experiences; facing assumptions that he’s having sex if he’s in a relationship; having moments of insecurities about his sexuality; etc.

Please note that writing negative ace experiences needs to be handled sensitively; fics of this type should definitely be tagged appropriately.  For brief references, consider including author’s note warnings on the appropriate chapter (e.g. “asexual character assumed to be having sex”).  Having an asexual sensitivity reader--particularly one of a type that corresponds with what you’re writing (i.e. sex-neutral, gray-ace, sex-repulsed, etc)--is very much encouraged.

Fics where asexuality is normalized

In contrast, there is just as much interest in stories that avoid all of these issues, and fully normalize asexuality.  Contributors described how they enjoy stories where ace characters are allowed to just exist, without big important conversations or small othering details that depict asexual identities as less than fully accepted.

These can be included in any type of fic, but a few of the suggested details for how to normalize asexuality in a setting include:

A character being already out and accepted:  For instance, Martin already knowing about Jon’s asexuality from early seasons.

Characters in the fic already knowing what asexuality is without needing it explained to them

Having more than one character be asexual:  We aren’t confined to writing only canon characters as ace!  This not only goes the extra mile in normalizing asexuality, but it gives the chance to include more of the ace spectrum.

If you’re aiming for asexuality to be normalized, please consider whether it makes sense for your asexual character to be anxious about coming out or discussing boundaries.  There is a world of difference between someone responding to an ace character coming out with “I fully support you” and responding with “you’re an idiot for thinking we wouldn’t support you.”  This is a common and easy pitfall to fall into, but the result is often less escapism and more a message of “your struggles aren’t real, and you’re stupid for thinking they are.”

Asexuality in Metaphor

Some contributors mentioned wanting to read settings where asexuality itself is normalized, but the issues facing aces could be explored on a metaphorical level.  This falls somewhere in between the ideas of realistic or idealized settings as regards the ace experience, and could allow that exploration with a layer of distance.  Ideas relating to this included fantasy settings with different kinds of magic.

PERSONALITY AND CHARACTERIZATION

The experience of being asexual isn’t something just limited to a relationship with sex: it can be shown in many ways, such as how a character relates to themselves, other people, media, and society.  Like any other queer identity, it affects many aspects of our lives and informs a great deal about us as people.  These little details don’t even need to be presented in a blunt “this is because this character is asexual” way--they can be little relatable notes for your ace readers, while not coming across in a “this is how all ace people are” way.

We’ve seen the question “how do I write a character as asexual, if I’m not planning on having someone ask them for sex or writing a coming-out scene?” many times.  Our contributors were excited to share a wide variety of ideas for this from things they’ve read, written, or experienced:

Ace confusion

Not to be confused with the infantilizing “doesn’t know what sex is” approach, this could involve things like:

Being confused over what sexual attraction is: difficulty defining what they don’t experience.

Difficulty describing to others what lack of sexual attraction is: this is their default, and it can be difficult to contrast it to what they don’t experience.

Thinking that others describing sexual attraction or interest is just exaggeration

“Wait, that’s what you mean when you say ‘hot’?  I just thought it meant they’re gorgeous.”

“You mean meeting someone and being instantly sexually interested in them is a real thing, and not just a movie trope?”

The Absurdity of How Society Views Sex

The jarring dissonance between asexual experiences and the norms in society and media can cause a lot of alienation and dysphoria in aces, but often it hits a point of feeling like a joke is being played on you.  Contributors offered ideas for how this could be illustrated through a character:

Reading “How to Spice Up Your Love Life” articles out of pure morbid curiosity

Taking the most ridiculous Cosmo sex life article as How Everyone Thinks (and being concerned)

Having an allo friend or partner they can ask about whether any of it is legitimate advice (this one was brought up by a lot of people as a common ace experience)

An ADHD/autistic character getting a special interest or hyperfixation on societal views on sex or sexual practices, and pursuing it as purely a matter of research with no interest in participating

“Why do they keep bringing up ice cubes?  Georgie, stop laughing, I am a researcher and a scholar.”

Needing to teleport out of the room if a sex scene comes up in a movie

Not minding the sex scenes, but needing to make fun of them or point out impracticalities

“On the beach?  But sand is everywhere?  Wait, they think getting sand everywhere is hot??”

Being baffled at what’s considered sexy: for example, Jon being baffled at “wet clothes are sexy,” having grown up by the beach and associating them with being terribly uncomfortable

Of course, asexual characters don’t need to be framed like they constantly need to learn about things from allo people--sometimes the reverse can be a fun twist.  One reversal, for example, could be an ace person helping their allo friend parse whether their attraction to someone is simply sexual or also romantic.

Aces vs. flirting

While not specifically connected to sexual attraction, how a character interacts with flirting can very much demonstrate the asexual experience.  Contributors discussed a variety of their own experiences, and details they’ve enjoyed reading for ace characters:

Having difficulty distinguishing between different kinds of draws to people--is it romance?  Friendship?  

Having difficulty picking up on whether or not someone is interested in them

Failing to realize they’re flirting or being flirted with

Enjoying flirting as just a fun thing to do without any particular goal (a popular suggestion for a Tim ace headcanon)

Casually flirting but then backing off if it becomes “real”

Several examples were given of scenarios these could be used for Jon:

Jon’s dry prickliness stemming from wanting to avoid people thinking he’s flirting or showing interest in them, not being sure where others judge the line between “flirting” or “being nice.”  

Jon deciding he is going to make an effort to be more friendly to people, and awkwardly starts showering others with compliments; some of them interpret it as flirting and it’s very confusing.

Jon (or Martin) being overly dramatic or romantic when purposefully showing interest in someone, drawing from a basis of books or media rather than social experience.

Aces vs. hotness

We might use the word “hot” excessively, but ace people often have their own understanding of the word (and are often surprised to learn what others mean by it).  Contributors brought up the following ideas for this area:

Using “hot” as an expression of “gorgeous to look at,” and being confused to learn that others use it as a sexual expression.

Engaging with “are they hot” conversations based purely on aesthetics, or other impressions like “would they give good hugs.”

Focusing on seemingly random physical details, like wrists or eyebrow shape, over more commonly sexualized ones.

Being confused over the criteria others use for hotness.  Example:  Jon’s reaction to “the hot one” comment.

Finding fictional characters not represented by a real person “hot” (e.g. from books, podcasts, video games with bad graphics, etc)

Using the words “hot” and sexy” for completely nonsexual things.  Several contributors described being told they couldn’t be ace if they called anything hot/sexy, and then doing it more out of spite.

Being completely unfazed by innuendo or sex/nudity:  For example, Jon’s calm response vs. Martin being flustered at Tim stripping

This is also an area where a story can establish the nature of their relationship with those around them: if a character is comfortably out as not being interested in sex, for instance, you can show that others around them support that by making their conversations more inclusive. For example, a “fuck, marry, kill” game with modified categories, or a “who would you have sex with” conversation changed to a “who would you have dinner with” one once the ace character enters.  

Aces vs. sexual humor

Ace people’s reactions to sexual humor can vary as much as the reactions to flirting.  Contributors described enjoying a broad range of these:

Aces who love sexual humor (not limited to sex-favorable aces)

Humor taking an angle of “sex is so strange, glad it isn’t real.”

Aces who are bored with or exhausted by sexual humor

Not finding sexual humor funny unless it’s also clever.  “Yes I know that’s a sexual reference...wait, it was meant to be funny?  Because it’s connected to sex?  ....I see.  Anyway.”

Bonus points if the “is that supposed to be funny because it’s sexual?” ace and the filthy humor ace are friends

It can even vary for the same person from setting to setting: someone may find making dirty jokes with a group of ace friends might be fun (see the “Absurdity of Sex” section above), but be very uncomfortable with someone else trying to twist something they said into something sexual.  There’s also the nature of the joke itself: a silly pun may be fine, but a joke implying the ace person is interested in sex or said something sexual without meaning to may be alienating.

For TMA, the general interpretation of Jon is that he’d be uncomfortable with sexual humor, which is relatable to a lot of asexual people, but contributors brought up other possibilities as well: for example, the idea of Jon liking clever wordplay so much that if it just so happens to include something sexual, it doesn’t feel odd to him--why do the others look so shocked?

Note:  A lot of asexual awareness posts insensitively treat the concept of aces who love filthy humor as more mature, more easygoing, less stereotypical, or otherwise superior to aces who are uncomfortable with sexual humor.  This is a very harmful attitude that looks down on a lot of asexual people, and adds a pressure to push past comfort levels to fit in and “avoid being a stereotype.”  Contributors loved reading stories that include flirty or filthy aces, but not when they take this tone.  A favorite suggestion was to include more than one ace character to depict a variety, while treating them as equally valid.

Somewhat related to this is ace people’s relationship to sexual euphemisms.  Contributors described their experiences or how they might write an ace character responding to these:

Being exhausted by how so many terms are considered euphemisms, or how any comment could be reframed as sexual.

Having a special annoyance when they accidentally stumble into or misunderstand a euphemism

Wanting to decouple euphemisms from their literal meaning: why does “spending the night” or “going home with someone” have to mean “having sex”?

In the same line, being very blunt and straightforward about making sexual references, because why dance around it?

Characterization Considerations

One discussion that is particularly relevant to The Magnus Archives is the idea of the “uptight nerd” ace persona.  It may sound strange to say, but there is some legitimacy in this characterization, but for different reasons than is stereotyped.  Many of us build up this persona while growing up--particularly in adolescence and early adulthood--to fend off uncomfortable social pressure, self-examination, or external criticism for why we relate to sex differently than our peers.  This often involves playing up certain defenses for discomfort for sex or dating:  “I don’t have time for any of that, I only have time for books and knowledge!”  Or, the adult version:  “I don’t have time for relationships, I’m married to my job!”  

Where this departs from the stereotype is that these are generally coping mechanisms or facades rather than the truth.  Asexuality isn’t “of course they don’t have time for sex, they’re obsessed with this or that”--but an asexual person who doesn’t feel comfortable in their environment, such as around work, school, or family, may deflect judgment with similar excuses.  Similar to this, some find it tempting to be antisocial or hostile on purpose to fend off interest in them or avoid sexual expectations.

This is, of course, far from the only way an ace character could be written.  For instance, if you wanted to write a setting where asexuality is more accepted, you could write Jon’s antisocial and closed-off tendencies as a result of being bullied from a very young age, while he is confident and secure in his asexuality.  Or for other characters: you could write Tim as someone who has enjoyed sexual relationships, but just thought everyone was exaggerating on the attraction side of things.

Intersection of Asexuality with Other Identities

Another characterization consideration is how asexuality intersects with other identities and experiences included in the fic.  Below are a few examples of many:

Asexuality and masculinity:  Social expectations of masculinity place a high emphasis on sexuality, particularly heterosexuality, treating sexual activity as a commodity or prize.  One possible reading of The Magnus Archives is Jon’s tendency to have closer and more numerous friendships with women connects to this.    

Asexuality and trans identities:  There is a significant overlap between aspec and trans identities, particularly nonbinary identities.  Based on an October 2020 study by the Trevor Project (see link in reblog), ace respondents were roughly 50% more likely to be trans (including nonbinary) than allo respondents.  Contributors described how they’ve felt things like “is this dysphoria I’m feeling a gender thing or an asexuality thing,” or how figuring out their asexuality helped them explore their gender.

Asexuality and race:  In combination with LGBTQ+ spaces often being white-dominated, people of color often face stereotypes that hypersexualize or desexualize them.  This can have a strong impact on people of color’s experience and self-perception as asexual.  For instance, if you are writing Jon as Indian, you could consider how this may have impacted his experiences in LGBTQ spaces in university.  As there is no ‘one size fits all’ experience for aces of color, we strongly recommend researching for the particular background you have in mind.  We will be adding resource links to our main page shortly, but in the meantime check out the links in the reblog of this post!

INTIMACY AND RELATIONSHIPS

One of the topics addressed in our discussion was how a character’s asexuality may impact their experiences with intimacy and romantic relationships. Contributors discussed ways to portray this in fic, whether or not it includes sex or even mentions it.

Physical Intimacy

Intimacy, sensuality, and sex are separate things that may or may not overlap depending on the individual.  Contributors discussed how, for people across the ace spectrum, the relationship between these three tends to differ from common societal frameworks or depictions of intimacy in fiction.

Enjoying physical intimacy without the expectation that it will become sexual: massages, falling asleep on top of each other, bathing together, etc.

This includes acts that would often be expected to “lead somewhere” but don’t, such as lots of touching or nude cuddling.

Craving closeness/touch completely outside of sexual drive

One scenario suggested for this topic is an asexual character discovering that without the worry that an act of intimacy will ‘lead somewhere,’ they enjoy something they used to get anxious about, such as sharing a bed or showering together.

Boundaries & Communication

Stories with an asexual character in a relationship often address physical boundaries within that relationship.  The below are some of the scenarios contributors have enjoyed:

People communicating over their sexual boundaries, rather than assuming what these are as soon as they hear the word “asexual.”

The boundaries discussion being framed as something that any couple in a fictional relationship should have, not just because one is asexual.

In relationships between allo and ace characters, the allo character having boundaries of their own, rather than just the ace character.

Normalizing boundaries discussions for allo couples as well.

Note:  If a boundaries discussion involves a sex-favorable ace character, take caution at the risk of having them sound offended or derisive that the discussion is happening (e.g. “What, I’m not a child” or “Not all aces are like that.”).  Enforcing the idea that people should assume their partner is sex-interested is extremely harmful to sex-disinterested aces.

Some contributors noted that they prefer fics where the boundaries discussion is something that has taken place in the past, rather than run through at the beginning of each fic they read.  In these cases, this past discussion could be illustrated in the interaction itself: a character’s awareness of what lines not to cross, the other’s confidence and trust that those boundaries will be respected, and so on.

Issues of Intimacy Outside of Sex

While aversion to sex is the most well-known dimension of asexuality, there are other aversions and boundaries that could apply to either ace or allo characters:

Ace characters that are kiss-averse and/or touch-averse:  This also works against the “They won’t have sex, but they’ll make up for that with kissing even more!” trope that implies asexual people have to compensate for a nonsexual relationship.

Allo characters with their own aversions or specific boundaries: suggestions included how this can apply to trans characters.

Fluctuations in levels of aversion (note: it is important to not treat increased aversion as “progress” or decreased aversion as “regression”)

In cases of fluctuating aversion, characters developing ways to communicate these levels, and responding appropriately.  For example, “Kissing is not on the table right now, let’s move on to something more comfortable.”

Contributors were excited to discuss how this area could particularly be used for the allo partner of an ace character, such as an allo Martin having difficulties with touch post-Lonely, or discovering that he doesn’t enjoy kissing.

Relationships to Sex (or Lack Thereof)

Asexuality ‘subtypes’ are terms many aces describe their personal relationship with sex and/or sexual content.  These are simplified self-descriptors rather than rigid categories or mini-sexualities, and the terms rarely encompass the full detail of that relationship.  Please note that the below discussion assumes a general familiarity with ace subtypes.

Needless to say, aces across the spectrum and of every subtype want to see their identities represented in fic.  The discussion focused on ways to illustrate those experiences, and details contributors would enjoy seeing:

Non-averse aces trying sex and deciding they have no interest in it: pushing back against the “if you’re not repulsed you’ll like and want sex” idea.

No expectation that “sex-favorable” means always interested in sex.

The pressure an ace person may face to oversimplify their relationship to sex or sexual content out of fear they’ll appear inconsistent or exaggerating:  “If I’m okay with this now, what if I’m not later?  Will I seem picky if I’m only comfortable with something in an extremely specific scenario?”

“Sex repulsion” and “sex aversion” generally are used to describe asexual people who don’t want sex, but are simplified terms for what can be immensely varied experiences.  Someone could be repulsed by physical involvement in sex, repulsed by personally engaging in anything sexual, repulsed by sexual content, repulsed by just the idea of sex--or any variation or combination of these.  There are even repulsions that could be part of more sex-interested subtypes: an ace who enjoys sex but is repulsed by nudity, or an ace who enjoys sexual activities with a partner but not being touched during them, etc.

Contributors discussed how much they enjoy reading simple “I just don’t want sex” approaches to aversion/repulsion, but also look forward to reading explorations such as:

Enjoying one specific type of engagement with sexual content or activity, but having an aversion to others.

Regularly varying levels of repulsion: Days of “please don’t remind me sex exists” to days of mild curiosity, for instance.

Aces with a relationship to sex that doesn’t involve another person, including if they’re in a relationship.

Fluidity between ace subtypes can fluctuate between sex-interested and sex-disinterested in both directions: it can be both “I said I wasn’t interested in this before, but let’s carefully revisit” and “I know we’ve been doing this, but I’m no longer comfortable with it.”  Contributors mentioned never having seen fic with the latter, and expressed an interest in reading stories exploring this.

On this note, it is common for stories of fluidity between subtypes to be only moving in a more sex-interested direction.  Many asexual people, particularly sex-averse aces, face immense pressure to ‘learn how to like sex,’ or have their sexuality erased by saying they’re a ‘late bloomer’ who will learn to like it later.  Depicting this direction should be done with great care and nuance, and we strongly recommend getting feedback from a sex-disinterested sensitivity reader for stories of this type.  It’s possible that an ace reader who isn’t sex-disinterested would miss or not be affected by something that is quite painful to sex-disinterested aces.

CONCLUSION

If you’ve stuck with us for this long, well done! We understand that such a long resource can be a bit overwhelming, but we hope it can show you the depth of variety and enthusiasm ace readers have for more ace content and inspire you further.  One thing we all had in common during our discussion was how excited we were to have a canonically asexual protagonist, and how thrilled we were to see content that explored his asexuality.  In putting together this resource, we hope that you are encouraged to write about characters whose asexuality impacts their experiences and the story in unique, thoughtful, and creative ways.  We can’t wait to see what you come up with!

[liminalbookshop]

Workflow Tips for Writing

sooo I’m working on a writing project but since I’ve done a lot of project management for creative teams in classrooms and I have pretty severe executive function issues (ADHD) so I thought I could provide some Workflow tips rather than specific writing tips. 

0. ***STARTING is it’s own skill!*** Have an empty word document open on your desktop. Or a new page open in your notebook open on your desk. Use your notepad or an app like Bear, Ulysses or Scrivner (all of these can be opened on your computer and phone.)

Challenge yourself to write for 30 seconds to a minute everyday. It can be anything. Sometimes I just write out two characters discussing who needs to pick up laundry. Sometimes I write out “I don’t wanna write.” for five minutes straight. Doesn’t matter.

You’re building the muscle of “Showing Up”.

***Starting is the most difficult and important habit to establish. Don’t let anyone else tell you otherwise. It is completely different from every other skill.

1. There’s a difference between Brainstorming and Drafting 

Brainstorming = Pinterest, Image, Searches, Sketching, Quick Scenes, talking into a recorder, Whatever

Drafting = Writing or Drawing your Scene

Know when you’re DRAFTING as opposed to BRAINSTORMING. You might be very good at brainstorming from 1 am to 4 am, respect that. You might have an idea (brainstorm) while working a draft, put it on a page titled “Brainstorm/Cool ideas!” and revisit it. You can switch--- just recognize that you’re switching.

Sometimes you’re not getting any new ideas - don’t trip --- just draft.

2. The only job of a first draft is to exist. Memorize this. Please make it shitty. The point is to get it out of your head and stop using your brain as a storage receptacle. Your brain is not a shelf ---- it’s a desk. You need it clear.

3. You need to get through the whole process. Take a full lap.  Eventually you will figure out the end of your story. Practice paraphrasing from start to finish. As you think of new scenes you will realize what has been missing from earlier ones. You won’t fill those holes until you finish that lap.

Brainstorm -> Draft -> Launch/Steep -> Edit/Rewrite.

You can’t get good at editing if you never finish a draft of a scene

You can’t get good at drafting if you only brainstorm

Sometimes we keep doing something because we feel like once we stop we can never come back.

But we can-- it’s a cycle.

Only doing one part of the cycle is like skipping “Leg Day”--- it shows.

4. Let it sit or ‘steep’

Leave the scene alone for a few days or a month. When you go back to it you can see weird holes that you missed. I usually do this for scenes rather than full stories.

5. Rewrite over editing. 

It’s best that you just open a new page right next to the old one and retype. You will naturally self-edit as you go. When you rewrite you can lean in on your instinct rather than working within the grammatical confines of your earlier draft. Pretty much every writer recommends this from James Baldwin to whoever. Just do it.

5.a. If you hate the scene re-write from memory. You’re only gonna write what’s important. Or you’ll catch what you missed.

5.b. Re-read a scene from a book you like then immediately rewrite your scene. For some reason tones and methods from books will stick in your brain like a sweet drink in the back of your tongue. Usually I’d say worrying about copying but honestly no matter how you try you’re not going to be able to write the scene the way another writer could unless you’re stealing phrases outright. No one can write like you. You can’t write like anyone else.

You probably gotta cut it out. Less is more. Readers usually like less words and less double negatives. (This list of tips is exempt lol)

6. You won’t write your story in order. Don’t expect to. Writing is mostly seeing a cool scene and then doing everything in your ability to get the reader to it.

7. Because you won’t write your story in order you can use one of these to indicate you’re jumping scenes...

“something happens”

“Unfinished dialogue with an open/missing quotation mark

line break, “---”, line break

line break, “idk”, line break

double/triple break line

There’s no need to even take you hands off the keyboard. Just use a way to indicate within lines that you’re jumping scenes

8. Learn to paraphrase your story from start to finish. The more times you cycle through your story the easier it will be to find hiccups and holes. You cannot pre-empt or prepare the reader for scenes that you haven’t realized are going to happen.

8.a. Try pitching your scene. Ask a trustworthy friend, patient family member if you can pitch a scene to them, let them ask you obvious questions. Practice answering them and learn what’s not as obvious as you thought and how to communicate it quickly. This is helps make ideas seaworthy. Stories can’t only be prose.

If you don’t have anyone use voice recorder app and listen back.

8.b. Read your shit aloud. Even if you’re exceptionally bad at reading aloud. You’ll get a better sense of flow and tone when you do. You will get better at this. It will become more bearable.

8. An Act 3 problem is an Act 1 problem.

Same for lines. If you’re having a problem put it in [brackets] and head back ten lines, or three paragraphs and try it again.

9. Mapping out your plot IS work. Make sure to give yourself credit. There’s a reason that people say Jack Kerouac’s “The Road” is just typing.

10. Establish tone and POV in your character sheet. I make all of my characters respond to the same question. “Can you tell me the story Little Red Riding Hood?” Some of them do. Some of them muddle it. Others forget it outright or tangent.

11. Don’t Break The Chain. Get a Calendar and a Sharpie. X out your days.

We need ways to visualize our progress. Sometimes writing requires a lot of front-loading and esoteric nonsense. It helps to just [x] out a calendar space every day you do something for your book. Try not to break that chain.

These tips are compiled from years of me helping an endless flow of groups working on creative projects. I find that a lot of the issues people have with creative projects aren’t issues of skill but issues of workflow. I hope these can help you.

[anarchy2021]

PSA Day! (Rp etiquette)

{ID: A person standing next to a flipchart. They're thin, and have medium-length brown hair, pale skin, and dark brown ears. The ears are angled horizontally. They're wearing thin-rimmed glasses, and their expression reads as confident. Their hair is partially tied up in a bun. They also have a long tail the same brown as their ears, with brown fur the same color as their hair on the end. They're wearing black trousers, a black waistcoat with a white shirt underneath. Additionally, a black overcoat with gold edges is draped over their shoulders. The inner lining of the overcoat is red, and partially visible behind the person. They have their right hand on their hip, and with their left hand, they're holding a stick up to the flipchart, which reads "RP 101 :)". The 101 is underlined. END ID.}

Greetings! You may not recognize me (unless you were watching the debate perhaps, then, sup) as I admit I’ve been a bit…. Behind the scenes as it were (as secretary of VOID there is a lot of looking at the void, usual routine for me mhm mhm). Regardless, I’m Days (or Nights, either or) and for today’s PSA I’m here (along with some words from our recently freed from totally-not-prison president, Graphite, at a later date) to talk to you about roleplay! More specifically, rp etiquette and terms and how that relates to the DSMP and how it should be talked about. 

Now now, you might be wondering “oh but what is your experience?” Glad you asked! I’m a long term text rper with over 5 years of experience- and my main avenues of rp are rps similar in structure to that of the DSMP- long term improv driven sandboxes that also have important events planned ahead of time in some regard but are often player driven most of the time. Now, let’s get into it!

Head writers/admins

Let’s start off with a pretty hot topic regarding the server, which is the existence of a ‘head writer’ (usually in reference to Mr. Soot). Now, mainy take this as meaning quite literally a writer- like in a show, but, with what information we have I think it’s safe to say he’s not really that and more along the lines of an rp admin/head. The admin’s main purpose is to keep things structured and organized, as well as putting together the events they’re in charge of. This is pretty much how everyone treats the man anyways, BUT, while an admin is in charge of a lot they do NOT have the final say over everything, particularly in regards to the characters and their players. 

Players in an rp for the most part have full control over their characters (within reason and the confines of the rp setting) and an admin enforcing their will onto a character (such as enforcing certain backstory choices that don’t seem particularly wanted. For example, the fridge with c!Phil) is often frowned upon unless there is a good reason for it and discussed with the rper. 

It is also notable that just because there is an admin, that doesn’t mean they’re the sole writer/organizer/etc. It is not at all uncommon for specific subplots and or other important events to be headed by players involved in it in this type of rp. This can be seen in practice with how the Eggpire plotline was headed by BBH and the prison plotline was mainly written by Dream and Tommy. 

Summary:

- head writer/admins do not and should not control everything

- organise and structure events

- players might admin their own smaller plots within a rp

Narrative consequences

Now, another hot topic- especially in regards to character discourse (my abhorred personally). Narrative consequences. These are generally referred to when someone thinks a character is not getting the consequences for their actions in the story that they should, or (more rarely in my experience) when they feel a character is being punished too hard for their actions. While this is an understandable feeling to have, at the end of the day narrative consequences just aren’t much of a thing in roleplay, at least not to the same extent as a book or tv show. 

This is for one simple reason, consequences rely on the character’s actions and how they respond to others around them, if a character does not feel like it’s fit to react or if it angers their character- it is 100% within their right to respond accordingly. 

However, there is also an argument that can be made if a character responds to something in a way that doesn’t align with a character’s usual actions. For a personal example, one time in a rp I was playing a character who was intervening when another character was being hurt, however, my character was met with scorn from being somewhat aggressive regarding it- I felt that this was unfair as none of these character showed the same scrutiny to characters who did worse things, and none of these characters had been established as hypocrites. 

This grudge lasted the entire rp until my character died. This is a point where believing that the consequences to a character are unjust is more or less fair, but, a character simply not getting immediately smited or a character getting scorn is not automatically a point against the character, especially since an rper cannot reasonably make their fellow rpers react a certain way.  

Summary:

- narrative consequences are not the same in RP as in other mediums

- can't force characters to react, or force players to react in a way they don't feel is fit

- but can critique RP if things feel unfairly ooc/inconsistent

Retcons

Next up, retcons. What is a retcon? It’s short for retroactive continuity, in essence it’s when in a piece of media something is changed retroactively- such as a character’s personality, how an event occurred, etc. for an outsider audience perspective retcons are often looked upon unfavorably, as it’s changing something already established which can cause friction among those attached to certain ideas, but in reality retcons are both a neutral concept and fairly normal to occur in rps. 

Rps are (generally) not professional writing, they’re things made up on the fly with perhaps a base to work off of (and depending on the rp, not even that. However in the rps I’ve done we generally had character sheets and the like for backstories and all) and thus sometimes mistakes happen. One of the main causes for minor retcons is when details are confused or left out that would have realistically affected the situation or how characters would have responded to it, unless in severe cases these usually happen on the spot and don’t cause much of a fuss. 

Major retcons often fall along the lines of players and how they choose to present their character. This is especially common when a player is using a character for the first time or even if they’re just new to an rp in general, sometimes as we rp we simply decide to take things in a new direction and sometimes that direction may cause things already established to be retconned, even if not outright stated. 

A good example of this is the enderwalk with c!Ranboo, the enderwalk as it was first introduced is very different than it is portrayed now, likely as a result of Ranboo taking a new direction with his character since then. More widespread retcons may happen if people are unhappy with a certain plot thread, in this case an example would be the canon status of SBI, Wilbur used to push it but Techno (and later Phil) didn’t want it to be canon, so anything about it previously said has been soundly retconned. 

In my own case character retcons very often happen to me when I first use an oc, as the character takes a different shape than what I put on the paper in practice, even sometimes within the same rp (one of my first ocs was practically unrecognizable as the same character in the beginning of an rp as compared to even just a few weeks later).

So, retcons are fine and normal to occur, but, like I said- they’re neutral. A retcon can very well be done poorly and cause problems. This is mainly in issue with retcons made that affect highly established and built upon aspects without discussion with all those who’d be effected, this can cause confusion, plot holes and cause characters to be in a weird limbo if they don’t know how to have their character act without whatever was retconned. Major retcons need to be discussed in order to prevent these problems, and in some cases should be avoided entirely- instead it being better to work for a compromise and rework events rather than removing them. 

Summary:

- retcons are normal and neutral

- small retcons happened frequently in RP to help keep things going in an improv heavy medium. Usually unnoticeable

- large retcons tend to have with new players, or if the story is taking a new direction.

- large retcons require a lot of communication, and sometimes whould be avoided, instead working to compromise and rework the direction of the RP

Metagaming and godmodding

Metagaming and godmodding are two very important terms to know for rp etiquette and if you’ve done any rping you’ve probably seen these words thrown around in rules lists and such already. These are both ultimately negative things that should be avoided at all costs. What are they? Metagaming is when you use information that you know OOC and use it IC even though your character should not have that information. Godmodding is when a character is taken over by another person for one reason or another against the player’s will- such as having a character react to something without letting the actual rper do it. 

The former is a big issue when it comes to discussion of the DSMP and how people interact with it, mainly in the chat and donos. When you are trying to get a character to react to information that they shouldn’t have you are trying to get them to metagame, which is heavily frowned upon in an RP. This is also important to note in discussion, a character not responding to certain important events is not a mark against them if the character has no way of even knowing what was going on, or would not reasonably respond to it with the information they have. 

Summary:

- both frowned upon

- god modding is taking over someone elses character

- metagaming is using out of character information to do in character acting

- Meta gaming is relevant to DSMP particular in how it relates to donos and chats. Don't encourage meta-gaming

All of these factors are important to consider when discussing the DSMP and it’s narrative, it’s not going to function the same as other forms of media nor should it- as once you go in that direction you’re competing with the big boys over at tv and at that point things would fall apart. Improv and it’s unique variables is what makes the DSMP, and anything else like it, special and interesting to follow!

[ssaalexblake]

idk how to categorise 13′s mental state after that episode, to be honest? On one hand, the 19 years apart and in solitary confinement apparently made her want physical contact And emotional contact. That’s not strange or odd, i’d class myself as the same brand of touch averse to 13 and after 10 months of limited to no human contact I want to hug people and have deep conversations, something else i’m not generally much of a fan of. 

Like, the sudden urge for closeness both emotional and physical, or just the acceptance of it when there was none before, isn’t weird as much as an understandable affect of her circumstances. I feel like a lot of us could get that at the moment. 

It’s the Anger part i don’t know how to classify. On one hand, due to her prison stay she seems willing to make use of a shoulder to lean on (her avoidance of the topic with ryan, to start with imo, was more a sign on emotional immaturity than avoidance. I don’t think she really necessarily got that it Did matter... Luckily Ryan has emotional intelligence in spades now and walked her through a few steps of healthy ways to deal with things), and i mean, you always miss what you can’t have so in hindsight i’m not actually surprised she was willing to be more open in this episode (she may not have explained the back story to Jack, but she Also spoke honestly to him at times). There’s nothing like having nobody to talk to that will make you want to talk. 

So you have a 13 who Isn’t by default necessarily going to instantly repress anything she deems a negative emotion. Because 13′s be kind and happy thing led her to only want to express those types of emotions and had her anger boiling over. Even in s11, where she had control of When she let her anger run free she was still using bad guys as some kind of emotional pressure valve release. The only difference in s12 was she’d lost control of it all. 

So, there’s a Chance she might actually get on a little better on this front from now on. Maybe. She’s less likely to explode if she lets off steam every now and again. But... Will she do that with Yaz? That’s not really the relationship they Have. It’s up in the air, their relationship is in the middle of a big adjustment and will evolve accordingly even further than it already has. We have to wait and see. 

But then there’s the other angle. All these times before we’ve seen 13′s viciously grinning glee and terrifying stillness because of her anger. And it was scary and threatening. But what we got in the special was something entirely different. Her ‘i am the doctor’ speech in Osaka was... Terrifying.

I don’t use that word lightly, but she looks Genuinely scary here. 

Not just that specific moment, that whole scene as she’s crouched down over Leo’s body out of sight of the fam. That stare is 1000 yards. It’s Empty. This is her having no identity to claim for herself and reaching for what she finds. 

Unfortunately, what she found was a self definition of actual violence. She defined herself over her ability to kill Daleks. I wouldn’t even say she was particularly angry here, she obviously is but we’ve seen her worse, this is her... Lost? She’s in a place where the only identity she can claw out for herself involves violence. And that’s Empty. 

I feel like 13 could easily go down a fairly merciless path here. I feel like Yaz’s brash and open judgemental characteristics would benefit 13 in this case, a Lot. She’s lost and needs guidance. She needs to define herself around something other than her ability to cause harm otherwise this will be a dark path, very fast. There’s no forgiveness, here. 

So will her newfound ability to discuss her feelings aid her in controlling her anger and the actions that stem from that fury, or will that new ability not Matter if the bad things she does are no longer even motivated by anger but rather a loss of identity? 

She’s going to have to learn herself again, to build herself up from scratch with new foundations at the bottom. She just needs to be very careful how she chooses to define herself because so far? I don’t think she’s doing great.    

[flufffysocks]

let's talk about andi mack's worldbuilding

sorry this took forever to make! i've been pretty busy with school stuff and i kind of lost my inspiration for a bit, but i ultimately really enjoyed writing it! i wish i could've included more pics (tumblr has a max of 10 per post), and it kinda turned from less of a mini analysis to more of an extremely long rant... but i hope it's still a fun read!

i've been rewatching the show over the past few weeks (thanks again to @disneymack for the link!), and i’ve been noticing a lot that i never did the first time around. this is really the first time i’ve watched the show from start to finish since it aired, and it honestly feels so different this time - probably a combination of the fact that i’m not as focused on plot and can appreciate the show as a whole, and also that the fandom is much, much smaller now, so there’s a lot less noise. so the way i’m consuming this show feels super different than it did the first time, but the show itself doesn’t - it’s just as warm and comforting to me as it was the first time around, if not more so.

i think a lot of that can be attributed to andi mack’s “worldbuilding”. i’m not quite sure that this is the right word in this context, to be honest, because i mostly see it used in reference to fantasy and sci-fi universes, but it just sort of feels right to me for andi mack, because you can really tell how much love and care went into constructing this universe. for clarity, worldbuilding is “the process of creating an imaginary world” in its simplest sense. there’s two main types: hard worldbuilding, which involves inventing entire universes, languages, people, cultures, places, foods, etc. from scratch (think “lord of the rings” or “dune”), and soft worldbuilding, in which the creators don’t explicitly state or explain much about the fictional universe, but rather let it’s nature reveal itself as the story progresses (think studio ghibli films). andi mack to me falls in the soft worldbuilding category. even though it takes place in a realistic fiction universe, there’s a lot of aspects to it that are inexplicably novel in really subtle ways.

so watching the show now, i’ve noticed that the worldbuilding comes primarily from two things - setting and props, and oftentimes the both of them in tandem (because a big part of setting in filmmaking does depend on the props placed in it!).

one of the most obvious examples is the spoon. it really is a sort of quintessential, tropic setting in that it's the main gang's "spot", which automatically gives it a warm and homey feel to it. and its set design only amplifies this:

the choice to make it a very traditional 50s-style diner creates a very nostalgic, retro feel to it, which is something that's really consistent throughout the show, as you'll see. from the round stools at the bar, to the booths, to the staff uniforms, this is very obvious. the thing that i found especially interesting about it though is the choice of color. the typical 50s diner is outfitted with metallic surfaces and red accented furnishings, but the spoon is very distinctly not this.

instead, it's dressed in vibrant teal and orange, giving it a very fresh and modern take on a classic look. so it still maintains that feeling of being funky and retro, but that doesn't retract from the fact that the show is set distinctly in modern times.

of course, this could just be a one-off quirky set piece, but this idea of modernizing and novelizing "retro" things is a really common motif throughout the show. take red rooster records. i mean, it's a record shop - need i say more? it's obviously a very prominent store in shadyside, at least for the main characters, but there's no apparent reason why it is (until season 2 when bowie starts working there, and jonah starts performing there). a lot of the time, though, it functions solely as a record shop. vinyl obviously isn't the most practical or convenient way of listening to music, but it's had its resurgence in pop culture even in the real world, mostly due to its aesthetic value, so it's safe to say that it serves the same purpose in the andi mack universe.

the fringe seems to be nostalgic of a different era, specifically the Y2K/early 2000s period (because it's meant to be bex's territory and symbolic of who she used to be, and its later transformation into cloud 10 is representative of her character arc, but that's beside the point). to be honest, exactly what this store was supposed to be always confused me. it was kind of a combination party store/clothing store/makeup store/beauty parlor? i think that's sort of the point of it though, it's supposed to feel very grunge-y and chaotic (within the confines of a relatively mellow-toned show, of course), and it's supposed to act as a sort of treasure chest of little curios that both make the place interesting and allow the characters to interact with it.

and, of course, there's andi shack. this is really the cherry on top of all of andi mack's sets, just because it's so distinctly andi. it serves such amazing narrative purpose for her (ex. the storyline where cece and ham were going to move - i really loved this because it highlights its place in the andi mack universe so well, and i'm a sucker for the paper cranes shot + i'm still salty that sadie's cranes didn't make it into the finale) and it's the perfect reflection of andi's character development because of how dynamic it is (the crafts and art supplies can get moved around or switched out, and there's always new creations visible).

going back to the nostalgia motif though, the "shack" aspect of it always struck me as very treehouse-like. personally, whenever i think of treehouses, there's this very golden sheen of childhood about it, if that makes sense. i've always seen treehouses in media as a sort of shelter for characters' youthful innocence and idealistic memories. for example, the episode "up a tree" from good luck charlie, the episode "treehouse" from modern family, and "to all the boys 2" all use a treehouse setting as a device to explore the character's desire to hold onto their perfect image of their childhood (side note: this exact theme is actually explored in andi mack in the episode "perfect day 2.0"!). andi shack is no exception to this, but it harnesses this childhood idealism in the same way that it captures the nostalgia of the 50s in the spoon, or the early 2000s in the fringe. it's not some image of a distant past being reflected through that setting; it's very present, and very alive, because it reflects andi as she is in the given moment.

some honorable mentions of more one-off settings include the ferris wheel (from "the snorpion"), the alley art gallery (from "a walker to remember"), SAVA, the color factory (from "it's a dilemna"), and my personal favorite, the cake shop (from "that syncing feeling").

[every time i watch this episode i want to eat those cakes so bad]

these settings have less of a distinctly nostalgic feel (especially the color factory, which is a very late 2010s, instagram era setting), but they all definitely have an aura of perfection about them. andi mack is all about bright, colorful visuals, and these settings really play to that, making the andi mack universe seem really fun and inviting, and frankly very instagrammable (literally so, when it comes to the color factory!).

props, on the other hand, are probably a much less obvious tool of worldbuilding. they definitely take up less space in the frame and are generally not as noticeable (i'm sure i'll have missed a bunch that will be great examples, but i'm kind of coming up with all of this off the top of my head), but they really tie everything together.

for example, bex's box, bex's polaroid, and the old tv at the mack apartment (the tv is usually only visible in the periphery of some shots, so you might not catch it at first glance) all complement that very retro aesthetic established through the settings (especially the polaroid and the tv, because there's really no good reason that the characters would otherwise be using these).

besides this, andi's artistic nature provides the perfect excuse for plenty of colorful, crafty props to amplify the visuals and the tone. obviously, as i discussed before, andi shack is the best example of this because it's filled with interesting props. but you also see bits of andi's (and other people's) crafts popping up throughout the show (ex. the tape on the fridge in the mack apartment, andi's and libby's headbands in "the new girls", walker's shoes, andi's phone case, and of course, the bracelet). not only does doing this really solidify this talent as an essential tenet of andi's character, but it also just makes the entirety of shadyside feel like an extension of andi shack. the whole town is a canvas for her crafts (or art, depending on how you want to look at it. i say it's both), and it immensely adds to shadyside's idealism. because who wouldn't want to live in a world made of andi mack's creations?

and, while it's not exactly a prop, the characters' wardrobe is undoubtedly a major influence on the show's worldbuilding. true to it's nature as a disney channel show, all of the characters are always dressed in exceptionally curated outfits of whatever the current trends are, making the show that much more visually appealing. i won't elaborate too much on this, because i could honestly write a whole other analysis on andi mack's fashion (my favorites are andi's and bex's outfits! and kudos to the costume designer(s) for creating such wonderful and in-character wardrobes!). but, i think it's a really really important aspect of how the show's universe is perceived, so it had to be touched upon.

[^ some of my favorite outfits from the show! i am so obsessed with andi's jacket in the finale, and i aspire to be at bex's level of being a leather jacket bisexual]

and lastly, phones. this is a bit of an interesting case (pun intended), because the way they're used fluctuates a bit throughout the show, but i definitely noticed that at least in the first season terri minsky tried to avoid using them altogether. these efforts at distancing from modern tech really grounds the show in it's idealist, nostalgia-heavy roots, so even when the characters start using their phones more later in the show, they don't alter the viewer's impression of the andi mack universe very much.

so, what does all of this have to do with worldbuilding? in andi mack's case, because it's set in a realistic universe and not a fantasy one, a lot of what sets it apart from the real world comes down to tone. because, as much as this world is based on our own, it really does feel separate from it, like an alternate reality that's just slightly more perfect than ours, which makes all the difference. it's the idealism in color and composition in andi mack's settings that makes it so unmistakably andi mack. even the weather is always sunny and perfect (which is incredibly ironic because the town is called shadyside - yes, i am very proud of that observation).

the andi mack universe resides somewhere in this perfect medium that makes it feel like a small town in the middle of nowhere (almost like hill valley in 1955 from "back to the future"), but at the same time like an enclave within a big city (because of its proximity to so many modern, unique, and honestly very classy looking establishments). it is, essentially, an unattainable dream land that tricks you into believing it is attainable because it's just real enough.

all this to say, andi mack does an amazing job of creating of polished, perfect world for its characters. this is pretty common among disney channel and nickelodeon shows, but because most other shows tend to be filmed in a studio with three-wall sets, andi mack is really set apart from them in that it automatically feels more real and tangible. it has its quintessential recurring locations, but it has far more of them (most disney/nick shows usually only have 3-4 recurring settings), and it has a lot more one-off locations. it's also a lot more considerate when it comes to its props, so rather than the show just looking garish and aggressively trendy, it has a distinctive style that's actually appropriate to the characters and the story. overall this creates the effect of expanding the universe, making shadyside feel like it really is a part of a wider world, rather than an artificial bubble. it's idealism is, first and foremost, grounded in reality, and that provides a basis for its brilliant, creative, and relatable storytelling.

tl;dr: andi mack's sets and props give it a very retro and nostalgic tone which makes its whole universe seem super perfect and i want to live there so bad!!

[jokertrap-ran]

(未定事件簿) EVENT! 「眷然恋影」 [Tears of Themis] EVENT: Zuo Ran Birthday 2021- Days to Re-Live Forever (4.18: Volunteer Application)

*Tears of Themis Masterlist / Mobile Masterlist *Spoiler free: Translations will remain under cut *Will also be filed under Zuo Ran’s tag #Tears of a Lawyer *The tracking tag for ALL Event Stories will go under: #Tears of an Event

4.18 / 4.20 / 4.22 / 4.24 / 4.26 Messages / Investigations / Call

Location: Cinema's Lounge Area

MC: …All in all, while this isn't considered a bad movie, it's also quite far from being a "Sci-fi Masterpiece".

Zuo Ran: Agreed.

Zuo Ran and I were both down at the Cinema’s Lounge, discussing the movie that we'd just finished watching.

The Stellis Film Festival had just started, and the movie that we'd sought to watch for how famous it was, was one of the most highly rated Sci-Fi movies.

But unfortunately, the content of the movie itself wasn't quite as interesting as we'd expected.

Zuo Ran: But "Time Travel" is considered one of the more classic Sci-fi themes, so it's not all that easy to come up with something new and exciting.

Hearing him say that, I suddenly remembered another movie with the exact same running theme.

MC: There are also many Time Travel themed Masterpieces out there. Take the film “About Time” for example; it’s an old film dating more than ten years ago.

MC: But it’s about slice of life, so you probably never watched it.

That’s right, although this movie was labelled a work of Science Fiction, it was also undeniably something that fell into the category of warm, healing, fluffiness.

It’s a movie about the story of the male protagonist, Tim, who wanted to use his Time-travelling ability to find himself a girlfriend; and eventually winning over the heroine, Mary’s, heart.

Additionally, it also depicts Tim’s family history. Generally speaking, it was an award-winning movie that had won over the emotions of many.

I recall that Zuo Ran preferred to watch Sci-fi Films, rarely watching anything emotional. Still, I wanted to try giving him a suggestion. 

Zuo Ran: I’ve seen it before. It was pretty good.

His reply was a little unexpected.

MC: Huh? But even though the male protagonist is capable of Time Travel, there are still far fewer Sci-fi elements to this movie than there are elements of daily life.

MC: I thought that you don’t often watch these kinds of films...

Zuo Ran: You’re right, but this one’s an exception.

Zuo Ran: Rather than calling it a Sci-fi movie, I think it’ll be more appropriate to call it a movie about “Superpowers”, since its main purpose is to power the plot.

Zuo Ran: Although it’s a slice of life, the director of this film has a good grasp of rhythm and mood, capable of making people feel a strong sense of empathy.

Zuo Ran: Of course, I also personally agree with the idea it is trying to convey.

Zuo Ran analysed the movie with utter seriousness, and I could see that he had an extremely deep understanding about it.

Capable of extracting that many praises from him, it seems like this movie holds an extraordinary place in his heart.

MC: Sounds like you really do like this “About Time” film.

Zuo Ran: Yes, I do.

Zuo Ran: I suppose it can be considered… Among the ones I like best.

After getting an affirmative from him, I couldn’t help but to jump for joy.

MC: (Now I know how to celebrate his birthday!)

Zuo Ran’s birthday was the 26th of April; a day that was coming up soon.

I’d only heard about this date back when I was making small talk with Sister Zhai Xing. She’d even told me to put more emphasis on it, since I was his partner.

Zuo Ran has been taking good care of me ever since I joined the Law Firm, but I’d have been way prepared to celebrate his birthday for him, even if Sister Zhai Xing didn’t mention it.

But I didn’t really know what I should do, till now; the conversation I just had with Zuo Ran finally gave me a hint.

MC: (Recreating the classic scenes of movies and celebrating his birthday there will definitely make it an unforgettable experience for the Mr. Robin, the well-known film critic! )

A plan gradually started to take shape within the confines of my mind.

Zuo Ran: What’s on your mind? Why are you daydreaming?

MC: N-Nothing! I was just thinking about...

MC: My favourite movie! I was just thinking how brilliant it was that you also happen to like it!

Birthday surprises are something that’s meant to be kept secret till the very last moment, so I can’t afford to give the game away now.

Zuo Ran: It makes you that happy?

His expression appeared no different from usual, seemingly having accepted what I’d just said.

MC: Yup, of course it does! Sharing the same favourite movie as you goes to show that we’re well suited to be partners!

Zuo Ran: We do coordinate well together.

MC: Let’s talk more about this film, Lawyer Zuo.

Zuo Ran: Sure.

He probably wouldn’t have any idea about just what I had planned to celebrate his birthday with.

MC: (I’m suddenly really looking forward to seeing how he’ll react to this surprise. I’m sure he’ll be way different from how he usually is!)

☆⋅⋆…⋅─────────── ⋆⋅✾⋅⋆ ───────────⋅…⋆⋅☆

Location: The Film Museum

A few days later, at the Film Museum.

Staff: My apologies, miss. But the Museum's Live-action Studio is temporarily unavailable for loan for the duration of the Film Festival.

MC: I’d originally wanted to rent the Film Museum’s Live-action Studio to recreate the classic scenes of the movie “About Time” for Zuo Ran, to celebrate his birthday.

But how unfortunate...

MC: But I’m really in need of it; isn’t there any other way?

Staff: If you’re truly in urgent need of the Studio. Then you can try becoming a volunteer for this Film Festival.

MC: Oh?

Staff: The Museum requires a large amount of volunteers to help out during the Film Festival, and volunteer points can be earned through completing volunteer work.

She took out a brochure, handing it to me.

Staff: Take a look at this. Volunteer points can be redeemed for the rights to use the Live-action Studio in addition to some special props provided by the Museum itself.

Staff: You must be shooting on the set itself if you’re trying to rent the Studio, so I’m sure these props will come in handy.

The staff member pointed out the “special props” listed on the brochure to me.

They came as large as classic retro cars, furniture such as tables and chairs, old-fashioned suitcases… They were all classic props from classic movies.

MC: Are all these props the original ones?

I’d thought that it’d take a good lot of points to redeem rights to the Studio, but I’d never expected it to actually be the easiest to attain.

Although, that being said, most of those special props were pretty “point pricy”.

Staff: A small portion of them are, but the rest are replicated on a 1:1 scale from the original.

MC: Oh! There’s even the window display mural from “About Time”!?

Staff: That’s right. Although this one’s a replication, it is no different from the original one.

MC: (Not only can you rent the venue, but you can also change up the place to be furnished with decorations of your own choice. This can’t get any better!)

Thinking up till this point, I agreed without a moment’s hesitation.

MC: Okay, I’ll sign up! What do you do as a volunteer, though?

Staff: Welcome to the Volunteer Team. Your job this time is to simply hand out questionnaires.

Staff: As the organizer of this Film Festival, we plan to create a review column after the event; hence, why we have to collect information on the audience’s option.

Staff: The content of this survey includes, but is not limited to, their evaluation of the movies released this Film Festival, and their views on well-known film-critics, etc.

Staff: What needs to be specifically explained to them is that, due to the curator's request, this survey will take the form of an offline interview and a physical questionnaire to fill.

Staff: He believes that it is only by interacting face-to-face with the audience, can we then understand their true wishes; and that doing so will also reflect the utmost sincerity of the Museum itself.

She handed me yet another list.

Staff: The information of the willing participants of the survey are recorded here. So please carry out the surveys according to the name list here.

Staff: Your final amount of points obtained will be calculated based on the number of questionnaires you've managed to get filled, and their degree of completion.

I confidently took the list from her.

MC: Understood! You can leave it to me!

Staff: Volunteer Points can be redeemed at any time. I wish you the best of luck, and hope that you can exchange it for the rights to the Live-action Studio as soon as possible.

☆⋅⋆…⋅─────────── ⋆⋅✾⋅⋆ ───────────⋅…⋆⋅☆

Next Part: (4.20: Questionnaire Filling)

[fitzefitcher]

honestly i've been seeing bastion as like a Buddhist-ish place with ancient greek aesthetics, bc letting go of your earthly attachments to be enlightened is pretty Buddhist. 'If you meet the Buddha on the road, kill the Buddha. If you meet your father, kill your father.', that kind of thing. i haven't thought of it as a Light place at all, though i can see why others do.

so there's. a lot of things I would like to cover in answering this, and I'm honestly dreading it a little lmao buuuuut I will do the best I can. I have a lot of thoughts about Bastion, and about the Light, so I'm going to take this as an opportunity to explore that. so: content warning for discussion of religion and religious trauma, esp in regards to identity erasure.

full disclosure: I'm an american queer that was raised roman catholic (specifically, roman catholic within the confines of a heavily irish-italian community) and currently identify more as like. an agnostic apostate, would be the closest thing to describe it, I think. generally, while I'm not really crazy about organized religion as a massive institution capable of doing absolutely wretched things to the people it alleges to helping (and by no means am suffering under the delusion that it hasn't and won't continue to do these things so long as oppressive systems of power are in place, just like it would be in any other area, not just religion), I also acknowledge that there's a lot of good in it, too, and it's the cornerstone of many people's community, culture, and identity. ultimately, my opinion is that religion is a tool, and whoever's holding that tool decides its purpose and intention. it's. a complicated matter lmao.

I'm not going to pretend I'm an expert on buddhism, here. obviously this was not the religion (or any of the many cultures its beliefs are centered in) I was raised as, and honestly even the research I've done for this feels like it's barely scratching the surface. so, rather than try and argue or explain something that is really out of the realm of what I'm familiar with or have experience with (esp. something that's not really mine to claim), I will try and explain things from my own experience as a queer AFAB person raised as roman catholic. and speaking from that perspective, it is very incredibly obvious to me how much of bastion was lifted from christian theology. not just the aesthetics of it, all of the weird identity conformity shit, too. the way that kyrian ideology is being used here, is as a tool to enforce this conformity.

same with how the Light as a concept has been developed in recent years- there are no longer any significant differences between the way individual factions use and interact with the light, even though as cultures their views on it should be radically different, or at least different enough that they don't feel like homogenized versions of each other. like, there's no real difference between how the humans view the Light, and how dwarves view the light, and how gnomes view the Light, and it doesn't really feel like there ever was. Nelves' view on it used to be characterized pretty strongly and differently, as did trolls and draenei, but the longer the years go on, the more that they sort of blend together. to get back to your statement, "I haven't thought of it as a Light place at all," I find that very difficult to parse as a statement, as Bastion as a whole has been developed from base concepts of the Light. Like, Kyrians were designed from spirit healers, spirit healers are now confirmed to be Kyrians (for some reason), and all of the aesthetics of their magic, their clothing, their environment are all heavily priest, paladin, and light-inspired. everything is golds and marbles and sky blues, when they become "corrupted," they suddenly become shadow-themed, like all greys and blacks and purples, their wings turn black, etc. but the similarities, and all their short-comings, go much farther than that.

so the general story thread of each area of the shadowlands in this expansion is that things aren't as they seem, right? that their individual systems are beginning to fall to internal corruption and are crumbling under their own weight. and we see this in each of the trailers- the houses of maldraxxus are starting to eat each other, ardenweald is slowly starving to death, revendreth's citizens are being choked with heavy demands from the aristocracy, and bastion is struggling to adjust in the face of new, unprecedented problems, unwilling to change their ways, even when it's explicitly obvious how badly they need to change. like, I've talked about this a little bit before- the trailer and the way it's structured led me to believe that we, the players, are meant to be hanging out with Devos and Uther, trying to help them convince Devos' boss that very obvious bad thing that's happening, is happening. And this is about how it goes for the other trailers- we learn about the betrayal of Draka's house in maldraxxus, and the maldraxxus storyline is centered on helping her figure out what happened and pick up the pieces. We learn about Ardenweald's rapidly shrinking resources and dying environment, and the ardenweald storyline is centered on figuring out what the cause of this famine is. We learn about Revendreth's aristocracy and how they're demanding more and more of the common people, and the revendreth storyline is centered on overthrowing the increasingly tyrannical cruelty of their current leaders and helping the common people, with the help of a leader favored by the common people. And I feel like, given the state of things, and how the IRL world as a whole has been going the past couple years, helping Devos and Uther get to the bottom of this, maybe even helping Bastion adjust and change in the face of these new challenges, would have been a very good, insightful storyline, and very appropriate for the times we're in.

This, clearly, is not what happened lmao. Whether or not they'll decide to develop bastion further, at least in terms of addressing its failings with its own people, is up for debate, but based on WoW's previous history of similar stories, I'm not very confident lmao.

so I will touch on that statement of bastion being a "buddhist-like place" for a moment, I did look into buddhism a bit, and while I very quickly realized that there wasn't really a way that I could discuss this at length in a way that's fair (esp. with how many variations and cultures there are centered around it, again, I am not an expert, I am doing the best I can with the information I have), the very very bare bones basics of buddhism that I can find more or less boil down to, yes, letting go of earthly attachments to attain enlightenment. but this is not really a nuanced assessment of buddhism, and tbh, isn't really the goal of the kyrians' purification rituals. sure, at first glance, it seems to line up- shedding the burdens of their mortal lives in order to achieve ascension- but ascension here, is not enlightenment. buddhist enlightenment, from what I can find, seems to be the act of breaking free from the cycle of death and rebirth and from mortal suffering. kyrian ascension is the act of, not breaking free of that cycle, but tying yourself to it for an eternity of service. and living your life (even  an eternal one- especially an eternal one) in the service of others is a really strongly christian concept. and the kyrian's concept of virtues only strengthens this. the fact that kyrians have virtues at all is heavily christian-coded, and on top of that, the virtues they have feel like they've been lifted directly from christian beliefs. also like. they're literal fucking angels, trying to earn their wings. like. there's not much else I can think of that's that heavy-handed lmao.

let's talk more about those virtues, though.

the kyrian virtues are as follows: purity, humility, courage, wisdom, and loyalty. There are a number of variations on christian virtues, but here are two of the main sets: one set lines up as the ideological opposite to the seven capital sins (or seven deadly sins if you're an FMA fan lmao), and the other is more-or-less what is accepted in contemporary belief. This is what I was taught in sunday school/CCD, so this is what I'm a little more familiar with.

so set 1, the heavenly virtues, are: chastity, temperance, charity, diligence, patience, kindness, and humility, and set 2, the contemporary virtues, are split further into 2 groups: the cardinal virtues, prudence, justice, fortitude, and temperance, and the theological virtues, charity, hope, and faith.

So humility, courage, and wisdom, are pretty straight-forward in terms of what they represent, and line up pretty neatly with humility (lol) from the heavenly virtues, and fortitude and prudence from the contemporary virtues. To touch on those briefly, humility is exactly what it says on the tin, and acts as an ideological opposite to the capital sin of pride, fortitude is bravery and endurance as well as patience, and prudence is reason and self-discipline, esp in terms of handling yourself and how you interact with others. And these are perfectly fine as principles. the ones that set off alarm bells for me, though, are loyalty and purity.

as kyrian virtues, they don't really line up to any christian virtues from either set. but tbh, this is beside the point- the fact that purity and loyalty are considered virtues, at all, especially in combination with each other, at best feel very suspicious, and at worst openly hostile. and the way this is covered in game only enforces this. purity is only obtained by sloughing off pieces of yourself that the kyrians consider obstructive to your ascension and how you can serve the Purpose, and questioning this or any other aspect of their ascension ritual gets you sent to the temple of loyalty to, ostensibly, stay there until you Get Your Priorities Straightened Out lmao. Like, there's no exploration of why these purity rituals are being questioned to begin with, there's no examination of why the rituals are necessary to begin with, and seemingly, prospective kyrians are punished for even asking. like, for a faction that seemingly prides itself on helping their members becoming their best selves, it feels strange that the reaction to their unsure members is punitive instead of therapeutic.

at this point, the link between the kyrians' beliefs and christianity should be readily apparent. it's no secret that over the centuries, christianity has used as a tool for oppressive systems to dominate marginalized groups, both within its ingroup and without. "purity" in christianity is less a virtue and more a heavily enforced, wildly contradictory idea, hiding itself in mealy-mouthed platitudes about being a Good Person or Becoming Your Best Self while simultaneously, stringently punishing its own members for daring to step a toe out of an extremely arbitrary line. like, I remember going to church growing up, and in the same breath that the head priest said to pray for various members of the community (thoughts and prayers, lmao), pray for [insert local sports team here] to win for their upcoming game, he also said that yes, democrats are corrupting the country. yes, homosexuals are going to hell. mass was an exercise in enduring misery most of the time, and a big reason I stayed closeted from my family for the majority of my life is because of this, and I still am, in many ways. I still have to divvy myself up in bits and pieces to become Socially Acceptable enough to appease my extended family, and there are certain family members that I will go to my grave never having come out to them, because I know they will never accept me for who I am, truly. so to have purity be a kyrian virtue with no further examination, no trace of irony, and to have loyalty as a virtue to back it up, feels, at best, extremely tone-deaf.

when you quest alongside kleia and pelagos, you see these purity rituals, and you see how large a toll they take on them. you see pelagos struggle, and you as the player help him overcome the difficulties he faces- difficulties he could not overcome himself. you see kleia, over time, becoming more and more disgruntled with bastion's governing body as a whole, and finding more and more cracks in the kyrians' concept of purity. but no lessons are learned, from either of these. nothing is examined further, and I have doubts that it ever will.

you, the player, see other kyrians, who previously were orcs, tauren, trolls, draenei, all these non-humans, being stripped of their identity, ostensibly for the reason that it will make them more just and fair a judge, a concept that rapidly falls apart the longer you look at it. the idea of all these sentient creatures from all these walks of life, particularly the ones heavily coded as BIPOC, are to be stripped of their cultural identity and made into Homogenous Standard (white-coded) Blue Human is so intrinsically malicious that it is genuinely baffling that it was even seriously considered as an idea, let alone greenlit and put into the game. prospective mortals are scouted to be kyrians theoretically for the lives they lived in service of others, in justice and kindness and wisdom, and then they are made to give up more and more pieces of those lives, rendering whatever they've learned, whatever experiences they've gained, that made them this person that the kyrians sought out in the first place, an utterly pointless and redundant endeavor. things like kindness, wisdom, courage, are not inherent qualities. They are things that have to be learned. They are things in which the context of them is paramount to how they will be measured. So to say that it is Necessary to do this, to make them Fairer, to make them More Just, feels both stunningly nonsensical and just pointlessly, nihilistically mean.

so what does this have to do with the Light?

well, in recent years, it seems to be steering more and more towards the idea that only correct religion within WoW is the Light, and there's only One Way to be Light. Early on in WoW's development, it was established that yeah, shadow has a bit of a reputation and can certainly be misused, but nobody's arguing that the Light can be misused, too, and that neither shadow nor light are inherently good nor inherently evil- they just Are, and each serve their own purpose in this world and its way of things. I had written a post about this like. several years ago, and a lot of it hasn't aged very well (I will not link to it bc woof, it was Pretty Rough to look at again after seven years lmao), but the gist of it was that Light and Shadow, are less like good and evil, and more like the Force from star wars. Well, a more nuanced force- again, Light is not Strictly Good, Shadow is not Strictly Evil. They are merely opposite sides of the same spectrum, but they are not inherently antithetical to each other. It was less a religion/belief system with an established deity, and more just reverence for the universe and its workings as a whole. Yes, it has the markers and drapings of christianity, particularly in its aesthetics, but the actual belief system didn't really lift anything from any particular christian belief system, and didn't really match up to any one of them, besides, again, the aesthetic of it. The Light now, however- now it does have a lot in common with christian beliefs. or at least, it and the church of the light have a lot in common with the mentality of those with strong christian beliefs. Which is to say, again, there is only one Correct Religion, and it's Light, and there's only One Correct Way to be Light. other religions within wow are either condemned, painted as savage, violent, heretical, or watered down so much that they either don't matter or function as mere Extensions to the light.

last summer, when I was reading the "before the storm" novel as research for my sylvanas essay, one of the many, many things that made it a difficult read was how like. unintentionally, thoughtlessly intolerant Golden had written it. Anduin, one of the main characters in it, despite having a history of kindness, compassion, curiosity, and understanding, is kind of shunted into being a 1-dimensional Good Christian Boy(tm). Like, he struggles with interacting with the forsaken, despite them having been in existence for over a decade at this point, and more than half his lifetime, and despite having dealt with them before, and orcs, and tauren, and a great number of other non-human creatures, while still treating them with grace and dignity, and respecting their perspectives, experiences, and beliefs. like, he's painted as thinking that the netherlight temple would be an alliance-only, church of the holy light only affair, and is really surprised, even stunned, at the thought of having to interact with non-alliance, non-light priests. and something that really really stuck with me while reading this, was that Anduin, this compassionate, intelligent, understanding person, could only learn to interact with priests of other factions and species, despite having already done this before, many, many times in his life, on the basis that They, Too, Are Servants Of The Light. and there's just. no examination in this. no irony. Light is Right, Others are Not. No lessons were learned.

[olivemeister]

OKAY NEO THOUGHTS NOW THAT I’VE BEATEN IT AND HAD TIME TO MARINATE. no spoilers for another day bc i haven’t finished it yet, but i did go “no, why shan’t i? i have the internet” and watched the secret endings on youtube so those and the secret reports will be discussed. yeah. so here’s some thoughts. i’m going to talk a lot about the more contentious things, i think. and again i haven’t finished another day so nothing to do with that, but of course major ending spoilers for the main scenario.

these are my opinions both as a writer and a media consumer, so there’s kinda two levels here. it is very freeform “as i think of it” structurally so my sincerest apologies if it’s all over the place. i am trying to keep specific topics confined rather than splattering the same plot point/whatever all through the post, but it’s not like i’m posting a peer-revied academic essay here. it’s also fucking enormous and i would say sorry but that would be a lie.

the majority of the game, i actually really enjoyed. the localization was excellent and i can’t praise it enough. i know people threw fits over the “horrible overstep” of... teenagers using slang. but did you know, in real life, teenagers use slang? even in japan, there’s slang? wild but true! the dialogue was great, and while i can’t say much re: the jp cast since i played in english, the newcomers for the english cast were spectacular. i actually think the newcomers were, in some cases, stronger than the returning cast. even in characters where i didn’t like the voice (nagi had to grow on me, i admit it), they were a fantastic match for the character’s personality.

the emotional beats re: character deaths, typically, landed the way i think the writers wanted; kanon’s death in week 3 had me devastated even though i could see it coming a mile away. i think that’s a testament to the best parts of the writing; as soon as i understood how the current game was being run, i knew it was fairly inevitable that every other team would eventually lose. odds would be that, barring something like someone changing teams or a team merger, the majority of the other teams would be completely wiped out. i knew far in advance that kanon would likely not make it to the end of the story, but it still fucked me up when it finally happened not just because i cared about kanon, but also because of how much the other characters cared about her. some character deaths affected me far less, of course. i think kanon was the epitome of “this hit exactly as hard as the writers wanted it to”, but i do feel they fell short with others. ayano’s lack of development really hurt my ability to be saddened by her death, especially when it was so clear that she set up her own possession as a trap for shoka. it undermined things for shoka in general, because while she was devastated to lose ayano, the game did a poor job at making their relationship tangible and meaningful. i felt worse (not necessarily sadder, just worse) about motoi’s death, and i didn’t like motoi. speaking of him...

the biggest issue i have with the game is a chronic square enix issue. kubo is the Man Pulling The Strings, whatever, this is fine. the problem is that he, minamimoto, motoi, and arguably susukichi are the only characters in the game with dark skin. they are all morally grey at best. i don’t think i need to elaborate on why this is an issue. we’re not going to pretend that racism and colorism don’t exist in japan. i’m just going to say that all of the dark-skinned characters are either totally evil, excessively violent, and/or morally dubious. this is my biggest qualm, but i don’t feel it needs more elaboration. yes, i know motoi turns it around in the end. yes, i know susukichi ultimately changes sides as well, and he’s ultimately portrayed as sympathetic. minamimoto is........ his own beast. but the fact remains that we don’t get a single major character who’s darker and unambiguously heroic.

second big issue is that while i understand the decision to keep shiki off camera until the very end for emotional impact, i feel like this was to the detriment of the story and to the detriment of said impact. she was mentioned, sure, and she was briefly seen from the shoulders down in a cutscene long before her introduction, but i feel that this was ultimately for the worse. her absence in the plot made her a borderline non-entity that can easily leave the audience going “why should i care about this?” on what’s supposed to be a huge emotional cathartic moment. yes, people should know this is a sequel and neku and shiki’s friendship was a crucial part of the original game, and much of the endgame of neo makes no sense if you’re unfamiliar with the original, but their interactions in the ending felt incredibly shallow. and i think this is because of how little shiki appears and how isolated she is from her other friends. eri is unseen and unmentioned. she doesn’t interact with rhyme. she hardly interacts with beat, using him as a translator at best. her other relationships are just... stagnant at best, ignored at worst, and despite having had just as vital of a role in the first game as beat did, she does nothing of import onscreen. her only narrative actions are “fix mr mew (mentioned but not seen)” and “be sad about neku”. so, functionally...

for some reason (we know why) the story decided that the only thing that was important to shiki was seeing neku. but by holding off on this reveal of her, we lost the impact that their meeting could have had. because the game refused to show her it didn’t show how much his absence was affecting her, which leaves their reunion feeling incredibly hollow. shiki was gone for upwards of 90% of the game. if not for the first game, this reunion would mean nothing; the narrative does a terrible job of reminding the audience that neku and shiki have a strong relationship and i don’t know if it’s that they expected the first game to have done the heavy lifting, or they thought that what neo gave us was good rather than “good enough”. imo this was an enormous failure and i wish we had gotten more for her both as part of the plot and as a character.

this was an issue present with rhyme as well imo, though to a lesser degree. i think they should have given up the ghost much sooner on confirming that the shadowed figure was rhyme; it was obvious by the time they showed us her silhouette, so i don’t know why the narrative held off on showing her. they didn’t have to introduce her to rindo (or give her the name splash screen) yet, but people who played the first game and are paying attention know it’s rhyme, so why bother hiding her? most of what rhyme accomplishes in this game is off-camera as well, but she has double the screen time that shiki gets.

the shiki thing is another symptom of a common squeenix problem these days, which is poorly-handled implied romantic interests. and i think that was also present with how the end of the game treated shoka. rindo and shoka as an implied romance in general did not bother me; more than a lot of squeenix protags, and perhaps primarily because of the excellent job the english cast did, i actually was unbothered by the suggestion of budding romantic feelings because it felt genuine. they actually felt like a pair of teenagers who were starting to be interested in each other, trying to play it cool and prioritize. this, and shoka’s characterization in general, is really helped by the reveal of swallow’s identity; it retroactively heightens her closeness to rindo specifically and offers enormous insight into her decision to help the team covertly. however, i think this budding implied romance was severely undermined by having other characters comment on it, especially because it felt so out of place timing-wise whenever someone commented. it was never warranted; there are times where they seem to be... not flirting, but not doing a good job of pretending there isn’t an interest. this is not when comments come. the comments come when they are having a totally normal interaction that does not suggest any non-platonic feelings whatsoever.

up until the final day, i had fairly ambivalent feelings about the idea of them as the designated hetero pairing. i felt it was a vast improvement from recent shoehorned romances in squeenix properties. the ending made things much more contentious to me, specifically how shoka is vanished by joshua. the audience should at least have the suspicion that he’s reviving her, but the circumstances surrounding it are the problem more than joshua being a deus ex machina. it’s not the first time joshua was a troll re: reviving someone, but the context of why shoka’s revival is necessary is, well... unnecessary.

they barely foreshadow the shinjuku rules re: reapers, and i will freely admit it’s not remotely ooc for shoka to hide something like that until she can’t any more. but they seem to be just a contrived excuse for shoka to be taken away... and from the framing of it, not from the player, but from rindo. which, i don’t know that i need elaborate on why i wasn’t fond of that. and i won’t lie - i know everybody beefed it in those cutscenes, including beat and neku. but when the dissonance noise grabbed shoka it gave me the exact same vibe as the demon tide grabbing kairi in kh3, and i don’t think i need to elaborate more on why that would put a bad taste in my mouth and make me fearful for shoka’s future treatment in the game. i was worried that the narrative was going to yank her away from rindo like a prize being snatched from him, and it did! while i do also think it’s ic for joshua to fuck around the way he did when reviving her, it also seems contrived and brings up a major question.

if shoka is still playing by shinjuku rules, why does shibuya’s composer have the ability to overturn her erasure? yes, i know, shinjuku is gone, but its composer is still active. surely joshua having the authority to do what he did indicates that on a cosmic bureaucracy level, shoka is a shibuya reaper. the secret reports offer a potential that joshua exploited a loophole by waiting until the second after the shinjuku rules resulted in shoka’s soul being dissolved in order to snatch it up, so perhaps the explanation is that her erasure meant she was technically no longer a shinjuku reaper and no longer beholden to its rules. but that doesn’t answer a different question that honestly bothers me more than the admittedly sorta insignificant question of whether or not joshua overstepped in reviving shoka.

shinjuku’s game has ended because shinjuku has ended; why are its rules still in play for former shinjuku reapers? i am aware that shiba is the conductor “legally” and he has made changes to shibuya’s game, but they’re careful to specify that the “ex-reapers are erased at the end of the game” rules are from shinjuku and do not apply to shibuya reapers. is she considered by the higher plane to be joshua’s underling and not hazuki’s? the secret reports confirm that the transfer of personnel from the destroyed shinjuku to shibuya was authorized by the acting conductor (uzuki) and this is standard procedure, everything was done properly. so “legally” the formerly-shinjuku reapers are shibuya reapers, right? hanekoma notes in particular that it’s a culture clash leading to the shinjuku reapers being designated as such and that they’re only nominally shinjuku reapers. why are a defunct game’s rules still active?

the biggest issue is that shoka’s threat of erasure was unnecessary from a narrative perspective, especially given how quickly it’s introduced and resolved. what was the point of putting this in the story if five minutes later the issue is just dealt with, no effort, minimal tension, by a (narratively speaking, don’t come after me joshua fans) minor character who doesn’t even appear until after the plot is resolved? i honestly wonder if it was just the writers deciding joshua needed to do something so that his appearance in the ending wasn’t just shallow fanservice for people who wanted to see the original gang. joshua’s lack of action is also presumably going to be contentious with fans; i’ve read the secret reports, and i don’t feel that they sufficiently justify why he doesn’t make any moves to protect his city despite being positioned both in his own dialogue and the secret reports as someone opposing shibuya’s purification. i will talk about this a little later re: kubo’s motivations though.

i also think it’s kind of stupid that joshua sets up “find her and you win” and then... rindo doesn’t do anything in that regard. he just bumps into her in the scramble. i know i already said i hate the idea of her being a prize to be won in a game but if they’re going to set it up, why make it pointless in that regard? it feels so unnecessary. joshua portrays shoka’s revival/return as something to be earned, and unlike the ending of twewy there’s no recognition that he was actually just fucking with them.

this is similar to my mixed feelings about kubo’s defeat. on one hand, i wanted to smash his face in personally, i have hated him the entire game. on the other hand, having him jesus beamed and rewritten out of existence without any warning or chance to resist was fucking hilarious and i actually laughed out loud. my speculation as to why he didn’t get a boss fight is that developers worried about people having trouble suspending disbelief over the party being able to defeat an angel. ultimately i think the only way this could have been done was to have it be a boss battle where your victory doesn’t matter, like the week 1 fight with susukichi, and have hazuki curbstomp kubo in the post-battle cutscenes. ultimately, i feel like this was a lesser of two evils; i don’t think the “you lose in the cutscene” approach would have necessarily been significantly better than what we got, i recognize that “the battle didn’t matter and you lose in the cutscene after” is a contentious game trope. and i would understand people struggling to accept the cast defeating a being from a higher plane without intervention from said higher plane. the only benefit would be the catharsis of getting to slap kubo around, which admittedly i kind of miss. having him as a secret boss was an option i guess but i think it would bring more questions than it was worth.

kubo’s motivation is also just bizarre; i understand that it’s given as him getting overzealous after carrying out his orders to purify shinjuku, but why? i feel like this could have easily been fixed/rationalized by “shinjuku’s surviving reapers fled to shibuya, leading kubo to consider shibuya to be an extension of shinjuku”, but that’s solely speculation. i do not know why kubo decided to also start an inversion in shibuya. they didn’t give me enough information. his conflict with joshua is inexplicable and almost entirely offscreen via the secret reports. i do not feel like i have a grasp on why the plot of the game even happened. hazuki’s involvement is iffy; i can’t say whether he initially approved of kubo’s overstep and changed his mind, or if he just took his time collecting his errant underling. the secret reports suggest the former, and hanekoma noting that the contentious nature of the previous game’s events gives a speculative explanation for why no action was taken if hazuki was actually making moves against shibuya rather than kubo being out of line. hazuki could damn well have been lying, there’s a precedent for composers being full of shit and telling bold-faced lies to protagonists, though in the previous game these lies were all eventually uncovered. this leaves me to believe that ultimately, hazuki’s statements regarding kubo acting outside of his given authority were mostly honest. but what i don’t understand is why joshua took such a hands-off approach.

yes, he says he figured the main cast had it under control and would have stepped in had things gotten worse, but this appearance and statement comes long after rindo fails and shibuya is destroyed in multiple timelines. why did he not step in in the first timeline? i can speculate, but the game and secret reports do not do a great job in explaining why the proxy vs. proxy game even happened in the first place. kubo is hazuki’s underling, which makes joshua higher in the pecking order than kubo. if hazuki was capable of exorcising kubo instantaneously, why didn’t joshua just flick him off the board like a flea before he even got started trying to cause an inversion in shibuya? in the epilogue of a new day joshua is seen in conversation with hanekoma, who’s taking shinjuku’s inversion seriously, which seems at odds with how easily his fellow composer ends the problem.

retroactively, i guess i could rationalize this as him realizing that either shinjuku’s composer must be responsible for said inversion or that potentially shinjuku’s composer has been compromised in some way. and i can rationalize him failing to immediately jesus beam kubo as well - it’s possible that, as kubo was initially acting under the orders of another composer (assuming hazuki is still technically “legally” one/at the bureaucratic level of one), joshua’s hands were somewhat tied re: what actions he could take without potential consequences. it could be that joshua would get in big trouble if he took disciplinary action against another composer’s underling, but 1. the legal transfer of personnel should mean kubo is joshua’s underling, not hazuki’s, see the shoka problem 2. hazuki’s status as a composer is questionable given that his territory is now purified and its game is defunct 3. given that kubo was acting outside of his original composer’s turf and outside of his initial orders (purify shinjuku) at this point i feel like that isn’t likely. it could be that he was trying to avoid a conflict with hazuki himself. it may be that he considered it hazuki’s responsibility to retrieve kubo, but that’s at odds with him choosing a proxy to combat kubo’s and his claims that he totally would have done something, really, he swears. they don’t give us much info at all as to why joshua entered a game with kubo in the first place. i have reason to believe that something’s fishy in the secret reports, and i would like to see the japanese text, which i’ll mention again in a few paragraphs.

i know the absence of shibuya’s composer is partially, and perhaps primarily, “there wouldn’t be a plot if joshua fixed it”. but it really feels like they just kinda tucked joshua in the corner and hoped fans wouldn’t be like “hey where is shibuya’s composer and why is no one mentioning them?” that part is probably for the same reason we don’t see shiki until the very ending, teasing the audience by holding off on revealing him until the last second, but it’s jarring to me that shiki is mentioned but neither neku, beat, nor any of the reapers (!) think “we should contact the composer”. even if just to say “we can’t contact the composer, he is unreachable”! i guess it’s to avoid people remembering how significant joshua is and thinking too hard about it, because joshua is simply too powerful of a character to be running around freely. the plot falls apart when you have a character who’s so strong and, in his own words, kind of omnipotent, who could trivialize the conflict in an instant if he took action.

i feel like they surely could have given a more explicit reason for him to not be involved in the story, even if it’s a reason like “he’s in trouble with the higher plane”. which could have easily been set up! hanekoma is clear in his reports that shibuya’s impurification is highly contentious in the higher plane; people are big mad about it, potentially people higher in the chain of command than a composer. this could have been easily utilized as an explanation for why joshua is hands-off; he’s on a shit list and needs to step carefully as a result. but it’s just not addressed. hanekoma is unreachable according to his reports, and he notes that people are trying to contact him for help. are we just to assume that people have looked for joshua to ask for help in the past but it was so long ago that it isn’t even worth mentioning now to the newcomers? according to other reports, the higher ups are pissed with joshua about his game with kitaniji and are turning a blind eye to what’s happening with kubo in shibuya as a result. but this doesn’t explain why the members of the shibuya UG never discuss the composer. hanekoma’s reports have him confused as to joshua’s lack of action as well; he knows the context of what’s going on in shibuya but doesn’t understand why joshua is staying silent.

that said! the fact that hazuki’s motive for the destruction of shinjuku is never stated does not bother me too much. he’s placed in a position very parallel to joshua in the first game, and he even says he felt like he was following in josh’s footsteps. when you add his seemingly-genuine inability to understand why people care about shibuya, i feel there’s enough evidence to... not dismiss, but nudge this aside as “He Too is a misanthropic bastard”; shinjuku’s destruction is a parallel to the intended destruction of shibuya in the first game. hazuki just carried on where joshua had a change of heart. the secret reports complicate this; it might be that someone fucked up in transcribing, but the reports i read online state that shibuya’s composer, i.e. joshua, was responsible for the destruction of shinjuku due to a game with kubo. this does not make sense given everything else, including hazuki’s own statements and later reports, so i’m setting that aside for the moment as either an uncaught mistake either in translation or transcription online (most likely) or hanekoma not knowing the actual truth until receiving the post-purification shinjuku reports. hanekoma also suggests that hazuki’s goal was also the purification of shibuya, but as he’s not shibuya’s composer this is certainly not his jurisdiction so i’m curious as to what exactly happened there.

EDIT: i’ve been informed by a helpful anon that this is not a mistranslation, the japanese secret reports do state that it was a game involving joshua that resulted in shinjuku’s inversion. with that in mind, i have figured out how to rationalize this and it solves a lot of problems: if it was a proxy game between joshua and kubo, then joshua must have been the opposition to shinjuku’s inversion. though you could argue that joshua is responsible for the end result, he didn’t destroy shinjuku; his proxy lost, probably because kubo’s had the support of shinjuku’s composer. kubo’s overconfidence in running rampant in shibuya is now explicable and he may have been trying to rub it in that joshua lost.

if hazuki was still backing kubo post-shinjuku, this could explain why hazuki felt he could make decisions about shibuya’s fate and wander around it; joshua had already overstepped onto his turf to meddle in purification, so he was returning the favor. at this point in time, i figure that joshua’s proxy was either tsugumi’s brother (shinjuku’s conductor) or coco (she’s noted to have inexplicable powers for a rank-and-file reaper, but joshua’s opposition to her killing of neku throws this into question), and if we truly had a scrapped “shinjuku’s final game” plot then joshua’s proxy could also have been neku. kubo’s proxy was presumably shiba. this actually answers a few questions that i couldn’t rationalize when i assumed joshua was uninvolved (why would shinjuku’s composer be running a game against kubo when they wanted the same thing?), so i’m gonna chalk it up as an absolute win.

i think hishima as a character was... sort of nothing. he was just there. yeah, it was kinda funny how he dressed shiba down, but i don’t know that the plot needed him. his role in the endgame could have easily been given to tsugumi without much fuss, and i feel tsugumi deserved a much bigger part in the narrative given how much she was hyped up by solo and final remix. she was so prominent and anticipated that the fans called her hype-chan for years before we had a name for her. this could also be folded into the problem with hiding shiki until the very end; it feels like we missed a whole sequence with both of these characters simply because the narrative refused to show us shiki. instead, we’re told that shiki showed up and fixed mr. mew, and somehow this freed tsugumi. i think the fact that they don’t even give a flashback of this crucial event after shiki’s proper introduction is just a questionable decision. the story tells us that tsugumi’s release from the plushie is of the utmost importance and shiba can’t be swayed without her, setting it up as a vital event, but it happens offscreen with no real interaction with the main cast. it also only happens after multiple failed loops, even though rindo’s interference is what prevents the meeting between coco and shiki to repair the plushie. i don’t understand this from a logistical standpoint; if coco isn’t pulled to escort rhyme, she must have met with shiki and released tsugumi in timely manner, but tsugumi does not appear until after you replay to get coco back to her original schedule. you could wave it off as “she didn’t get there fast enough”, but i can’t accept that as a reason given the circumstances; it’s not like she would have to look hard to find shiba. this one’s flawed writing; i know in a meta sense why she didn’t appear, it was to build tension etc etc, but in-universe it’s a plot hole.

coco being so absent from the plot is also somewhat conspicuous. i wonder what reception of her was like in japan and if that influenced her lack of presence in the story. i honestly don’t even know if she was received well by the english audience, all i know is that i did not like her at all in final remix. not from an “i don’t like the villain because they’re doing bad things” perspective, from an “i don’t find this character compelling and i think they’re annoying” perspective. also curious as to whether or not her speech patterns changed in the japanese dialogue since final remix; i found her far less jarring and obnoxious in neo and i think it’s enormously because she stopped talking verbally in internet shorthand. overall, coco’s retool was imo a change for the better, but she’s barely there for me to appreciate how much of an improvement she was. it feels like there’s an entire narrative we were set up for by a new day, yet it’s almost completely missing. the ending of a new day laid out this framework for neku and minamimoto to be forced allies in an unseen future game. i had mixed feelings about this conceptually, but the narrative setup was fairly transparent. not only does this not happen, coco’s motivation in a new day and what ultimately happened were so lacking to me.

i feel like something got lost and we were originally going to actually see and perhaps play the shinjuku game that ended in disaster instead of just getting a summation and brief flashbacks of the survivors fleeing. this kinda ties in with my complaints about how hyped tsugumi was by solo and final remix, and then she turned out to have a very small (albeit crucial, via her trailer ability) and mostly unseen role in neo’s story. retroactively we learn that rindo’s visions are from tsugumi, but this is something she does entirely off-screen. all of coco’s scheming was for nothing, because joshua was a deus ex machina and whisked neku away the second he died. this feels to me like cut content or rewrites; there’s a whole game’s worth of story that just happened off-camera and we got to hear a little bit about it. it wasn’t enough, imo. i think doing it as a midquel is still possible, but it’s a hard sell to create a video game with a downer ending and we know shinjuku’s fate is already set in stone... even though a new day ended on the tragic cliffhanger of neku’s death, it’s a little different since it’s coming as an optional postgame sequel hook after victory rather than the entire narrative you fought through ending in failure. i suppose it could be done with a Distant Epilogue now that we know shiba and most of his surviving reapers will return to rebuild shinjuku. ultimately i really think that if not for the concern about neku overshadowing the new cast, shinjuku’s purification could and should have been the prologue to neo. it would be a tough balancing act, but i do think it could have been done right and it would have done a lot for narrative tension with his absence if we had a prologue following him that ends in a cliffhanger re: shinjuku’s purification. neku’s role in the story was done decently i think re: how big said role was, but a lot of circumstances surrounding his absence, legendary status, and reappearance leave much to be desired.

frankly, i just don’t like how much they glossed over neku’s three year absence. we’re given a vague explanation of what he was doing, but it isn’t actually an explanation. definitely again feels like a plot rewrite situation; there’s this huge blank space of neku doing nothing because there used to be a story that we were going to play through and it got scrapped for whatever reason. overall i feel neku’s characterization was very odd and perhaps a little inconsistent in this game; he didn’t have much of a personality at all, which i struggle to reconcile with the original game. we don’t see how he reconciled with coco, it’s just dismissed entirely as “no we’re good now”. how are we good? why did you forgive her for playing murder games instead of just explaining shit? i know he forgave joshua for his gatekeep gaslight girlboss behavior in the first game, but we had context as to why he made that decision. also what the fuck was keeping him from coming back to shibuya, i don’t feel like that was sufficiently explained either? for someone who was so hyped up by the narrative, i was a little let down by how insignificant neku ended up being to the plot as a whole. and again, his personality seemed very watered down and neutral despite the seriousness of the situation. why was he so mellow? the circumstances of his return i did really like, because... well, we’ll talk about character relationships i guess.

i already summed up my feelings on rindo and shoka and i think i’ll leave them on the note of “unnecessary elements dampened my potential for overt enthusiasm, but overall i feel neutral-positive about the suggestion of romantic interest” which is a lot more than i can say about a lot of (semi-)official pairings. on a broader and more platonic scale? generally i have positive feelings about the new cast and their interactions; i feel like their development is more understated than neku’s in the first game, his character arc is very in your face and the neo cast is not nearly as overt, but you can see the difference in how the team interacts across the three weeks. rindo and fret’s established friendship, not to be dismissive of it, does exactly what it needs to. i mean this in a completely positive way. it’s an established friendship, they feel like friends, and they serve initially as anchors to one another in the beginning of the game as a “you’re the only person i know in this chaos” setup. this contrasts neku in the first game in an excellent way because of how it highlights their biggest character flaws, which i’ll talk about later; it’s important to rindo’s fatal flaw that he has someone to fall back and rely on in the beginning of the game in the same way that it’s crucial for neku’s development that he’s surrounded by strangers who he must learn to trust and rely on in order to survive. rindo and fret can lean on each other in the beginning of the game, and as people who have known each other for some time, are able to recognize and appreciate each others’ positive changes.

i do love the development of nagi’s friendship with fret, particularly how it’s sometimes but not always remarked on when she shelves her initial aloof attitude with him. i prefer when a narrative is more subtle on that kind of thing; pointing it out every once in a while is okay, but i don’t want it shoved down my throat via dialogue that characters are developing an emotional bond. we can see that nagi is slowly becoming more receptive to fret and less likely to dismiss or disparage him. it seems like their initial relationship is that of two people who have opposite struggles; nagi is notably closed off in the beginning, but fret immediately approaches her with an unearned and offputting level of familiarity. their slow and understated (more noticeable with nagi than fret) development towards accepting each other as friends is mutually beneficial to them even outside of the context of their personal relationship; nagi opens up a little with everyone, not just fret. placing two people with very different perspectives on how to interact with new people in close proximity helped both of them grow. i’m sure other people have different perspectives, but i do not feel like they were being teased as a pairing which i enormously appreciate, i am tired of “pair the spares” shit. (minor note: i also appreciate how while fret’s crush on kanon was very overt and strong, she was also fairly clear that she considered him a kid and his feelings were never going to be reciprocated because of that age gap. i know, the bar is low, but thank god.)

i love how, despite nagi now having been confirmed as older than beat, as soon as beat joins the narrative he takes this hard stance of “i’m the one who’s already been in this hellscape so it’s my responsibility to help the newbies”. he really embodies the big brother role so well in this game; he knows a little more about what’s going on, this isn’t his first rodeo even if it’s not exactly the same, so he considers himself to have an obligation to protect the others. he serves as sort of a physical and emotional rock for the team from the second he joins, becoming an excellent support for them both as a combatant and an older brother figure. he has experience in being both of these things, and i think beat’s writing is some of the best in the game.

despite his position as a former player who’s back in the UG, he meshes with the newbies perfectly. he doesn’t overshadow the rest of the team despite having more lived (ha) experience in the reaper’s game, he doesn’t feel like he’s on a different level from them or anything like that. he fits in while serving an important unique role that he can only fill because of his prior time in the UG. it’s completely understandable and reasonable why rindo remains the team leader despite beat’s presence. he’s had a three year gap since his last game and doesn’t even understand how he returned to the UG. he’s not a fish out of water, he knows the UG and the game. but he’s really truly gotta shake the dust off, and he’s trying to figure out what happened to him in the first place because he knows he shouldn’t be in the UG at all. he didn’t have a huge bump in intelligence since the first game, but it’s hard to dismiss him as a complete idiot. he has both large and small perceptive moments where another narrative might have chosen to keep him as the dumb muscle. in fact, his firm convictions serve an important role for the others - beat knows he didn’t die and can’t be convinced otherwise, and his confidence that he’s a living player is part of how rindo and gang realize they also aren’t dead. he’s clearly not simply a comic relief character. another story might have positioned him as more of a mentor figure, but he plays to his strengths and serves to ground the team instead. beat is honestly a highlight of this ensemble cast to me. i’m unsure as to how much of that is simply because he was one of my favorites from the first game, but i really truly love beat in this game.

shoka and neku’s late introductions to the team mean they have far less “we are now firmly allies and friends” interactions with the rest of the ensemble for unavoidable reasons. i will say that the excellent casting and localization for the english version, particularly shoka, has done a lot to mitigate that issue; yes, the plot doesn’t develop her relationships with the team as a whole as thoroughly as some of the others, but the combat interactions with her are so genuine that i found myself shocked when writing this because, well, those combat lines did so much legwork making her role in the party seem earned and cohesive. i had such a strong sense of her place in the team that just isn’t reflected in the cutscenes, and i find that very interesting but i’m unsure as to whether it’s good or bad; i think it’s incredible that the combat dialogue did such a good job fostering this air of “we are a unit” for these characters and it really is a testament to the skill of these actors, but i do wish it was more prevalent in the cutscenes itself. beat’s established relationship with neku and their relaxed nature with one another does a lot to ease neku’s entry into the group; he has an “in” with a firmly established member and a well-written dynamic with him that helps him out here.

as a nekubeat appreciator i feel very fed and i hope there’s an uptick in interest for the pairing following neo. i love how beat, who throughout the game is constantly forgetting who people from 3 years ago are (doesn’t recognize his former superior bc she’s wearing a suit now and can’t even remember her name), immediately recognizes coco despite her changing her entire aesthetic specifically because he’s so angry with her for killing neku. he’s ready to throw down the second he sees her, which gives this feeling of “he’s been waiting for this moment for 3 years”. because the narrative never addresses beat’s change in style, particularly that he wears his hair like neku now, i choose to believe it’s because the last time he saw neku was immediately after coco shot and killed him. it could be that this shit’s been haunting him ever since neku died. my city now, if you don’t talk about it in the game i make shit up. both their cutscene interactions and combat quotes do an excellent job of maintaining the sense that these two have been close friends for a long time and distance hasn’t changed that. they fall right back into old ways with one another immediately.

even outside of the context of me being a nekubeat shipper, their relationship and continued partnership (UG game context partnership) feels very genuine. neku and joshua call each other partner, but it rings hollow. i’m sure it’s partially the lack of screentime that makes it so they don’t feel like partners any more than neku and shiki do, but the game doesn’t even try to push closeness the way it does for shiki - more on that in a minute. beat is the only one of neku’s partners that seems to have retained the same strength in their bond with him despite the three years; shiki and joshua are super absent in the plot, which really undermines their relationships with neku. i’ve already talked about my problems with shiki’s lack of focus and how i feel it harms her relationship with neku, but as for neku’s relationship with joshua, i think neo has taken an interesting approach that i feel will have a mixed reception.

it actually feels like neku and joshua ended this game on worse terms than the first one even though joshua was a far more benevolent figure this time around. neku is very clear about wanting to return to the RG despite this meaning he will have no access to the UG (outside of potentially text-based communication since rhyme paved the way for RG residents to bust into the RNS and... however it was that shoka’s fanGO account worked, since she and rindo were fanGO friends long before his entry to the UG) and doesn’t show any hesitation or reluctance in stating this desire. he seems quite content with not having joshua be a part of his life, as opposed to the first game’s ending where he extends an open offer to joshua to join his friend group. i understand how this would (and will) let a lot of people down, but i actually think it’s for the best. i have no real opinion on neku’s capacity for forgiving joshua after the first game, good or bad, but i think putting distance between them in this game is the correct move.

i take this viewpoint especially given that after the first game, joshua did in fact choose this distance - neku invited him in, and he did not take the offer. it was his decision to not join neku’s group in the first game’s ending and he continued to remain separate from it in the three year gap; he may have masqueraded as a fellow player and peer in age, but joshua is not and has never been an actual peer to neku, shiki, and beat. his life experiences are so different from theirs that i would struggle to suspend disbelief that they have enough in common to maintain a close friendship. he intervened when neku was killed by coco and placed him in a safe area and gave moral support in the ending, and i think this is the most we should expect of a reforming (not reformed but in-progress) misanthrope like joshua. he’s an enigmatic figure sure and largely benevolent if inactive in this game, but he isn’t a good person and he clearly considers himself to be on a different level from neku and his peers. hanekoma notes that joshua’s somewhat reluctant to continue to remain separate from neku’s group, but i think the narrative places him both objectively and in his own mind as someone who is just... from a different world. joshua chose distance, he chose to cut contact, and this is the consequence of that decision. i think that’s a good lesson to teach; it may not be a given, but it’s natural that sometimes a friendship you ignore will fade. it doesn’t necessarily mean the time you spent didn’t matter, but you shouldn’t be shocked if a plant you don’t water wilts away.

i feel like that wasn’t the intended takeaway, that it was just questionable writing that i’m reading too deep into, but that’s how i feel about the situation.

i’m also incredibly grateful that hazuki was introduced as an age-appropriate option for joshua and i hope they’ll draw attention as a bastard boyfriends ship, both because i think it’s very funny and because i have opinions about shipping joshua with the teens. i know it’s contentious and i’m not going too deep into it, so what i’m going to say is this. the secret reports state in plain objective text that joshua downtuning his vibes aged him down and his true appearance is older. neither the narrative nor supplementary info state anything about how old josh was when he died or how long he’s been a reaper/the composer (reapers ageing is ??? as well, we don’t know if it’s not a thing or if it’s optional or what). however, it is firmly canon that he is older than 15. if that canon upsets you then that’s your problem to either work through or ignore indefinitely. suffice to say, joshua and hazuki do not have the schrodinger’s pedophile issue and i wholly support and strongly encourage that over the alternative for this reason and again because i find it funny and think they deserve each other. i hate to say hazuki is a healthy choice for joshua because i think both of them are just walking messes, but they are actual peers on the same tier of the higher plane pecking order and more importantly the disaster they could be as a couple has infinite potential.

on the girls side of things, i am still mad about eri’s absence not just because it’s a relationship shiki had that just got ignored. i know the story wants us to believe that neku and shiki have something but shiki and eri had more. i’m sorry writers you made a more compelling f/f ship by accident in the first game and i am not invested in the one you weakly suggested between neku and shiki here. if you made shiki have more of a role in neo maybe i’d feel differently, or maybe you would have screwed it up worse. we’ll never know. i think it’s a shame that they couldn’t make me care about neku and shiki as a pairing, but it is what it is.

i was briefly worried that the game would try to suggest something between kaie and rhyme because sometimes people lose their minds when a boy and girl stand next to each other, but i was quickly set at ease with that one. they felt like two people who are starting to straddle that line of acquaintance/friend in a believable way despite how little interaction between them we see, and i appreciate that. i was also briefly worried that fret would develop a crush on rhyme based on his initial reaction at being introduced to her, but again quickly dismissed. can you tell i’m a little gun shy about strangled “him boy her girl” romances in fiction these days? yeah. i’ve been let down too much recently by bad writing.

i think all of the party members could have benefited from more development with one another outside of combat lines - i would like to see more interaction between nagi and shoka, or neku and fret, etc - but that would come at the expense of the narrative’s pacing. i think it could have been done by tweaking certain details, but ultimately i can accept this as a sacrifice made in the interest of keeping the narrative from getting bloated.

i wanna talk briefly about the new main cast a little.

rindo’s ups and downs re: development are much more subtle than neku’s were, but with the secret reports in mind i feel his arc is actually pretty excellent. i think we could have done with a little less of fret pointing out rindo’s increased confidence and how he becomes more assertive, i think the audience is smart enough to notice that on their own. but i’m a huge fan of how the narrative quietly places rindo in this position of a leader who fears that responsibility, but nonetheless has to grow and accept it. hanekoma’s reports may spell it out in plain text postgame, but the narrative already told us in our own way that rindo’s development stalled when someone else entered the cast who could take over for him and this is demonstrative of a(n understandable) lack of maturity and failure to grow. neku’s fatal flaw was his rejection of others, and so he was forced by the narrative into a position where he had to learn to trust them; rindo’s is that he relies too much on them and the narrative forces him to stand on his own.

while i think this is a little muddled (he was right in some instances to not make hard solo decisions; thinking specifically of ayano, it was absolutely the right call to ease shoka into this inevitable loss rather than forcing her into the situation unilaterally) and i wish we saw more consequences of his initial waffling behavior, rindo’s indecisiveness is an actual flaw that i think a lot of people can relate to and i think it contrasts him wonderfully with neku without being heavy-handed. rindo working through it from “relying on others to make choices for him -> still valuing the input of others but not wholly dependent on them -> capable of making difficult calls without anyone else to support him” was subdued and while it had realistic hitches in the form of other characters who he could consider authority figures, it was steady and imo very good. he’s a teenager coming into his own, stepping out of this world where others in his life - motoi as an0ther, shoka as swallow, presumably his parents, teachers, etc - have made the big, scary decisions for him or guided him through them, and into a place where there aren’t these people to guide him. he’s surrounded by people who either don’t know anything more than he does, or don’t care about his best interests; he’s clashing and changing and it forces him to grasp and accept his own autonomy rather than falling back and relying on someone else to fix things when it’s too frightening or difficult.

we can talk cultural differences re: the level of autonomy and responsibility that’s right for teenagers but i’m not really interested in drawing hard lines there. this is a coming of age story; as he approaches maturity, rindo is learning how to be an adult. i think that’s a classic and important narrative concept and it’s done well here.

fret, interestingly, is imo a case where the subtlety didn’t work out. to me, there wasn’t a huge distinction between flippant “telling you what i think you want to hear” fret and “genuine” fret. his initial interactions with kanon don’t seem different from their last conversation; maybe he comes off as less initally honest in the jp version, or maybe this one was a writing fumble. maybe it’s just me, and other people don’t feel the same way! he seems to be a far more static character in a strange way; the narrative tells us that he’s developing via other characters’ dialogue, but it doesn’t seem to support that. to me it’s a failure of “show, don’t tell” - i don’t take a hard stance on “show, don’t tell” as some kind of holy rule of writing, there are plenty of situations in a narrative where telling is perfectly acceptable and i think rigid adherence to showing and not telling can result in a bloated narrative, but in this case i feel like that’s where the narrative failed. it failed to support fret’s development outside of other people telling him he’s changed. i like fret, but i feel like in this ensemble cast fret and nagi kinda serve more as nominal protagonists and are more strong supporting characters than true leads.

as for nagi, i love how, despite it being low-hanging fruit, not only are there no real digs at nagi for being a vocal fangirl of a visual novel dating sim, it actually ties perfectly into her character as someone who understands people. dating sims are about people and relationships. how people interact, the importance of conveying your feelings, the consequences of bad communication; that’s what nagi is obsessed with. and rather than this being a detriment and making her avoid others, it ends up priming her to have healthy friendships because her gaming taught her to value knowing other people. it takes her time to actually open up, but rather than the video games closing her off to others they actually set her up to be an excellent friend. elestra in general could have been a subject of enormous mockery, but instead it’s viewed in a very neutral way and is given the implication of universal appeal by fret picking it up in the epilogue. nagi’s not in the spotlight for most of the game, but the payoff of her monologue to fret about being human was immense and was one of the best bits of dialogue in the entire game to me. it’s not going to be as iconic as hanekoma’s “open up your world” and “enjoy the moment”, but i truly think it’s one of the only parts of neo’s dialogue that approaches its level.

shoka is a character that i think is better on the replay, and i say this as someone who was very fond of shoka the first time around. i thought she had a lot of personality in her mannerisms alone, and i firmly appreciate how she wasn’t a one-note tsundere character. she had some of those minor elements, but subdued and with a reasonable context - she’s hot and cold with rindo and his team because she’s supposed to be working this rigged game to erase them, but she’s already rindo’s friend in a different context and is struggling to reconcile these two parts of her life. knowing her motivation as swallow gives so much retroactive depth to her actions; she was circumventing the game itself not just because she was exhausted by it or unease with shiba like some of the other turncoat reapers, but because rindo was her friend from before the story even began.

i will say that i didn’t actually fully call swallow being shoka simply because at first i had the impression that it would be rhyme (before rhyme’s role in the story became clearer), and admittedly by the time the climax hit the mystery of who swallow was had kind of dropped out of my mind completely, but i think it does a lot to develop shoka. whether this development being retroactive is strictly good or bad as an issue is subjective; neo is a game that has a built-in chapter select, so replaying the game and rewatching the cutscenes with the full narrative context is incredibly easy. however, for a lot of players, if you’re replaying the game it’s with a specific goal of getting something you missed earlier in-game, so you’re rushing through those cutscenes trying to get to that completionist bit. i think a line could have been walked re: giving more of a hint that shoka was swallow before the very end without fully giving it away, but i definitely think the rewatch value is more subjective and based on how you specifically play the game. if you’re here looking to watch all the cutscenes again now that you know everything, shoka being swallow is a huge treat regarding changing the context of her behavior - if you’re fast-forwarding trying to find a pig, it’s totally wasted.

i would have liked to see more of shoka’s backstory and interaction with the other shinjuku reapers for sure, and i wonder if this is another thing along the lines of “we were supposed to see more of shinjuku’s final game than we did”; if we’d gotten more of shinjuku, we certainly would have seen more of its reapers. i talked briefly about how i feel like ayano’s death didn’t hit the way i think it was intended to, but if the game had let us see more of her as a shinjuku reaper i feel like the entire plot would have benefited. it would have benefited shiba as well honestly; they tried to have him as a repentant “now i shall fix what i destroyed” character at the very end, but i don’t feel like they did a good enough job portraying that he had changed and he was brainwashed so it fell flat. if we’d seen more of shiba as the compassionate leader who deserved the loyalty of his reapers that they say he was, the contrast would have done a lot to help define the tragedy of his backstory. overall i think this is another “we lost a chunk of the plot in rewrites or something” issue, which i admit is not based in anything like interviews. it’s just my speculation because it feels like something that was supposed to be here got left behind - i can’t say if i’m right, or why it happened if so. it just feels to me like the shinjuku reapers besides shoka went fairly undeveloped not because of writing/lack of screentime alone but because we lost big pieces of shinjuku content entirely. it’s insane that we only learn in the secret reports how tsugumi became trapped in the mr. mew plush to begin with; to me, this screams “we had to cut something”, and the more i think about it the more convinced i am that we were originally meant to see more of shinjuku’s inversion. hell, the secret reports just flippantly inform us that tsugumi’s brother was shinjuku’s conductor and he’s why she survived - but he goes unnamed and unseen, mentioned only in a piece of postgame content that many players may never unlock.

shinjuku’s final game is just left as this incredible story that was never told, with a cast who we barely see. again, it doesn’t bother me that they never explained to us why hazuki purified shinjuku. but i do wish we could have connected with its reapers to see how they reacted to its impending fate; who was on kubo’s side, who was trying to protect shinjuku? who knew what was happening, and who was just swept up in the chaos? how did the purification affect them emotionally after their escape to shibuya? just from the secret reports we see that tsugumi’s brother is this tragic hero of another story, the conductor opposing the executor and fighting to save his city before ultimately sacrificing himself to keep his sister alive. this is enough content that it could have easily been a standalone, but it wasn’t. i think that’s a damn shame. i’m sure there are people who are already chomping at the bit to write about shinjuku’s tragic final game and it’ll make a stunning fanfic in the right hands, but this is a big gap for fanfiction authors to be filling in.

this was mostly a narrative thoughts dump, but i wanna say just a couple of things about the combat: overall i liked it! i was significantly overleveled for the vast majority of the game partially because i was having fun with the combat, i feel gameplay was very intrinsically motivating. because of how the food system worked, being overleveled didn’t mean too much since it only affects HP, but i also was eating constantly so i was in fact just OP for much of the game. so i suppose, take my gameplay commentary with a grain of salt because i was busted quickly. if i hadn’t been such a powerhouse from early on, i expect my gameplay experience would have been much different.

my biggest complaint: there were some significant issues in enemy design related to battles being timed and the timer having consequences. some enemies were a reasonable/intuitive pain, say, elephants being bullet sponges and chameleons having an invisibility mechanic. these things made them challenging, but in a sensible way. like, of course a big honkin’ elephant has a ton of HP. i think that chameleons in particular could have been tweaked; you have to be very close to them when they’re invisible in order to lock on, and i think this could distance could have been extended a bit to minimize frustration. likewise, it felt like party members that get grabbed by a t.rex were trapped for ages; i feel this could have been tweaked as well. i know a lot of people had issues with wolves for this same reason, but their comparative frailty and my pin choices meant that i quickly overcame wolves and they became a minor nuisance at best until endgame introduced a beefier wolf. even then, i found t.rex noise to be much more of an issue because of their sturdier nature and higher damage output. these are minor gripes; i didn’t like seeing these enemies, but i didn’t hate seeing them. no, here’s what i hate: rhinos and pufferfish.

to me, these are the most annoying enemies in the entire game outside of maybe a handful of bosses. i feel they were poorly thought out in general. the tendency for rhinos to put themselves against the arena walls and the delay on pufferfish exploding after their HP hits zero do not mesh well with that battle timer. i find myself very frustrated by these enemies because it feels like i’m being punished not for a lack of skill or bad decisions choosing weak pins, but simply bad luck. very few pins can circumvent the rhino’s front guard and the hitbox for their guard feels enormous, so i can’t imagine i’m the only player having difficulty herding them out of corners to actually damage them or get beat drops. there’s a postgame dive with a big noise rhino, and it was my worst experience with the entire game because it just kept backing into a corner. i quit that dive multiple times because of how much time i wasted with the rhino; i changed my pins like crazy trying to take advantage of elemental weaknesses or use pins that could circumvent the guard. but it wasn’t about what pins i was using, it was just bad luck with hitboxes. when i finally got the gold rank on that dive it wasn’t that i did anything significantly different, the rhino just didn’t park its ass in the corner that time.

as far as i know, and i hope i’m missing something that someone can enlighten me on, there is no way to prevent pufferfish from inflating and exploding outside of a killer remix. i have not discovered any way to make them explode faster. the amount of time it takes for them to blow up seems to vary not by species but by individual, i’m not sure if it’s being triggered by proximity to a party member or what but i know sometimes one of those little shits will inflate and chase me across the entire arena before finally exploding. in a chain battle, that wasted time adds up. the pufferfish issue could have been severely mitigated, if not entirely fixed, if the gap between HP hitting zero and explosion was just the time it took for them to inflate. that would have basically eliminated my needless frustration with them. but instead i just... don’t know how to make them pop faster.

in normal combat, your post-battle score is primarily just bragging rights/making yourself feel good to have gotten a good grade. but when it comes to dives, where the timer directly decides how many of the finite friendship points you get, the appearance of a rhino or pufferfish specifically is something i approached with dread and disappointment. i already mentioned the postgame dive giant rhino specifically being a nightmare, but this was a reoccurring element for me through the entire game with just normal rhinos. i know rhinos are a returning enemy and kept their front-guard schtick, but the shift to a 3D environment has made them a much more (imo needlessly) difficult opponent.

regarding the pin system itself, i was enormously disappointed to learn how the multi-pin input worked. it turns out that you can only have multiple pins using a single input no matter how many multi-pin wields you unlock; gone were my dreams of having 2 Y-input pins and two ZL input pins (i played on switch). the inability to multi-pin wield uber pins regardless of how many uber slots you have filled is also a huge bummer. i feel like in the postgame i should be able to be an absolute god of destruction, but this didn’t pan out.

this seems to be a switch issue, but autosave was the MVP of the game because i had a few cutscenes crash or freeze (the one with kubo’s reveal seems to be a common source of a crash on the switch version as it fails to load the 3D cutscene); this was annoying and needs fixing, but it was slightly mitigated by autosave kicking in immediately after boss battles. i was crushed thinking i was gonna have to go through the shiba fight again after kubo crashed my game, so the relief i felt upon loading up again and going right into the cutscene was immense. don’t get me wrong: cutscene freezes and particularly crashes are a big problem that a game like this shouldn’t have launched with, but at the very least i didn’t lose my progress on that crash. related, i appreciate the ability to speed through cutscenes you’ve already seen, but i do wish we had the option to skip them entirely because that would have saved me from the freezes that i had to manually close the game and lose progress for.

a more minor complaint that i admittedly am unsure as to how to fix (maybe utilizing the d-pad instead of having it be camera/target select alongside the right stick?) is that i do not seem to have much control over which character my camera centers on in combat. typically selecting the pin that’s equipped to them will focus the camera to them, but every once in a while i’ll be locked to someone whose pin is rebooting while my other party members are actively attacking on the complete opposite end of the arena. i have no idea why this happens. if i’m missing something please let me know. the static nature of the overworld camera took some adjusting to, at first i was offput but i got used to it quickly. if camera was fixed position in combat it would have been a nightmare, but it being fixed in the overworld isn’t the same beast.

this has gotten obscenely long, so props and condolences to everyone who has made it this far. i wanna end on a high note because i want to reiterate something: i have so many criticisms here and that’s actually praise. i enjoyed so much of this game that i’m critical of where it fell short specifically because it’s such a strong contrast to how much i felt it did right. the main story was pretty strong in general, though some character interactions were lacking. the plot itself i didn’t talk a lot about because i thought it was good. there wasn’t much to say, they did a good job! the dissonance noise being created from deleted timelines was great, i loved that. i don’t feel like predictability makes a narrative bad, so it’s not like i was upset when it turned out replay was (gasp) part of a dastardly scheme. for me, foreshadowing is an excellent thing even if sometimes i wish it was handled a little differently.

i vastly prefer this game’s vague sequel hook with minamimoto over how final remix ended a new day; that sequel hook i hated and it had me so worried about neo. thankfully a lot of my fears didn’t come true, and i am very happy overall with the game we got. if another game is greenlit, i would hope it progresses with a mostly new cast; as long as we stay in shibuya some supporting characters can and should be staples imo, like kariya and uzuki, and i hope to see more of what’s being set up with minamimoto even if not necessarily with him as a protagonist. but overall i think twewy’s worldbuilding lends itself much more to a rotating cast if it develops into a full franchise; that’s just the nature of the UG, and i would like to see further installments taking advantage of that and allowing characters to have a complete arc and then retire from the narrative naturally.

i’ve got some pigs to erase and some bosses to slap the pins out of, which i’m sure will take me some time. another day certainly has a secret boss and/or time trial boss rush, so i’ll take a look at that sucker soon as well. i’m looking forward to continuing my playthrough, and i expect to sink quite a few more hours into this game. i really truly enjoyed neo despite my qualms, and i’m leaving the main storyline behind for postgame stuff with almost entirely positive feelings and a hopeful stance on the potential future of the series. i know this was a long-ass post, which is why it’s beneath a readmore, but to anyone who cared enough about my thoughts to keep reading the whole thing... thanks for the time you spent, hope you got something positive out of it!

[curedigiqueen]

So while I was working on my… analysis I suppose, on why Digimon Adventure: does not work as a show, it occurred to me that despite claims that Taichi in Adventure: is inspired by V-Tamer Taichi, his partner is an Agumon whose final evolution is Omegamon, and why that doesn’t work. But I realized that it is a point that I could expand on, and so I have separated it out here. Consider it a preview.

The protagonists of Digimon V-Tamer are Yagami Taichi and his partner Zero, a Veedramon. The story is carried by these two alone. While others help and hinder them on their way, their mission is theirs, and the responsibility of defeating Daemon belongs to no one else. It is with that power that they reach their highest form, UlforceVeedramon Future Mode While Taichi is the main protagonist, Zero is just as much a protagonist. Their names, even reference binary. While there are other characters who impact the plot, the role of protagonist belongs to these two. 

This is echoed in the themes of Digimon Adventure:, the digivice in the title supposedly representing the bonds between human and digimon. And, while I don’t think it particularly succeeds, I can see clear attempts to be made to make the digimon partners their own characters, equals to their human partners. 

But yet, Digimon Adventure: uses Omegamon as Taichi and Agumon’s final evolution. And that is a bit of a problem. Digimon Partners are not interchangeable. Well, okay, the species are a bit arbitrary, all things considered, (after all, Zero’s rookie form is also Agumon) but the problem is what UlforceVeedramon represents vs. Omegamon. 

In Digimon Adventure, Omegamon is not Taichi’s power alone. Not by a long shot. Taichi is not the solo human protagonist of Digimon Adventure. Even in the first film, before Hikari was even meant to play a key role in the series, she shared the series debut. Regardless, the burden of defeating Apocalymon is not his alone to bear. And Agumon’s evolutions reflect that. WarGreymon is reached through borrowing Hikari’s power. Omegamon is literally formed by WarGreymon and MetalGarurumon (who was formed by borrowing Takeru’s power), but in reality is born from the power of hundreds of people reaching out from across the world. And perhaps even Taichi’s crest of Courage is not something that belongs to him alone. As Yamato puts it, “It’s everyone's Friendship”. Though Taichi best embodies courage, the courage he wields is not his alone. Even tri. which I usually avoid using as an example, has Omegamon Merciful Mode, which very explicitly draws from the other children’s partners. Adventure’s Taichi’s not strong because he himself is powerful. Really compared to Hikari he seems rather unimpressive on his own. He’s strong because he is able to easily act as a receiver to others powers, a trait that is fitting for a leader. Because that’s what sets Adventure Taichi apart from his peers, he’s a leader.

Note, that I didn’t really bring up the partners in regards to the discussion of Adventure, not that they aren’t important, but that they aren’t a driving factor. Digimon partners are something vastly different in Digimon Adventure. They are reflections of the children’s inner selves. For straightforward characters, like Taichi, his partner Agumon is very much like him, and for characters like Sora, Piyomon seems very different. This isn’t to say that the digimon are simply their partners, Tailmon went through quite a bit on her own. But nevertheless, Tailmon is the way she is, because Hikari is the way she is. 

Digimon Partners and their evolutions are not things that are just assigned, and given. They are things that arise from the circumstances. Omegamon is there because the themes and circumstances make Omegamon the most appropriate "Ultra”. This is true both in and out of universe, who can forget SkullGreymon? SkullGreymon isn’t wrong. It’s just not the evolution that fits Taichi and Agumon’s situation.

And here’s the thing. Digimon has done the whole focus on “Bonds with Partner’s” before. That’s Tamers. And in Tamers, the final evolution was born from a human and a digimon literally coming together as one. The final episodes all appear somewhat humanoid as a result, particularly notable from WarGrowmon to Gallentmon. Because that was what evolutions were needed narratively and thematically. Otherwise, we have Megidramon. And guess what, the Adventure timeline also has a movie in which the focus is on the bonds between human and friendship, and lo and behold. In Digimon Adventure Kizuna, Agumon (Bond of Courage) and Gabumon (Bond of Friendship) were born. Born from the bond between human and digimon. They even use the “looking like humans” idea from Tamers.

Interestingly, Kizuna came right before Digimon Adventure: started. 

Now, I am really advocating for the Bond forms to be used in Adventure:, those forms were something special to that timeline. But that’s just the thing. Many evolutions, whether unique digimon or not, are brought about by circumstances unique to that timeline. Look at 02’s usage of Armor levels, Frontier's Hybrids, and Xros Wars' Xros mechanic. It’s not new for later seasons to take these Digimon that have existed in these specific circumstances and use them generically later. It would, after all, be a shame to put all those good designs to waste. But at the very least, the evolutions of the main cast are carefully chosen, created if need be, to fit the show.

And that creates a problem for Adventure: as a reboot. It is pulling from the evolutionary lines of its predecessor, despite aiming for different themes and using an entirely different world and characters, and in the process the meaning behind the evolutions has been stripped out. While it has been able to throw in additional evolutions, most of those are well within the confines of precedent: Armors and Ultimate’s that are already related to these evolutionary lines. Adventure: is trying to be a show that, as a reboot of Adventure, it cannot be. Adventure: spends so much of its time screaming that it is not the original Adventure, while simultaneously dragging in call backs that it loses any sense of identity.

The enemies they fight are not Taichi’s responsibility alone. These kids have to have crests. Agumon must evolve into Omegamon.  Angemon still has to die, HolyAngemon and Angemon have to mean something. Tailmon has to be Adult, and has to have been evil. Hikari and Takeru have to give their brother’s power. Omegamon still has to appear. . They still go to summer camp, and Taichi still fights Parrotmon. 

Note, that this is far from Adventure:’s only problem, however I do think it illustrates a large problem that affects the way certain elements and characters are used in this show. Taichi is a solo protagonist, but his “Ultra” is still Omegamon born of Yamato, Takeru and HIkari’s influence. Mimi is now a bossy rich girl, but her crest is still Purity. Yamato is a loner who doesn’t overly concern himself with others, but he’s still Friendship, and still Takeru’s semi-estranged younger brother. 

When Adventure: manages to work a new angle into the old mold, it works well. Yamato’s focus on his friendship with Gabumon works well, and various side characters work alright. Resolving the conflict over Tailmon’s Ultimates by using both for separate things and bringing in Goddramon is a great idea. But more often than not, it doesn’t. Properly contextualizing what a holy digimon is is great, but Angemon’s death is awkward, and Pegususmon’s presence smooths over the issues of Tailmon being champion and keeping Angemon special in an awkward way, refusing to address what an Armor is. Because they are trying to write a story around a set of evolutions they are required to have while absolutely refusing to be Adventure where it matters. Leading to the awkward mesh of Adventure elements and characters, with themes and stories that they were never meant for. 

If Adventure: was meant to be about the bond between Taichi and Agumon, Omegamon was never going to work, including the concepts of crests, was going to muddle things at the very least, and including 7 whole other partner pairs who are going to require at least a few episodes of focus a piece was not going to work out. It’s not that we couldn’t have had more focus on Taichi and Agumon within a reboot and their bond, or that the idea of Taichi and Agumon (or any other pair), activating an evolution because they are in agreement on a concept isn’t a good idea. Just an understanding that this primary focus wasn’t going to work because Adventure in its very concept has a lot of characters that need some degree of focus. Savers with its heavier Masaru focus and use of shonen tropes, dials back the number of “main” characters to half that of Adventure, because it is built around its premise. That unless they were going to be bumped down to secondary, recurring characters, this was never going to work, because that’s not how Adventure’s concept was intended. To tell a new story, it needed to have dropped a few more of Adventure’s elements. But to do that would be to essentially admit that this isn’t Adventure at all. Adventure: needed to have evaluated what story it could tell with what elements it was required to include.

Anything goes in Digimon, and Adventure: seems to want to make the most of this, using armors, Hybrids and Xros Wars digimon with regularity. But you can’t build a cohesive narrative simply by plucking your favorite ingredients and sticking it in a pot. Some things just don’t go together. You can’t take the ingredients to make bread and make a salad. But in short, V-Tamer Taichi and Adventure Taichi aren’t interchangeable. They are two different characters because they are designed for two different stories, and their partners reflect this. Adventure: was doomed from the start if it didn’t realize this. 

[sepublic]

Musical Car!

           What’s interesting is that the musical has a sign advertising Jesse’s name; Did he stop by the Musical Car at some point and inspire the denizens there with a speech about empathy, and how differences are okay? We know that had to have taken place prior to him, Lake, and Alan Dracula entering the Carnival Car, meeting The Cat, etc. Either way, I’m not at all surprised that someone as open and friendly as him would say such things, especially with an unconventional friend like Lake; And obviously he stuck by his words in the end, didn’t he?

           Lemme tell you though… I was legit disturbed by that raid, as well as seeing those poor denizens get legitimately hurt and injured for no reason at all, and that ONE decapitated dude almost getting wheeled, only to be converted into Simon’s thing; Like, screw you Apex. That’s what makes Simon and Grace interesting; I’ve always imagined the concept of more problematic protagonists for this series, so it’s not much of a surprise to see Book 3 dive into this! Given how much more, well… WORSE Simon and Grace are, pehaps it’s not all-too surprise that their arc was confined to HBO Max, given the even more mature tone set by them and their actions!

           Honestly, those two rapidly switch and range from terrible, nasty jerks I want to punch, to misfits with banter and chemistry, and plenty of comradery; Especially for people they DO care about! It really drives the point home that not every bad person is PURE evil, like they don’t spend every waking moment plotting how terrible they can be, and most don’t even consider themselves as bad! It’s disconcerting, but a good look into their mindset; With Grace genuinely trying to be nice and caring to the kids and not hurting their feelings, but also repeating Amelia’s lies about the train denizens being there for the passengers’ benefit, and… More on that later.

           Also- Glad to see Grace make fun of Simon’s fashion sense and acknowledge it, but at the same time… Either he was ten when he began to wear socks with sandals, AND/OR he was ten when he first met Grace; Presumably on the Infinity Train, although the idea of two individuals knowing one another PRIOR to boarding it is also fascinating! Especially given how Book 2 discussed the idea of fate and pre-determination in one’s paths and all…

           It’s interesting to see that not all Apex kids are against the denizens, like some DO want to make friends with them (albeit in a very invasive manner), but Grace and Simon just shut them down. I have to wonder if they themselves also had a similar moment with Amelia, only to be brutally shut down; And Amelia is objectively worse than those two considering how much higher her number is, and how SHE was the one who started this dumb ideology in the first place (instead of just being taught it at a vulnerable moment in her life like everybody else)!

           What’s worth noting is that Simon has a device that can detect the presence of other passengers, which is both VERY cool and VERY useful; I have to wonder if it’ll detect Hazel in the Jungle Car however. Given the speculation of her being a train denizen, it’d serve as neat, subtle foreshadowing as to her true nature, and I can see the show touching upon this! Also, the aesthetics of that device reminds me of what The Cat would own; Given how she’ll make a return this Book and has had a run-in with at least Grace in the past, I can easily see it being something she’d own. She IS a collector of useful things, after all… And I have to wonder if maybe The Cat was even a companion of Simon or Grace; Or maybe even Amelia! Perhaps the Passenger-Detector was a ‘gift’ from Amelia…

           (I mean, they HAVE to bring her back in Book 3, given how her ideology and actions are a direct consequence of everything that happens, and would fit nicely into her eventual redemption arc. Not to mention it’d give a fascinating insight as to what was going on in her mind when she indoctrinated the Apex.)

           Neat detail seeing the Unfinished Car with those corgi diplomats, and nice joke with that one turtle talking to what’s later revealed to be a phone with a line that’s already cut anyway! Grace breaking her Harpoon Pack makes sense; She wasn’t seen with one in the trailer and posters, and I guess it’d help ‘balance’ things if only one protagonist had a Harpoon Pack; So they can’t just skip over cars on their way back!

           Speaking of a way back; We have a set number of cars leading back to the Mall Car, so in other words we have a way of keeping track of the journey’s progress! It IS worth noting that the cars could always rearrange… It’s interesting to learn that cars apparently don’t move when passengers are inside; I always assumed that sometimes they might’ve and a passenger wouldn’t notice because all the cars look identical from the outside, and also being inside a pocket-dimension kind of skews around with the sensation of what’s going on outside. It’s possible that Simon and Grace actually felt the movement because of the Unfinished Car’s unusual nature…

           Regardless, after that disturbing opening scene it makes sense that One-One is stepping in! Given how he values the passengers more than the denizens (as seen with his second and final interaction with Lake), it makes me wonder how much he actually CARES; Or if he can’t afford to have people ‘breaking equipment’, and/or is mostly doing this to lean the Apex towards becoming better people by confronting them over their actions! At this point, they may end up pushing One-One too much and he’ll have to send in his Steward…

           Getting onto some existential crisis, the cruel thing about Simon and Grace saying that the denizens are made for them is… They’re actually kind of right? NOT that this justifies at all their wanton, senseless cruelty towards the train denizens… But it ties back to Lake’s existential crisis in Book 2, the realization and likelihood that she (and maybe even the Mirror World) was made purely for the character development of people like Tulip and Jesse! One-One himself outright says in the Book 2 Finale that, YEAH; Train Denizens are supposed to stay on the train because their entire purpose, their entire means of creation was just to fulfill what the passengers need!

           …Obviously, using them for raids ISN’T what One-One (and/or whoever made the Infinity Train/the Infinity Train itself) intended… But the disturbing realization still stands that the denizens’ purpose and creation in life is for the betterment of passengers, to accompany them, aid them… In the past, I’ve speculated how some Cars and their inhabitants don’t seem to have much of a personality beyond being a basic caricature to fulfill the ‘theme’ of a car, as well as aiding in passengers’ journeys! And obviously they’re all PEOPLE, but again this ties back into just how real the pasts and worlds of denizens were, as discussed by Mace; The idea that entire histories and cultures have been fabricated, and pre-programmed into the memories of denizens.

           Needless to say, it’s very disturbing… And if Simon and Grace ever change their stance on denizens and even start vouching for them, it’d be a brilliant reversal of their beginning attitudes to have them call out One-One for making sapient people for the sole purpose of serving others; Which could be a dilemma for him given how HE may have been made for the purpose of others! Given how Amelia taught the Apex her ideals, and she was Conductor for a time and thus had rather intimate knowledge of the Infinity Train… perhaps what she says about the denizens being just ‘toys’, made for the passengers, isn’t too far a stretch from the truth; Obviously a dark, twisted, and selfish distortion. But it’s emblematic, reflecting a deeper, underlying issue that could lie with the Infinity Train itself.

           (Especially since Owen Dennis said that One-One and the Infinity Train can be wrong…)

           Given how Amelia made cars with denizens that only ‘turned on’ once a car was considered ‘complete’ (or close to it), it suggests that she knows all about the artificial, pre-programmed nature of denizens because she’s made a few ones; Which when coupled with how she probably tried to make a Fake Alrick, and ultimately realized that a replica would never be the same… Eerily, it lends to the idea that part of what made Amelia realize this at the end of Book 1, was her mindset that denizens are just follow, fake copies of pre-existing things and aren’t even real to begin with.

           THAT is a cruel twist; That the very ideas that founded the Apex and caused our issues in Book 3, were low-key what helped Amelia wake up from her fantasy and realize that she needed to confront her issues! Given how high her number is, it only makes sense that while she’s making progress, she STILL has some more fundamental problems to tackle; Specifically the idea that while denizens aren’t the same or ‘real’ as the original, they’re still people and whatnot!

           All in all, a VERY fascinating watch! Just eleven minutes, but I’m hooked in; Sure this does tie a lot back to previously-established concepts, but what story-driven show doesn’t? It really recontextualizes and makes you think back about what WAS discussed already and how it changes with the more we learn and explore!

[k-s-morgan]

I just recently finished Hannibal and I’ve been loving your meta posts. Being a newbie, I’m actually quite surprised that there’re a lot of upset fans after the reunion. Maybe my understanding of Hannigram or Bryan’s take isn’t thorough enough, but to me, it seems like they actually shares one body and soul and the depth of their “bond” i’d say is undermined when it’s confined to the mold of sexuality. Ig this is rather an unwelcome opinion but i don’t feel the need to label Hannigram.

Thank you! It’s always great to see our fandom growing like this)) 

From the perspective of an old fan, I understand people’s frustration - I’m actually frustrated myself. If you don’t mind rants, here it is. 

I love the positive things that have been said, but I feel like the years keep passing yet nothing changes. I agree with you that Hannigram is beyond categorization - most of us do, which is why it’s strange that Bryan himself is making such a big deal out of the sexual side of this relationship. It’s just one aspect that could logically happen - Will and Hannibal’s bond is so diverse, sex is just another small thing they could include into their relationship. But Bryan’s insistence of calling Will “straight but fluid” (which means bisexual), his excuses as to why he might not make it sexual... why are they needed? That’s what I find strange. It sounds ridiculous when he tries to say how he should stay true to the books in this particular respect when we know he never bothered with it before. He himself introduced sexual subtext into the show and kept drawing attention to it. If he just said from the start, “I don’t think the relationship is sexual,” people wouldn’t have any expectations. But he keeps being contradictory and ambiguous, and it is very tiresome.

Another thing that I and some other old fans find annoying is how in all these talks, Hannigram is basically presented as a small element of the show. They might call it its core - and it is its core, but their discussions don’t reflect it. There is no focus on it, no thoughtful commentary on the evolution and progression of Hannigram from deeper angles - all we keep getting is how they love each other and their bond can or cannot be sexual. Marlana gets more attention than this, and Bryan acts like he’s more proud of it than of Hannigram, even though the latter is a central story line. Him acting like he’s “entertained” by fans sexualizing Hannigram is pretty insulting, considering he was the one to do that on a constant basis. There is nothing funny about people thinking that two non-asexual men who are in love will have sex.

The last frustrating aspect is his ambiguity about S4 plot. As someone who listened and read to everything he said over this time, it doesn’t feel like Bryan knows what he wants to do. He keeps introducing strange ideas to the point where they become disjoined and incompatible. People still don’t get what he thinks of Will’s darkness because he says different things and never sticks to actual facts. 

My opinion is that making S4 about Mind Palace and hallucinations is a big mistake. The dream-like state of S3 was brilliant, but they have actual plot on hands that requires resolution. I don’t see any point in repeating yet another conflict with Will’s ‘broken mind’. 

If Bryan stuck to something specific, understanding and relating to his words would be much easier.