#the allegory part is the fact that its not a human person i guess

[non-plutonian-druid]

[ID: Two similar images of Viktor in the Paranatural au in a grocery store, pushing a cart and looking behind himself worriedly. He is surrounded by people going about their business, unable to see anything strange, including his mother. In the first image, the background is a photo of a grocery store aisle and Viktor's eyes are glowing, indicating that he is talking to his spirit. In the second, the landscape is white and gray and the architecture has turned into violin shapes. A giant spirit, the White Violin (based on Vanya post-surgery in the comics) reaches out towards Viktor, who is the only point of color in the scene. End ID.]

tfw you astrally project while grocery shopping and find a giant woman who really, really wants to kill you

(for those not in the know: in paranatural, when spectrals talk to their spirit, they go into a bullet time trance and the spirit changes what the world around them looks like. The White Violin makes the world black and white (mostly white), empty, and exclusively made up of melty and/or violin shapes. Also, the white violin is a wight and so "talking" doesn't really come into it very much)

(oh also, i based the background drawing off a screenshot i took of a supermarket 3d model made by richcontent on sketchfab, this appears to be their website: http://dougricho.com/. the actual photo i used is from an advertisement for shelving units)

[teeth-cable]

You everr realize that Vivziepop is completely bullshitting when it comes to ethnic casting because of Millie?

Like we are definitely getting imp human disguises for merch reasons so its definitely going to come up.

But like if Millie is black then her family should be played by black VAs but all of them are white VAs. Like I don't think Millie is adopted since she looks like a younger version of her mother.

The best course would then be making Millie white and no we can't use Erica being the original VA as evidence because that was always meant to be a temp casting.

But then this creates an issue in Helluva Boss having no fucking diversity like Vivziepop doesn't have to answer to corporate demands to make the ENTIRE CAST white. She can choose to add diversity.

If she makes Millie black that's also showcasing a huge issue in Helluva's lack of diversity in its main group of characters and Millie could come off as a token. Then you have the fact Morgana and Ed would come under fire for taking POC roles as well as Spindle allowing it unless Vivziepop retcons Millie as adopted or half siblings with Sallie.

Like Into The Spiderverse had half its human cast be POC and it answered to corporate demands. Then Across The Spiderverse without spoiling anything has a MAJORITY of the cast be POC.

Now you can argue Spiderverse is based off existing material unlike Helluva but those existing materials had put effort into adding POC in the first place. And guess what Spiderverse had consulted actual minorities when it came to development of the project.

Vivziepop is latina but she's white passing so she needs to consult people who don't pass to get a better understanding overall on things. Like I'm disconnected from my own culture but just because I'm part of it doesn't mean I have a full picture of it.

Vivziepop also isn't black, asian or indigenous so if she's telling stories that features them she needs to do research and consult people.

She actually consulted Morgana about Sallie May being trans thankfully but... I never hear any talk about other people she talks to which shows poor ass attempts. Like Morgana's insight is valid but she does not speak for all trans people and yes you aren't going to please everybody with representation but just consulting a SINGLE PERSON is insane. We also know Viv according to leaked screenshots has or had some form of transphobia so she absolutely needs to consult more people if she's trying to change and do better especially if she's writing about a trans character.

Like Morgana being a white transwoman will not have the same experience as a black transwoman for example. Like I know that from actively trying to learn about trans people.

Like there's a youtuber UnicornofWar who made a video about how the show RWBY is terrible at handling its racism allegory. Now Unicorn is white but actively went out of their way to consult multiple POC for the video and did a shit ton of research. Now I will say Unicorn in the past has said ignorant things about stuff like white washing (thinking its ok because of art style color pallets back then) in earlier videos but currently denounces that viewpoint (note: Unicorn as far as Im aware has never said anything with vile. I have to clarify so I don't misrepresent their person and people don't assume Unicorn like said a slur) and actually apologizes for their ignorance.

Has Vivziepop ever denounced her old views or behavior? Has she apologized for being ignorant in certain things? Is making a serious effort to change? Has Vivziepop researched throughly and listened to POC insights or concerns?

As far as I'm aware she hasn't.

I have noticed Viv's weird choices for Millie as a black character. I hate to say this but Millie is supposed to be token rep which to me is weird because nobody was pressuring Viv to add rep to her shows. I will say this even in a universe where Viv hired black VAs to voice Millie's family and did do properly research and consulted black people, Millie would still be considered token rep because she is the only the only main character in the show to not have an self-centered EP and has the least amount of screentime.

It makes me wonder if the reason why the IMPs don't have a canon human form yet is because Viv doesn't want to draw POC characters. She has shown she knows the importance of these disguises and they sell well on merch but the only characters who have canon human forms are Stolas and Loona, two white characters who arguably don't even need them. Blitzo is voiced by Brandon Roger who is a mixed Filipino (It's also canon Blitzo looks like Brandon Roger and Blitzo and Brandon Roger are intertwined together so it doesn't make sense for Blitzo to be white), Millie being a black woman, and Moxxie, despite what you might believe is a mixed Latino.

The POC rep we already have isn't good either. In Spring Broken, Verosika and her gang, who the majority are POCs, gets arrested and Verosika makes a joke about sucking police dicks to get out of jail. Having a POC character make a rape joke about police corruption unironically is not funny. Moxxie's mom is obviously supposed to be Latina, falls into the trope of nice POC women who get brutally abused and killed by their white husbands. This actually could have work and wouldn't be as tokenizing if 1. we got to learn about Moxxie's mom as a person and 2. her death wasn't solely use to be angst bait for a male character.

The Spiderverse crew actively puts effort and consulted with POC about characters from their culture. During the early stage of writing for Pavitr Prabhakar, the writing team struggled writing his character and called his VA, Karan Soni to help them write and consult on the character. Thanks to Karan Soni's contribution for Pavitr Prabhakar, he is beloved by desi people alike. Viv doesn't do that and probably will never. She has shown time and time again, she doesn't respect religions, using their symbols as an aesthetic and for monetary gain. Viv's designs for black and other POC characters are terrible, them alway never having POC features and looking racial ambiguous as hell and she ignored the criticism from black and POC people for these POC characters.

[yourwolfmuzzle]

This fucking “you have a cat ears and i think they cute” stuff is stuck in my brain for tooooo long and not for a good reasons like “ah its a cute thing in confession” (outside of cute animation, i cant lie to myself that i didnt was “omg they move cute c:” in this whole scene okay? Im sucker when R/WBY pull up cute characters animation and going a great job.).

People already talk about strange Yang complementing Blake ears because its sound too close to some people having...tooooo much strange attraction to black people or specific parts of black people. Ehhhhh........................... Listen i wish its was “you have beautiful eyes” kinda lvl of compliment but you cant just...make human character compliment her faunus girlfriend that she has cute ears when before that for 7-8 volume calling faunus just animals was a bad fucking thing (AGAIN you cant just jump from “faunus racism is the thing in this world” into “omg cute animal people! cute ears and animal traits!”. Just because you kill Jaques do not mean “we destroy racism, racism no more!”)

I wish i can say that “its just Yang way to say compliments” and confession scene even HAD “Yang being shit in compliments\flirting” with “you got a good...brain” but its still dont work because with what we have its sound like not the best thing to say to faunus person. She can compliment litteraly other thing in Blake looks that will not totch this whole aspect. Hell, you can even bring up “Yang talking about Blake hair” and kinda involve this compliment into “you change so much” kinda deal? Or go into “beautiful eyes” thing. Its basic af, but its work + people love analysing this fact that they have complimentary eyes colors (and i say this as a fucking FairGame shipper and we ATE this “parallels in the eyes colors” shit) so its can work even on lvl “you have beautiful eyes”. OR if you REALLY want to talk about ears, why not bring up thing about bow? (and maybe finally do something with “Yang having zero connection with the fact that her partner is in minority group who is also activist and we do not know what she even thinking about this at all”) Literally anything, why “cute cat ears”?

Even if we imagine that there is no racism allegory and there is just...animal people and thats it, its still strange to hear and go into “character dont interact enough” or “bring the stuff that you was thinking was never a thing or was no question”. Before this i was thinking that they never show us more non-flirting interactions with Blake and Yang and with other characters just in general because we have small around of episode and “uh we cant just put characters interactions in between big plot”. I accept that Yang dealing with her prosthetic, trauma and Blake dealing with her problems and “post killing” affects will be offscreen like FINE OKAY I GUESS THIS IS NOT THAT INTERESTING MAKE CHARACTERS DEALS WITH THEY TRAUMA (not “trauma porn” just healing process). But with this one compliment i just now cannot think. Now this one thing telling me they not just interact off screen but you telling me they didnt even had like friendly interactions?

Like...i dont know i maybe dont get it. Maybe i just have this privilege to tell easily to my friends how cool they are or how cute they look and friends can also tell me openly about this without go into “omg are we flirting? Are you trying to do something there?”. Maybe i just was lucky to tell people, who i hardly can call “a friends” but more like “acquaintances”, that i like they new cool haircut or they cool at this one thing. Maybe i JUST lucky bitch but if this is really normal thing to do and this is not just me...you telling me they never talk about simple stuff like this and this is was always “flirt action” type of interactions?

I maybe overreacting about this, i maybe nitpicking or this is just thing that a problem only for me, you can openly tell me! This confession scene had other thing to write about a whole ass post for a good or really bad reasons.

I just think such a simple thing in such a important scene that some people was waiting since vol1 is giving bad taste in mouth. Simple stuff is important.

[ganymedesclock]

I don’t want to say fictional robots “belong” to autistic people because any given fantastical allegory can have manifold and meaningful resonance to all manner of diversities, but something I do think is very interesting about fictional robots as an autistic person is this:

Robots as a plot element or character arc often center on this question of emotions. Do you feel emotions? Now, this is an imperfect argument about humanity/authenticity in the first place since there are plenty of Real Human Beings who experience anhedonia or alexithymia- but I think also, in my experience, a lot of these stories- sometimes in-universe, sometimes only in fandom responses- betray that maybe a lot more people than they think, are not very good at identifying emotions.

Many fictional robots- to be blunt- pour with emotion. They will often have a blunted affect (that is to say, speaking in a monotone, or limited facial expressions), they may use overly technical terminology, but they will make arbitrary decisions based on personal preference, it will be nakedly obvious they have a preference and their preference is determined at least in part by what pleases them. Data from Star Trek adores his cat and cares deeply about art and poetry.

And I won’t say any of these characters are bad people. I don’t want to suggest the goal is to create a character who’s “really” emotionless. If there is a quibble I have with this, it’s that I think we could all afford to be a little more careful and a little bit more imaginative, when considering how other people’s minds work, and how they present details. Not just as a joyless finger-wag of “you should be more responsible!” (though I will say there is some joylessness to it- I don’t really enjoy being shown a character who emotes close to how I naturally do, being fretted over by people asking if that character has a soul, is a real person, or simply an effective mimic; that hurts a little too personally to be fun!)

I was thinking of this because I was reflecting on one of my favorite little videos, My Job Is To Open And Close Doors. It’s a simple little uninterrupted 3-minute monologue about an AI who, well, see title, but has a bit of a crisis of purpose and asks themselves a bunch of critical questions about their role and purpose.

At its core, to me, the AI in My Job clearly experiences an emotion; they see something in the course of doing their job that they have no protocol or instruction to halt before, but feel an incredible misgiving about following through on. In response to this misgiving, in a very human manner, they begin to procrastinate- all the while, they point out to their own mounting confusion that this is a meaningless activity, but it buys them more time.

The voice acting given to the AI is very good, and, to me, cinches the whole piece- the actor very specifically does not leave a neutral-pleasant tonal range, and at several points, rather than asking an obviously “emotional” question, the AI simply hangs up in their own thinking talking to themselves- “because- because- because-” a very mechanical sort of stutter.

And using this flat affect and mechanical quirks, the actor establishes and fits to an emotional vernacular. The thrust of the plot- that the AI isn’t sure why they’re hesitating when their job is straightforwards and clear, that they even take note that this is being recorded as an error by another party- repeats in the sense of the stuttering- just as they procrastinate opening the doors without being sure why, they too “procrastinate” the completion of their statements when they’re unsure of them. The AI believes that the delivery of a solution, an answer, a “point”, is inevitable, so when they do not feel they have an answer they are incapable of saying “I don’t know”; instead, they stall. They procrastinate in the hope of achieving enough time to deliver an answer that meets their standards, that satisfies the parameters either set by their programming, or their own feelings.

My Job also adds in a sense of why emotions are important- in a sense that is not about enjoyment or satisfaction, although the AI ultimately does feel tremendously satisfied at the successful conclusion of their quandary- because without the ability to experience “baseless misgivings”, they would have simply responded to the initial command to open the door and been unbothered by whatever happened. In that sense, you could argue, it’s an ‘emotion’ born from ‘logic’ (that there is something amiss, though it takes the AI time to tease this out of their own thinking) but at that point we’re barking up a fool’s tree of semantics because our “logic” and our sentiments are both chemicals clattering around the same undifferentiated apparatus at the same time and thus inextricably attached to one another.

The thing that kills me about this is- with no hostility to the commenter in question- I scrolled down into the comments of My Job and immediately saw someone talking about how clearly, the AI has no emotions.

To me, this entire plot is about an AI having an emotion. Unmistakable and clear. This is about a door mechanism experiencing a profoundly human response to distress- procrastinating on the completion on a task they have every resource and in fact an active imperative to complete, based on a misgiving they are unable to articulate. This revelation is so profound to them that at the end of the video, they actually reframe their entire objective- “My job is to protect the human. My job is a great purpose.”

So I guess if there’s a tl;dr or conclusion to this sentiment, it’s that I think that while we can and should absolutely tell stories about fictional robots- because they are cool, and because they are also tremendously useful to ask certain existential questions about personhood- I think that it is actually very important to temper both our creation and consumption on these narratives on a more robust theory of neurodivergence, and, “I don’t recognize the way this emotion plays out in this particular person” does not equal “there is no emotion there at all”

[sketchy-the-changeling]

Ahhh, I didn't know the 'predator vs prey' theme bothered you (Don't blame ya for not wanting to go back then so much). I personally kinda liked the theme in Beastars, but I guess I didn't find it tired either. Would you be up for sharing more thoughts on why you find 'predator vs prey' so tired/your issues with the theme?

It didn’t “bother” me, per-se. I was just kinda tired of it at that point, or rather, HOW the theme is used. Between Zootopia, Beastars, and BNA (I still enjoyed all 3 of these on some level), I’m kinda tired of anthro-centric stories using the fact that they’re animals to do some kind of predator-prey theme as an allegory for a real world issue, almost out of obligation. Like, I like how the theme plays into Legoshi’s feelings for Haru, because that puts their relationship and its development at the forefront, but the story kinda gets lost in itself by introducing all the black market shit and the Shishigumi, and that’s just not what I came to the series for, so I appreciated the parts I enjoyed and maintained apprehension for continuing. Maybe I’ll come back to it later when I’ve had some distance and feel like consuming a story with those themes again, but for the time being, I’m good.

By contrast, I have an artist friend who does bring up predator-prey dynamics on occasion in his stories, particularly with one couple, but he doesn’t oversaturate his work with it, and when he uses it, it always ties back to the characters and their relationships with each other.

Part of why I like The Bad Guys, the Sing movies, and Sly Cooper, is that they don’t feel obligated to have some kind of commentary about them living in a world full of animals, or in the case of The Bad Guys, they don’t feel obligated to justify having a world where humans and anthro animals coexist. It just is. I remember when I was younger seeing people say shit like “if a writer’s world has anthro characters in it, that writer needs to have a reason for that.” And like… no they fucking don’t.

“Because I fucking want to” is a more than good enough reason to have anthropomorphic animals alongside/instead of humans in your story.

[tedturneriscrazy]

Another Saturday, another episode! Let's take a look at Keeping Up A-fear-ances!

(Good lord I'm starting to make myself sound like some sort of content creator)

Oh, okay, we're just starting at that level of intensity, huh?

Chest gem origins

Gwendolyn not being satisfied with managing the curse and determined to cure it? I'm sure this won't be a real world allegory in the slightest.

Oh, so Eda literally just stumbles upon the portal? I could call that contrived, but honestly it's not dissimilar to how Dipper found Journal 3. For that matter, the entirety of Lord of the Rings is predicated on an accidental discovery like this and nobody gave Tolkien shit about it.

Was the eye on the portal cracked in previous episodes? I don't remember.

Seems like Gwen is the "well-meaning but ultimately misguided" flavor of mom.

As an aside, I am now quite curious about how Eda's first trip to the human realm went. Maybe a future episode will cover it? At any rate, I smell a new favorite fic prompt.

The screaming alarms in the Demon Realm will never not be funny to me.

Also, that is a worrying number of hearts. Eda is straight up murdering these poor creatures.

For some reason the gold fang being removable never occurred to me as a possibility, and now I feel like a kid who's discovered that Santa isn't real.

Oh hey, the new outfit! I'm also impressed how close to symmetrical that tearing was.

I need to get a screencap of Luz sleeping on that stack of books because she is adorable.

Also, staying up all night researching? This season seems determined to completely eradicate the notion of Luz being dumb, and I am here for it.

I have a feeling the Hexside mug will be making its way to The Mystery Shack in the near future.

Lilith's first experience with transformation and she seems understandably horrified.

The curse acting stronger when stressed? That seems...important.

Ah, so the dismemberment is from the curse! A surprisingly useful side effect from what we've seen so far.

Can I just say that I appreciate how Eda's reaction to Lilith's first taste of transformation is immediate remedy, explanation, and reassurance? And doesn't make any snarky comments along the lines of "now you know what it's like?" Whatever happened in that week and a half must have been cathartic as hell.

"Always. Always curious." Luz is the TOH fandom.

(Also, Eda, you know she is, considering how much she went on about your "mysterious past" at the Covention)

"Magic bird tornado?!" Luz has a way with words that's just *chef's kiss*.

"Gwendolyn." Eda is already just fucking done.

"MOM?!?!" Jeez, Lilith, you're just now hearing all this?

I was charmed by how motherly Gwen was acting toward Eda, but then she kinda just...dismissed Lilith, and now I'm somehwat less charmed.

(Sweet flea as a term of endearment is kinda cute, though might have some unfortunate implications depending on how you want to interpret it)

"Who knows what they put in those nasty concoctions?" OH WE GOING FOR THE ANTI-VAXXERS NOW YESSSS

Luz and Lilith's reaction to that whole exchange is priceless.

Everyone's perspective here makes perfect sense for who they are and what they've been through.

Poor Lilith. Her cursing Eda is beginning to make more sense.

Ah, thus begins the collaboration.

"We'll be consulting someone very special." Why does that seem so...ominous?

Is there anyone who watched this episode for the first time whose bullshit detector didn't go off immediately when Gwen mentioned finding someone who promised a cure?

Heh, Palm Stings.

Nonbelievers will be blinded by the power of the tome? I'm sure they will be, Wartlop.

I must say, as something of a scientist myself (okay that's not true, I'm a QA tech for a food manufacturer, but I do have a chemistry degree), I am 100% here for the swings being taken at faith healing/"miracle" cures/anti-vaxxers in this episode

Oh, we Wile E. Coyote now, huh?

Also, interesting how much apple blood is being played up in this episode.

Lilith please you're projecting your mommy issues on a literal child

OH WE REALLY JUST WILE E. COYOTE HUH?

You're right, Luz, Gwen's bicep game is goals.

(Somewhat disappointed the scars are from questing and not beastkeeping, but eh)

Why do I get the feeling there's gonna be a future episode where everybody stages an intervention for Eda's apple blood problem?

"Those feathers mean we're driving the beast out" Gwen no

Hooty is holding the brain cell? Oh no...

If that ice cream came from the Night Market it would explain why Lilith sounds drunk.

(Side note: I can't be the only one getting flashbacks to Mermista's ice cream binge, right? Different context, but still)

"Abomi-berry" "Franken fruit" "Key slime pie" These are A+ flavor names.

Oh, there's the transformation...

I must say that whole segment kinda rubbed me the wrong way. The way King's opinion on his dad was changed seemed...I don't know how to describe it. I get that they needed a trigger for Lilith's transformation, but honestly if any part of the episode is contrived it's this.

"¡It really is that good!" So that's what an accent slip in written form looks like. (The upside down exclamation point is used in Spanish, in case anyone didn't know)

I keep half expecting Eda to say "Beep! Beep!" at this point.

Luz is finally asking questions. Took long enough.

Ah, the classic "moving the goal posts to extract more money from a desparate family member" technique.

Luz channeling Scorpion, we love to see it.

There is an exquisite irony in Eda's mom being scammed, I must say.

Ah, so that's where the elixirs went. Dammit, Gwen.

Luz is definitely thinking "Are you fucking kidding me right now?!"

Beast!Lilith is massive.

"Sweet flea?" Gwen just realized she done goofed.

"I can see you still need a little time." God Luz is so fucking smart.

The con revealed.

OH DAMN SCARY MAMA

(Also I am terrified of bees/wasps, so extra scary mama in my book)

The scam is revealed, goblins, getting back into the Wartlop disguise is kinda pointless.

She joined the Beast Keeping coven entirely to cure the curse? That's dedication. A shame you couldn't have spared some of that for Lilith.

Still, I do like badass scary mama Gwen. I'd be down to see more of that.

Owl Beast fight!

I am slayed by the fact that the portraits are now officially a recurring gag 😂

Aw, here's The Moment™️

"My turn to drive" Does this imply cars are a thing on the Boiling Isles after all?

Lilith crying almost immediately💔 She was holding onto a lot of pain.

Yes, King, she was trying to do her best. I mean, road to hell or whatever, but at least Gwen got there in the end.

WHAT?! YOU'RE BREAKING UP LULU AND HOOTCIFER?!?!?!?

Terrace, that's just cruel. (Worthless brownie points for whoever understands that reference)

No, seriously, you can't just give me my favorite inter-character relationship in the series after Lumity and just...take it away like that, come on! 😭😭😭😭😭😭

I know I should remark on how Lilith told Gwen about the circumstances of the curse, how Gwen rightfully accepted responsibility for the whole situation, and how Luz finds the big hair aspirational, but...NOOOO DON'T END THE ADVENTURES OF LULU AND HOOTCIFER WHYYYYYYYYY💔😭💔😭💔😭

"BUT I CAN'T HOLD A PEN!"

I will never emotionally recover from this.

Okay, I think I got that out of my system. Anyway...

Not the only human, huh? Cue the "Belos is a human" theorists going into maximum overdrive.

That said, a tantalizing lore dump.

We certainly do have a lot of garbage. Some of it even holds office. HEY-O!

Setting up the next episode, too. Continuity!

Camp's over, huh? That means it's been three months.

Way to misdirect with Camila, guys. That said, we have now seen Camila cry and I HATE it. (In the right way, I think)

WHAT THE FUCK

HOLY SHIT

CREEPY LUZ IS REAL WHAT

OWJEIWHQGIWWOPQ

(It's hard to keysmash on a phone, even with autocorrect off)

That wraps it up! The flaws in this episode seem more pronounced than any others in the season so far, but the good stuff was really good! Overall a solid episode! I know everybody's looking forward to library Lumity in the next one (so am I), but I'm personally eager to see what they do with Gus. His part is the A plot, after all.

Anyway, I'll be back at this next week! Still hard to believe this is a thing, but that's life, I guess.

[nullset2]

Death Stranding and The Last Man on the Beach

I had a very personal connection with Hideo Kojima's Death Stranding last year. I liked its aesthetic, the symbolism, and really enjoyed the story and characters (even though they were a bit too deviantart for my tastes at some points). Its bullet points really resonated with me. It's a fantastic and misunderstood game, with obviously undercooked parts, but still more than worth its price of admission. It's a game about estrangement, heartbreak, loneliness, stress, death, sadness, crying (oh so much crying), and humanity coming together in the face of a catastrophe of massive scale.

In DS, people live in individual isolated rooms, cannot touch each other, interact exclusively through the Internet, and have to cover their faces around each other, and the amount of impact of a voidout is communicated through a map full of expanding dots, interesting, right? Turns out DS is also very apropos with the zeitgeist.

I like its depiction of The Beach. In DS, every character has the ability to travel to an interdimensional space called The Beach after Sam Porter disrupts the balance between life and death as the first repatriate, the first baby able to come back from the dead after he gains that power from Bridget Strand's gift as an extinction entity, which eventually led to the creation of the Chiral Network.

Chiral means "hand" etymologically, by the way. I didn't know. It makes an allusion to the current state of things, where we have a very powerful network that provides wifi everywhere, and that has enabled a lot of technology, but where at the same time we're still at a "crossroads", and we still need people to deliver our packages and drive our cars. We're still a ways to go from the Singularity where all of those things will be fully automated I guess. It also makes an allusion as in how the network can be a way to seek "connection", to reach out for the touch of the Other.

And I loved it because of its implications in an era of isolation like ours. I think that people, more and more, are opting out of relationships and interconnection in the age of the Internet, because it's the easy, clean and uncomplicated thing to do. The Internet can provide bastardized facsimiles of everything you could ever want and then some. There's no reason to suffer with the real world if you can just get hooked addictively to the saccharine world Online. For more and more people every day, the Internet is enough.

In Jungian literature, bodies of water represent the unconscious mind and by proxy, chaos. Taming the balance between consciousness and unconsciousness, between order and chaos, and between light and dark truly is one of the fundamental --if not, THE fundamental-- problem of the human condition. The fact that we evoled from beasts, unaware of their own nature, unable to recognize the future and plan ahead and think, to the curreht Homo Sapiens Sapiens is nothing short of marvelous. So, that's why I like depictions of water: it represents the abyss of the unconscious and how problematic it can be for the mind. Truly, if one goes into the water without due precautions, they will drown, much as how states of depression, anxiety and all neuroses are excesses of the unconscious mind seeping into our conscious life.

Being in the beach is being in the fringe between two worlds, which is a fantastic analogy for the modern middle aged man and for the modern, technological man. Living between two realities, with two natures, is the state of many if not all, in an era where reality trascends through the Internet. By being in between, we are nowhere -- neither here nor there. By living in the culture of the Now Now, we live in the never ending present, future nor past evermore. A soothing place, if also eerily lonely --and a place that is starting to give us all feelings of Death, of maybe being the last man standing after all.

It's an allusion to the Millenial generation: stuck between the future and the past, between the digital and analogue world, a cynical, fatigued generation that had to learn to be adults twice but feels at home nowhere in the world who uses social media a FUCKING LOT.

A passage from Seneca's epistles also makes an allusion to the beach, and I quote: "People may say: "But what sort of existence will the wise man have, if he be left friendless when thrown into prison, or when stranded in some foreign nation, or when delayed on a long voyage, or when out upon a lonely shore?" His life will be like that of Jupiter, who, amid the dissolution of the world, when the gods are confounded together and Nature rests for a space from her work, can retire into himself and give himself over to his own thoughts." So the beach is kind of like a purgatory of the self where people can retire into themselves and their own thoughts according to the cultural baggage of the Western world to be reborn and to emerge a better person.

So, is this going to be the gold standard for the Aeon? Every man an island? I think the signs are pointing to it as I said before. I think we are seeing a sharp decline in personal relationships, and it's going to become more exacerbated in the future.

But is all lost? Of course not, there is Hope.

From the collision of extremes, man and woman, sun and moon, order and chaos, comes the Child. The Otter, as literally Jung says, a version of the messianic/heroic archetype, which Sam Porter very obviously takes after. I'm certain that the fact that Sam Porter's spirit animal is the Otter and wears an "Otter Hood" was a very obvious reference to this, complete with how Sam swims like an Otter when in water. It's an allusion to its two-natured self.

The Child is the androgynous Otter, who, like Bridges between nations, lives across two Universes seamlessly, yet "neither here nor there". It's the Irrational Third, between categories, the collision of two Universes, Mother and Father, which brings the panacea through his sacrifice, brought forth by being constantly in pain, in suffering and at risk of extinction. The child is the Bridge to the future, the redemption of your bloodline and the one who brings us all together under his salvation. All heroic myths are versions of this --of very high notoriety, the story of Christ.

Now, before you start typing your insults, hear me out: it's not that I'm abiding for the Christian mythos here or that I want to become a preacher. Rather, it's that I believe that the Messianic myth is the most important artifact of our Modern Society and its very foundation. It comes from the notion of the self, which is a miracle exclusive to the Homo Sapiens Sapiens; the ability to be self-aware, to self sacrifice and think forward. The Messiah is the self inside every one of us, who selflessly and through constant sacrifices moves the World forward. Death Stranding ultimately is an ode to this, to the idea that no matter how horrible the world gets, as long as we all selflessly come together in sacrifice, we will make it in the end. By seeking not division and classification, but Unity and collaboration. Neither man or woman, sun or moon, or ying and yang, but the Syzygy of them both. Neither red or blue, but purple, and royally so

Like the Messiah with its Death and Resurrection, Sam Porter gets stuck in his Beach for an indeterminate amount of time to fullfill his mission in Death Stranding, yet manages to come back once his loving friends pull him out of the beach through a line of connection, reaching out to him and bringing him back to Earth. This is a beautiful allegory too --I urge you to reach out to the friends in your lives, and telling them that you love them. They may appreciate it more than you could EVER IMAGINE. It may be the difference between life and death for a lot of people right now.

And finally, by the way, I still stand behind the comparisons I made about Death Stranding to Chul-Han's material. Have at me bro.

[anhed-nia]

BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment. 

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

PS Here, have this stuck in your head for the rest of your life.

[nellie-elizabeth]

Doctor Who: Revolution of the Daleks (2021 New Years Special)

I honestly really loved that! Like, a lot!

Cons:

It wasn't perfect, however. Of course. A few little nitpicky things, and one or two bigger complaints:

So, the bad guy was a little too one-note evil capitalist/politician. Some of his lines made me roll my eyes, like "this is a PR nightmare" being his reaction when he learned that the Daleks were eating liquified humans. The irony of him suddenly being hailed as a hero worked okay, but he was maybe just a touch too cartoonish for my personal preference, in an episode that mostly managed to feel really grounded.

Sometimes the Dalek stories will touch on this "race purity" thing, and the Doctor will talk about how they are beings of hate, and it really feels like we're doing a Nazi allegory, but they don't quite... go somewhere with it? Like, we've got the Prime Minster character talking about protecting borders and increasing security, and then the Daleks who are trying to stamp out "impurities," right? And there's something there, it's not exactly the most subtle of story craft, I guess I just wish it felt more intentional. The Daleks have metaphorical resonance here, and I'm not sure it was totally utilized.

My biggest complaint is one that could have been fixed with an added line or two of dialogue. See, the Doctor drops her "fam" off, then immediately gets imprisoned and remains trapped for literal years, from her perspective. Jack shows up and saves her, and when they return back to Earth, ten months have passed for Graham, Ryan, and Yaz. And the fam, especially Yaz and Ryan, are pissed. They're livid with her for abandoning them, and it really made them think about their place in life, if they want to stay with the Doctor or not. That's all well and good, but there's not really a confrontation of the fact that the Doctor didn't abandon them because she was off on a lark... she was imprisoned. Alone, cut off, for years. I was really flummoxed by the lack of sympathy extended by the others. I know it's her "fault" or maybe the TARDIS' "fault" that she got back ten months later, but what about the years that she spent without them? In my opinion, there was a lack of balance in dealing with that aspect of things.

Pros:

So... if Yaz is not supposed to be in love with the Doctor, someone forgot to tell the actors. And writers. Because WOW. I'm kind of obsessed with the way Yaz was written here. When the Doctor is gone, both Graham and Ryan try and get on with their lives. But Yaz remains firmly focused on finding the Doctor. Of all three companions, Yaz is the one who gets a special moment with Jack, where they basically commiserate over what it's like to be in love with the Doctor and know you won't get to stay with her forever. And then Yaz decides to stay, while the other two leave the TARDIS. There is just so much material here, so much love and desperation from Yaz. There were ways to make this a lot more no-homo, and they didn't take it. For example, during the Jack and Yaz conversation, Jack starts off talking about all the amazing things he got to see with the Doctor, and how losing that was so hard. But Yaz doesn't frame it around her experiences in general, she frames it around the Doctor as a person - wishing she'd never met her so she wouldn't have to suffer knowing what she'd be losing. It's GAY, I tell you. GAY!

Just look at Yaz's arc in this episode. She's missing the Doctor, she's conflicted about staying with her because of the heartbreak awaiting her at the end, but she chooses, ultimately, to stay by her side. Honestly, Yaz is the first companion since... well... Rose, maybe, whose character arc is best served by staying with the Doctor forever. Because she loves her. Romantically. Other companions, notably Martha, Amy, Rory, and Bill, all had other shit going on, other things they had to learn through their adventures. A life to grow into. Yaz? Yaz's place is by the Doctor's side, and I for one am thrilled to see where they're going with this. Come on, BBC. Don't be cowards. Make it gay.

Having Jack back in this special was such a treat. He's an undeniably fun and hilarious character, but Barrowman grounds the performance and gives Jack some real weight. I kind of love the way Jack and this version of the Doctor interact, with this depth of history but also a certain frostiness. We must remember that the Doctor knows what happens to Jack, exactly how long he'll live and how his end will come, and this version of the Doctor, more than any of the other modern versions, has a bit of a wall up when it comes to revealing her inner self to the people around her. But they still love each other, and you can see that love shining through the performance. At first, I was kind of miffed that Jack basically made his exit offscreen, just a voiceover saying he was staying on Earth, a very casual goodbye... but then actually I ended up loving that choice. It's like the Doctor and Jack are two people who were once very close, and will always have that bond, but now they're kind of like time traveling coworkers, just flitting in and out of each others' orbits. The way Jack leaves, there's no reason why he might not come back another time. It's refreshing and fun.

And Jack gave himself a bit of a mentor role in this episode, coaching the others (especially Yaz) on what it is to be the Doctor's companions, on what it might mean. I loved the moment when the Doctor came up with a plan to defeat the Daleks, and while the others were all confused, Jack got exactly what she was doing and tried to talk her out of it right away. Then, when the ship needed to be destroyed, the Doctor assigned the task to Jack, knowing that he'd be happy to blow it up. That shared history really shined through for me!

And now let's talk about Ryan and Graham leaving the TARDIS to stay on earth. Earlier, I was talking about companions and how for the most part, the characters have a growth arc over their time with the Doctor. For Ryan and Graham, it was about healing their relationship, as they grieved for their shared loss. And they did that. They have purpose now, as we see them continuing their life and fighting to protect Earth in the Doctor's absence. I love the idea of having more companions around for the Doctor to interact with. This has never been an ensemble show (not since it rebooted anyway), and the gimmick works best by having the Doctor and one or a small number of companions along for the ride in the TARDIS. But imagine Ryan or Graham giving the Doctor a call someday, whether it be in this regeneration or the next, because they need help with a problem back on Earth. Or maybe the Doctor calls them up the next time she's in the neighborhood! It warms my heart to think about it!

I haven't talked much about the Daleks or, you know, the actual plot of this special, and that's because frankly I'm not sure that was where its strengths lie. And that's okay! I will say I liked that the focus remained on the characters and their relationships, but we also had some commentary about the growing prevalence of the police state in first-world western countries. And capitalism is always an easy motivator for a villain, and that was executed more or less well, barring the complaints I made above. It was a serviceable story that created a proper threat, while really only being there to serve as a backdrop for the human drama.

So that's it! I've seen some mixed responses to this one floating around, but I for one quite enjoyed myself, and I'm excited to meet this new companion coming in. As long as they don't try and make him a love interest for Yaz or the Doctor. These ladies are spoken for.

8/10

[jyndor]

lol i got mad about a thing reylos said. shocking. (tw: nazism, fascism)

just saw a ridiculous post about how people who talk about the first order as being nazis are ignoring history and disrespecting jewish people and let me tell you

that the only reason I didn’t write this on that post is because I think the op is probably jewish and also a kyle ron/reylo fan and lol well. I don’t need to be told I can’t have an opinion on this or that I am attacking them. this is nothing personal, except that reylos have a history of being racist and dismissive about fascism, and so I am honestly shook that someone could be so disingenuous. lol oop that was personal.

if you know anything about film history, you know that george lucas got his inspiration for the empire’s look, and also for certain shots of the rebels, from nazi propaganda made by leni riefenstahl, specifically triumph of the will. (guys don’t go looking it up if you haven’t seen it unless you have a strong stomach because it is really, really disgusting). now, that is more or less what happens when you have a guy who is a student of film history make a movie about, you guessed it, a band of rebels fighting an imperial force but in space. george lucas also put a lot of politics into star wars, specifically anti-fascist messaging. this is like the most basic argument people make when dealing with right-wing fans of sw. this is what we’ve all said to some dumbass white guy who got mad about rey or finn or poe. I would bet that some reylos have also had that conversation, since they care about rey (I guess, although that might be too strong a word; they certainly don’t care about shipping her with a guy who tortured her lol but I digress).

jj abrams took what was already overt fascist imagery from the empire and turned it up to eleven for the first order. this is actually why I found the inclusion of POC as first order OFFICERS (not low level workers Bodhi or stolen baby stormtroopers like Finn) to be kind of fucked up, because it diluted the narrative. do not come at me with some idiotic YESS MORE BLACK IMPERIALS YESS because I am just not here for that brand of idiot representational pinkwashing(? this is a term we use for putting gay shit on monstrous corporate/imperial shit to seem more progressive but it might not be the right term for this).

if you look at the og trilogy, every single imperial officer is a posh white british man, and while I am sure that was partly because diversity was not really something george seemed mindful of, it was also a deliberate thing. like, they clearly wanted to evoke an image of imperialist, and yes FASCIST, rule. this is not that hard to understand so don’t be fucking obtuse just because you like kyle ron or reylo. not that I believe that the intent of the creator is the end all, be all, but in this case it does matter.

yes the anti-alien biases were mainly a product of legends, but I am pretty sure it is also implicit in the original movies because there are no aliens to be found in imperial ranks, and they are everywhere in the rebellion. and yes, I can understand why this might be offensive because you don’t need metaphors to understand why the nazis were bad, and yet. maybe, sometimes, you do need to give people a metaphorical understanding of things they haven’t experienced. and humans have a notoriously difficult time understanding large numbers - so maybe, a visual example of what the fuck genocide might seem like is... idk, helpful for kids? alderaan being death star’d might not be actual history, and it might not represent what jewish/romani/etc victims of the nazis experienced, but it IS chilling. personally I think that tfa did a better job with its death star knock-off because we actually saw people in their last moments. alderaan’s destruction can be rightfully criticized as too distant, since we only see leia’s response, and not what it felt like on the ground. but undoubtedly this is a fictional representation of fascist, imperial might - and all the destruction that comes with it.

it isn’t just visual, and of course the star war isn’t real and no real alderaanians were harmed in the making of the movies. duh. it’s a metaphor, an allegory. like idk who these reylos are kidding, acting like people who criticize you guys for stanning a fascist fuckboy don’t understand that these are just fiction.

the REASON I get mad about reylo and about kyle ron stans, is because nothing exists in a vacuum. NOTHING. not a damn thing. the dumbing down of stormtroopers and imperial ideology (vague though it might be) is actually how Disney gets away with marketing t-shirts with stormtrooper helmets on them to little kids, or like idk how people have convinced themselves that ben solo is just misunderstood and damaged, and not a thirty-year-old man who has made a deliberate choice to commit genocide. his so-called abuse (which we only get to see in a comic? like I’m sorry do better with your sob story) is no excuse for at best being silently complicit in genocide, and at worst actively campaigning for it.

I think there are good critiques that people make about saying the empire is nazism, because obviously this is fiction. you cannot have it both ways. you cannot say that it is anti-fascist when you are arguing with right-wingers who didn’t get that message, and then turn around when people say your fave is at best neutral on genocide (lol) and say we can’t talk about how he is a fascist.

I saw someone say something like, no one calls darth vader a fascist. LMAO yes we fucking do. now I will be the first to admit that anakin gets a lot more empathy, and part of that is because he is a more beloved character with more nuance than kyle ron. and decades of lore. but also because he didn’t grow up a privileged son of a princess, he grew up enslaved and because of his traumas he went right-wing. which does in fact happen. but yeah, darth vader had to die at the end of rotj for a reason - because no one would forgive him for the crimes he committed against the galaxy. it’s tragic because he had the potential to do great, and he redeems himself by killing the emperor, but approximately no critic of kyle ron would ever say that anakin skywalker deserved to go free and live without consequences for his actions.

if I have more sympathy for him, it is because the movies gave me reason. not because he’s hot. or idk a bad boy.

and after the racist abuse that john boyega got from KYLE RON AND REYLO stans specifically, if I were them I would shut the fuck up about how offended you guys are about calling him a fascist or a nazi. you can like your bad boy wet dream if you want, and you don’t have to even like that people think he is a fascist, and you can deny all you want all of that OVERT FASCIST IMAGERY that jj abrams put into tfa, but it’s there, and we don’t live in a vacuum, and I am not here for people dumbing down cultural phenomenon.

redemptions arcs are great! I believe in rehabilitative justice, and I agree that there is a bit of gatekeeping on who gets to be redeemed in stories. but rehabilitative justice isn’t just like you let people who do bad shit get away with it, it is a long process wherein offenders have to do some serious work on themselves. it is not easy. it is not fun, doesn’t end in sex with daisy ridley. and in many ways, it might be harder than doing hard time.

but I also don’t think we get to just... rehabilitate the lead officers who are complicit in war crimes without dealing with what they’ve done, that is how I feel about george bush, and yes, that is how I feel about kylo ren, no matter how much you try to woobify him. because that is what society already does - we let the monsters at the top of the system get away with war crimes and murder and rape, so maybe we should fight that kind of narrative in fiction, too.

we don’t live in a vacuum.

[thewebcomicsreview]

Is it weird that I actually like Homestuck 2, and am at the same time going “Oh Christ, I have to read it now”?

Regardless! New planet! New lore! Will we get a whole new species now? I really hope so, it’d be lame (and nonsensical) is it were just more trolls. I want to see what the natives of Universe C look like!

I didn’t think about it enough in Chapter 1, but the fact that Terezi crash-landed the ship, apparently on purpose and for lulz, is really weird. This is a bit past “prankster” and more in the realm of “the player you stop inviting to DnD”. Wandering out in space for years and fucking John Egbert changes a person.

New looks for everyone! Fun fact: That painting behind Dirk - which is a real painting Andrew Hussie owns - actually made a cameo appearance in Legend of the Hare! 

Which was mostly a reference but also foreshadowing that Mary here would be the Horse Champion. Anyway, new looks for everyone! Homestuck characters used to change appearances constantly but it sort of stopped after Act 6, so it’s nice to see the return of Fashion. Apparently, Terezi ditched Jade’s shoes at some point for dragony ones and grew her hair out, while Rose is wearing a statue of liberty tiara, which is probably a reference to all the statues of liberty Alpha Dave made in that timeline for reasons that never seemed to matter at the time but now might. 

This is a cute little subtle gag. Dirk’s “Terezi, you too” was extending the “Render yourself more symbolically” command, but Terezi thought it was a continuation of Dirk’s line from the previous page. She’s not as immune to his powers as she things. That green jacket is more than a little evocative of Lord English, and the color-loving Terezi could probably be convinced to trade the gold trim for flashing colors. Just a thought to keep in the back of your mind. 

ROSEBOT: At the very least, none of us succumbed to substance abuse. Or re-succumbed, I guess I should say.

ROSEBOT: The perks of not having an appetite or a liver, in my case.

ROSEBOT: In yours... I'm actually not sure. Perhaps the underlying cognitive dissonance or trauma you were originally trying to distract yourself from is no longer a going concern?

ROSEBOT: Or... ROSEBOT: No, wait. ROSEBOT: That's not right. ROSEBOT: I'm thinking of a different Terezi. ROSEBOT: Or maybe I'm thinking of a different me? ROSEBOT: Maybe the different me is thinking of a different Terezi, and I'm just witnessing the thought happen as a bystander. ROSEBOT: It's much the same thing at this point. ROSEBOT: ... ROSEBOT: And I suppose I'm also prematurely ruling out the potential of anime functioning as an abusable substance. ROSEBOT: In which case I've got very bad news for all of us.

The plot of Homestuck is so convoluted that even the characters can’t keep it straight anymore. Rose is referring to her struggles with alcoholism in the original Game Over timeline, but this Rose is from the post-Retcon timeline, and going Ultimate is causing them all to blend together in her mind. Also she seems to think that Game Over Terezi’s problem was being addicted to Faygo, not having an abusive boyfriend, unless she’s thinking of some other Terezi.

Also, as someone who was the treasurer of a college anime club despite not liking anime, I can confirm that Rose has some very bad news indeed.

ROSE: Where shall our allegory begin? DIRK: Beg pardon. ROSE: Oh come on. The cave? ROSE: I have to say I’m a little disappointed in you. Three years, and not once did I witness you replacing any parts of the ship. ROSE: How are we to jerk ourselves off philosophically if you don’t lean into your clumsy allusions? DIRK: It's a fair question. DIRK: But since the name you suggested was nothing more than a very juvenile play on words, I can’t say you’ve got much ground to stand on. ROSE: What’s juvenile about The Kant? DIRK: Nothing. DIRK: At least, not when you say it. ROSE: It’s not my fault you sound like a gay cowboy. DIRK: Sigh.

See, this is what the epilogues were missing! Bantz! Rose was practically comatose for the Meat epilogues, so it’s good to see her back. Maybe one day we’ll get Jade back, too. 

Who the fuck is this? This isn’t Dirk narrating, it’s black text. Is this the same person who was narrating the last chapter with Calliope? That narrator didn’t address the audience like this.

Dirk is naming the new planet “Deltritus”, which is a Homestucky portmanteau of Delta (As in “D”; It’s the fourth SBURB planet), and detritus. Kind of an insulting name, honestly. If this planet has SBURB on it, doesn’t that imply it’s inhabited? Do the locals not have a name for it?

DIRK: The point is, we will be building intelligent life on this planet from scratch. That was one of our key mistakes with Earth C. We should have started our guidance from the very beginning, instead of letting it grow organically in our image.

Oh, okay, guess not.

ROSE: Our own world was abandoned by its gods. Or, I suppose, its gods never reached it.

I’d actually really love to see an AU where there trolls made it, and Vriska and Aradia guided the human race as immortal gods. Rose is right that it probably would’ve been way worse, especially given how the Alpha Earth went.

I’m deeply curious about who this narrator is, who speaks in a neutral black text and uses more casual language than Dirk or Calliope. Is this Ultimate Dave, maybe? It sounds more like Dave than anyone else. But how?

Oops, I was wrong. It was Dirk, all along. Well I guess you’ve made a monkey - yes you’ve finally made a monkey - you’ve finally made a monkey out of me. 

Oh, that’s actually cool! Rose and Dirk are going to create their own species and let them compete to play the game! 

ROSE: There's something so delicious about the two of us being the ones to populate an entire planet from scratch. ROSE: The irony doesn't get much sweeter.

“From scratch”, you say? 

DIRK: Next step is adding mutations. DIRK: We can use any old shit for this. Literally any captchalogueable object can be added into the mix by inserting its card into one of the slots here.

So, they each clone themselves, and throw random items in the pot to basically alchemize a new species, the way they used to make weapons? The potential for absurdity here is immense, as is the potential for crimes against god.

ROSE: It's amazing what pieces of inconsequential information your mind can recall at a moment's notice, a whole decade after they were last relevant or interesting to anyone. ROSE: ... ROSE: I think I missed this.

I did, too. Behind all the angst and the melancholy and the sci-fi adventures, Homestuck is a profoundly stupid comic and I’m unironically glad they’re remembering it, and bringing back some of the fun of creation.This is a surprisingly impactful line.

Ed....ward......

Incredible. This is all sorts of fucked up and I love it.

Oh god, Dirk is going to make Cherubs and Rose is going to make Squiddles and the long-memed 48-player Squiddle session is actually going to happen, isn’t it?

Edit: Any item that can be captachlouged can be made part of the species, and that includes John’s dead body that’s currently burning a hole in Terezi’s inventory. So Karkat’s shitty breeding chart from Act 5 can come true after all.

[veryvincible]

The Shitstorm That Is TS:IM and IM2020: The Allegory of Nothing

4 / 4. We’re here.

The writers don’t know what artificial intelligence is.

1 2 3

Let’s go back to the beginning. Jocasta is the robotics ethicist of Stark Unlimited. The company has adopted a system wherein the automated employees are in a non-hierarchical environment. Tasks are “suggested, not ordered.”

And guess what that does? Well, when these employees are needed, this happens:

The majority of them are non-compliant. And what’s the solution to this?

Apparently, give them a phat beat for Tony to kick Fin Fang Foom’s ass to. That’s what Andy Bhang decided to do, but only after following the “proper ethical protocol” when speaking to Jocasta. Which is... saying “please.”

Because, you know, saying things like, “Hey, I need you to do [whatever the fuck]” when a giant dragon is laying siege to your city is... oppressive, I guess. It doesn’t matter that that’s how humans tend to talk to other humans in emergencies, because Jocasta’s a robot ethicist and a functioning AI, and this "proper ethical protocol” is to slow things down with formalities instead of allowing everyone to treat each other like individuals.

By all means, continue to buffer the solution so everyone can say “please.” It’s only Tony who’s out there fighting a giant monster.

I actually like Jocasta. I think she’s a good character in most of the media she appears in. But here? Well, here, everyone is shitty.

It’s glaringly obvious that the goal here isn’t robot... equality. These sentient machines are just free rein. Sure, they work for Stark Unlimited. Sure, they’re employees... but they actually don’t have to do any work, like, ever, unless they want to.

So, they’re obviously not being treated like human beings. They’re practically high-tech babies, which is exactly how you want to present your oppressed group in your revolution plotline. Especially in this political climate! Hierarchy is most certainly oppressive! These robots can’t handle having real human jobs! They’re just so innocent and flawless.

...

And out of place.

Here’s the thing. Dan Slott... doesn’t really know what AI is. These little nano-suits that are coming in to help save the day have no reason to be sentient. Sure, they might be artificially intelligent, but sentient? No.

Artificial Intelligence refers to a computer science field that focuses on learning and problem-solving machines. These machines gather data and use this data later on in order to make decisions. If you use email, your spam filter is a result of AI. Our phones learn how we respond to certain messages (and pick up our diction even out of context) as a result of AI and machine learning.

Chatbots simulate human speech, often by using messages compiled from other humans. The more you talk to them, the more organically they’ll seem to respond. They recycle human messages and send them back.

Deep learning is a more specialized form of learning that more closely resembles how the human brain functions by organizing information in a non-linear fashion with interconnected neuron nodes. This is what leads to the sentience that’s seen in characters such as FRIDAY, and it’s very obviously not present in every machine with AI capabilities. In essence, artificial intelligence is not synonymous with sentience.

So... Why does TS:IM treat these concepts like they’re interchangeable? Why is it that the featured AI revolution is so dependent on the feelings of machines that have no chance of becoming sentient? Again, Tony’s nano-suits could be just that: nano-suits. There’s nothing saying that these suits have to be sentient. In fact, it’s worse if you consider them to be.

If all it takes for a machine to be considered a part of this AI revolution is some problem-solving, wouldn’t Tony’s actual suits also be considered AI? They have autopilot, don’t they? They avoid obstacles. The HUD provides useful information regardless of whether or not a character AI is residing in the suit. 

For example, here’s a scene wherein some researchers are doing a robot stability test with one of these lovable dog-like machines.

Now, I cringe when I see the poor guy get pushed down. But you know who doesn’t cringe? The dog-like robot, because the dog-like robot feels nothing. It’s a learning machine, but it is not a sentient being. Not even a loving heart emoji directed toward its robot savior.

Another example?

This right here.

From combat drones to... coffee makers? Coffee makers are supposed to be oppressed here? What’s a Keurig going to do with sentience anyway? How’s it going to get to the fight? It doesn’t have legs. This machine doesn’t have legs. Or wheels. Or anything.

Because it’s a coffeemaker, not a member of society. And this dilution of meaning with regards to sentient beings also dilutes the message of the AI revolution. It’s not pointed out in-universe how fucking crazy it is for all of these machines to be considered oppressed when they don’t even have the mental capacity to think past prompting “French press or Espresso?” on a touch screen.

There’s also a serious question asked here: What would a sentient machine think about being a sentient machine?

And we have gotten some pretty thoughtful answers out of this. For example, Jocasta thinks she has a soul. And Tony, despite his flesh and blood, is still in existential limbo because of the idea that he might be artificial intelligence after all.

And... the depth ends there, because all sentient machines in this universe want to do is... be human.

Like, really. They want to be human.

The reality of what it would mean to exist solely in one form without ever experiencing what it’s like to be in another is completely swept away here. There’s very little differentiation between robots who want to be humans and robots who want to be robots with rights. Also, there’s very little differentiation between robots who want to be robots with rights and Keurigs.

But really, this is also kind of frustrating. Sure, it could be a nod to certain feelings of oppressed groups who don’t fit in. It could be a clever bit of characterization akin to that of a young Asian-American girl wanting to be white so she doesn’t get bullied in school, or a gay person who’s always wished they could be straight.

Except it’s not, because nothing in this run feels like it’s been thought through to that extent.

Instead, what we have is a confusing mess. Most of these robots (with the exception of some) want to be treated exactly like humans, whether it’s actually better for them as a species (?) or not.

For example:

What makes an AI feel “cooped up?” FRIDAY, from what we’ve been shown, was usually given free rein of the tower. The same way our phones respond when we say, “Hey Siri!” or “Okay, Google!”, FRIDAY responded when she was called on. No matter where Tony was in the tower, she could be there, too.

And also, she was in the suit.

There is no reason that any AI should have to be restricted to one specific place or another, and yet throughout the entirety of the run, AIs are only allowed to be in one place at any given time. Why is that?

Sure, it’s nice to have a body. And if they want a body to go out and interact with the world, more power to them. The body is the least of my concerns.

I just hate that any AI is considered to be a “helpless passenger” at all, when machines the likes of these should be more than capable of not only going wherever they’d like to go within their allowed boundaries (which, again, should be and has been shown to be much larger than “just the suit”), but also going wherever they’d like to go at any time. They can be in two places at once. Presumably, if they’re complex enough to seriously contemplate the philosophy of being, they’ve got the processing power to be on multiple simpler trains of thought at once, and they’ve got the ability to control multiple bodies or project in multiple locations at once.

And even if this were a total retcon, and it turned out that actually, the capability for AIs to be in multiple places at once was never a thing before now...

It’s specifically stated on the exact same page that this is possible.

It’s truly dumbfounding.

And perhaps the worst offender of all: the complete disregard for any kind of philosophy or conversation about what it means to be an entity.

So, we’re all aware of 616 Tony’s current story if we’re reading this. Multiple times in his life, he’s been replaced by backup copies of himself, mostly holographic or otherwise exclusively digital.

And Jocasta treats him like Tony. Or, well, she treats him like a version of Tony. Whatever the case, she’s never shown any hostility toward him whatsoever for being a fleshy backup. This never made him any less valuable.

But... She’d rather let FRIDAY die for good than be given a second chance at life, because if they loaded up the backup, she’d be... missing a week of memories.

A week of memories that made her “a completely different entity.”

Now, I’m not here to lecture anyone on what it means to be yourself. I’m really not.

But the main difference between the original Tony and this current Tony (if we’re working off the assumption that he’s not supposed to have a totally different and fucked up personality) is the “memory loss,” or rather, lack of available data. Functionally, it’s amnesia.

And you know what? The original Tony has this too. There are already things that Tony doesn’t remember because of his time spent as an AI. Essentially, every single Tony that could possibly exist in 616 canon right now (even TonAI, our lovable blue friend with a control freak streak) is just as Tony as all the other Tonys, because they all have the memories of their developmental stages and quite a bit of the time spent with the Avengers, and they all have missing information.

So, if FRIDAY’s one-week-ago backup were to be loaded up, what would happen? Would she be completely different?

No. She would have every single memory that FRIDAY had originally, with the exception of whatever memories she saved in the last week of her life. And yet, because of the lack of critical thinking that went into the writing process, Jocasta decided that a dead FRIDAY was better than a FRIDAY with memory loss.

The writing is lazy. The thinking involved in this entire plotline is little to none. Coffeemakers are not oppressed, and a friend waking up from a comatose state with a few memories missing is better than that friend dying. Not every AI is sentient.

And to top it all off, after arguing for 20 or so issues that AIs are people, too, and every life- even the life of a Keurig or a stability testing machine- is valuable...

Tony devalued his own, concluding the worst AI-centric plotline I’ve ever read.

Whoopsie.

[sharksfood]

I saw Onward last week with my friend who is an avid LARPer and fellow lover of all things fantasy, so it was a perfect movie for the two of us. in general I adored it! I’ll probably see it again if i have the time and of course, i’m getting it on BluRay. i would also LOVE to snag the art book since the character design for this film was probably my favorite part.

[some spoilers]

my biggest complaint (and its not a complaint, just a negative i guess) is that Onward didnt feel like a Pixar movie to me, both in the story and animation. the animation style wasnt as interesting as some of the Pixar movies in the past (though thats been kinda up or down for a while), and it didnt feel as fresh or mind-blowing. to me it fit in better with the regular Disney animated features, not Pixar. Especially in comparison to Toy Story 4, albeit theyre very different styles, something about it didn’t pop for me like most Pixar movies do. The story was a little bland with Pixar in mind, though i did love it! i just always think of Pixar as the studio that gives stories and feelings to things we usually don’t expect. And Onward i guess was so similar to real life that it didn’t feel that way. Maybe if they had pushed the fantasy-realism even more, or changed some modern things to fit with these creatures more (they did do this but i think they didn’t push it far enough), that would have sold me.

and i’m not gonna talk about it at length, but the whole “Disney making a big deal about their ‘first’ LGBT character and acting so high and mighty about it” did dull the magic for me. considering the police officer was in two scenes, plus she didn’t have ANY characterization beyond being a cop and having a gf with a kid, it really did not live up to Disney’s hype. i’m not saying she wasn’t “gay enough” or whatever, but had they not brought it up beforehand or made any “hype” about her, i would have liked her a lot more. To compare this to Paranorman (not everyone agrees its good rep) Mitch being gay wasn’t something for LAIKA to brag about. Had Disney followed suit, their “first” gay character wouldn’t have become a meme.

Okay, so for the good stuff, I am a huge sucker for sibling bonding and especially HEALING in fiction. it gets to me more between sisters, but still. Ian and Barley like each other and get along well, but they still have their problems and doubts. The fact that they grew into their own and with each other is beautiful, especially the fact that Ian now sees Barley as a father figure AND a brother. That is an element i haven’t seen before, let alone done this well. I also really appreciated the tension between them in that Ian thought Barley was a screw up, that he thought less than great about his actions and choices. This sort of thing isn’t explored in media enough, and I’d love to see more. I believe most people don’t consider that our siblings’ opinions do matter to us as much as our parents’.

Again, I LOVE the character designs in this film. Everyone looks unique and distinct while still having key traits for each species. I love these designs way more that those in Monsters U, which felt kinda cut-and-paste with the monsters. I loved how you could tell that even within the elves they were still different races (or at least coded) with hair, facial features, and skin tone, all the while still blue! They did this with other creatures too, like how Corey is black while also being a Manticore bcs of her hair texture (and of course the incredible voice of Octavia Spencer). And you know what diversity Disney added and made not a peep about? One of Ian’s school friends walks with crutches! I can’t say what his affliction is, but its wonderful to see some inclusion to disabled folks.

My favorite characters were Barley and Corey. Barley was just so incredibly well rounded, like he was perfectly imperfect. I could go on and on honestly. Corey on the other hand was just plain AWESOME! Her little personality crisis felt kind of rushed to me, but to me it fit as an allegory for the whole film; she is a magical and powerful creature who let herself become weighed down by modern society and lost her moxie. I also love that Corey and the boy’s mom, Laurel, became friends (but i wouldve died to see them as a couple). I really want to know more about Manticores in this universe, since she seemed like the only one, and also might be immortal?

What initially drew me to this movie was seeing a centaur character in the original trailer, as trivial as that sounds its true. I love centaurs so much, and they hold a special place in my life for many reasons. I was a bit dissapointed in that there was only two centaurs prominently shown in Onward; Colt and the gal playing DDR (which was adorable). In the trailer there was one more, but not in the film. I did really like Colt, and he’s growing on me more. But one thing that has not left my mind is why to the centaurs and satyrs not wear pants?! everyone else does!! its probably bcs Pixar wanted the audience to clearly read them as centaurs/satyrs so pants would cover their cool legs, but still.... Do they just have a different level of decency than others? I have to know. But I love that the centaurs have horse ears instead of human ones <3

Lastly, and this isn’t good or bad, but I just didn’t resonate with Ian and Barley bringing back their dad. I mean, it was very emotional and a great drive to the story, but since I still have my parents I guess I just couldn’t connect to it. I liked how they were able to characterize the boy’s dad with just legs, that was adorable and a huge feat for animation!

Some little things I want to mention: the final boss dragon was SO COOL, it reminded me of the giant Ralph at the end of Ralph Breaks the Internet how it was made out of pieces, Ian was accurately scared to drive for the first time and i FELT THAT, Barley went the entire movie with a broken arm/wrist and took every swing like a champ! that boy is so chaotic i love him. ALSO it was so cool how Ian and Barley had each bits and pieces of their parents looks! like Ian had his dad’s face and body but his mom’s eyes, etc. Love that choice family design

All in all, a dazzling and wonderful movie with great characters and a cool story/theme, just not what I would expect from Pixar.

[courage-a-word-of-justice]

Iruma-kun 10 - 12 | Shinchou Yuusha 9 - 12 (FINAL) | Dr Stone 22 - 24 (FINAL) | BnHA 72 - 74 | Stars Align 9 - 12 (FINAL) | No Guns Life 10 - 12 (FINAL)

Iruma-kun 10

That mascot is still around to annoy poor Kalego, huh? (LOL) I also noticed the demonstration demons have horns like oni.

Oh no! This means Azz-Azz is a prime target for Iruma!

(I was going to write something. Then I got so engrossed in the action, I forgot to…)

LOL, Sabro’s too heavy for Team A to lift!

Oh, Iruma’s hair isn’t tied anymore…

“…pruning this cactus.” – Does Eggie-sensei like plants?

Ooh, the first double-parter ever for this show, I think it is.

Shinchou Yuusha 9

Apparently ep 10 got delayed…*sigh*

LOL, thre’s product placement for a certain ice cream brand in this episode, huh?

Can we not with the boob grope???

*Rista takes care of Mash and Elulu* - Rista’s such a mom sometimes…

Stars Align 9

This one scene with Nao looks really blue…it’s almost unsettling.

Oh dear…I understand the sentiment of an inferiority complex all too well.

Dr Stone 22

Now we’re back to good ol’ science vs. survival of the fittest philosophy clash. Now, see, that’s the Dr Stone I like best!

Torricelli’s law.

Why is mica like baumkuchen? Probably because it has a lot of layers…

Wow, for WSJ – which encouraged fangirls all over the world to make yaoi/shonen ai ships – they sure tossed out the yaoi/shonen ai option real fast…

Skarn. I’ve never heard of it until now.

Magma, staring at the product of magma…LOL.

I…don’t get it. Even after watching the bit again, I don’t understand why Magma was trying to save Senku.

So…as is said for most WSJ series, the treasure was the friends we made along the way…LOL, what a way to acknowledge a trope.

Lemme guess…surprise birthday party? (Sorry, when I was reading up on Magma earlier, I saw that Magma helps with a birthday surprise for Senku and I found out what it was.)

I wonder if Rei is still up there at this point…? (Who’s Rei? You’ll find out if you read the Byakuya reboot…)

Well, “Rock Day” only works in Japanese. The language would’ve drifted over thousands of years so it shouldn’t work in the year 5731 (or whatever year Dr Stone is set).

Dr Stone 23

One episode until the end…but I’m away over Christmas, so I’ll have quite a bit to catch up on when I’m back. Update: I never did end up going away over Christmas.

Senku is much more of a trickster hero than an action hero. That’s been pretty obvious all the way through, but here it’s at its most obvious.

Oh, so Kaseki made the village bridge? Is that a correct assumption…? Update: I think the answer was yes from the manga.

How much chemistry does Gen know, anyway? Assuming he’s a humanities person because of psychology and his tricks, it must only be basic, right?

Thse intense stares…I’ve been reading JJBA: DiU lately, so I’m expecting an 80s-style “!!” to appear over someone’s head at this point, LOL.

Ooh, hardware. In fact, it looks like the inside of a computer…or, more relevant to this case, a phone.

So it’s not “rules are rules” anymore? Now Kinro’s changed his words to reflect his faith in Senku…hmm! Interesting! (Update: A quick google says Kinro is 18. Senku is about 18 (+ 3700 years). Plus, after they start dragging Ginro away, Kinro says his trademark line.)

Wouldn’t the coal smoke alert Tsukasa of the village’s location, though…? Then again, thanks to Homura and Hyouga, Tsukasa already knows their location…oops.

Rochelle salt.  

I saw that one shot of the world from the 1st OP and I thought there was meant to be a post-credits segment…LOL, nope.

Dr Stone 24 (FINAL)

The “acquisition message” basically said “We didn’t (just) need one cell phone, (so) it was useless!” Notably, it uses the counter for large items (like computers) for the phone.

Having finished the Byakuya reboot now, I wanna cry every time I hear about the guy…

Oh! The eyecatch is a record!

Basically, what records do is that they recreate sounds by using vibrations created by the grooves of the disc. Sound is a set of vibrations.

“Astronauts are science elites…” – Except maybe Lillian Weinberg…

I like Shamil out of the guys from the Soyuz the most. He’s a cross between Tsukasa and Senku. Stoic yet skeptical, a voice of reason for Byakuya’s sillier outbursts.

I wouldn’t be surprised if the shield was made with CGI, tbh.

Byakuya’s humour here is betraying the emotional capacity of the scene…it’s gone from “100% tear-inducing” to “confusing”.

Please sing Tsubasa wo Kudasai, Lillian…*crosses fingers*

I didn’t get what I wanted, but oh well. This song is good too. (I wouldn’t be surprised if most of the record player was CGI too. It’s good CGI for sure.)

LOL, Puyo Puyo! Even Sherlock Holmes! Dragon Ball, Nintendo Switch, VR, Saiyuki! It’s like a treasure trove of references!

Normally the s2 announcement comes after the credits, so I was thrown for a loop when it was announced before the ED…anyways, this is the end of the s1 coverage. See you for s2!

BnHA 72

[no notes, sorry!]

Iruma-kun 11

Robin looks like Iruma…(this vaguely annoys me.)

I noticed Keroli (sp?) is in the back left, alone…that’s kinda sad.

Sabro is hella tall…even taller than Azz-kun, and that says something.

Ah…I love Eggie-sensei. He’s so funny!

Really? I thought Sullivan wrote them (the rules).

I wanna see an episode where Eggie-sensei can’t turn into his fuzzy form and has to do familiar activities with Iruma. That, or an episode where Eggie-sensei has some human parts and some familiar ones (although that would scare some little kids, I think…)

What a Machiavellian mindset Eggie-sensei has!

Iruma’s got wine, people! Underage drinking is a no-no! (partially joking)

Good on ya, Clara! Go kick those girls to the kerb!

The butterflies are so beautiful in this show!

So basically school clubs.

Hmm…it’s almost a Fordist approach. I mean, “freeing yourself up to do other things” is basically the entire ethos of that.

NGL 10

I was reading JJBA: DiU today and Colt seriously looks like a Jojo’s character…

“Your face is just like…”

N-No way! You mean, the Victor Mary’s wanted to see all along…is the other gunhead…?! Geesh, what a plot twist!

Stars Align 10

“We all play to win.” – That’s very Maki of you, Maki.

Shinjo/Oshimi???? That must be Ryoma…! By the way, what’s up with these Itsuse twins…?

Who’s Hatanooka? Update: That’s the team with Joy in it…and those fangirls who busted Mitsue up.

F*** it…Arashi, I wanna pummel you someday.

LOL, you can sell your temmates out with chanpuru, huh, Arashi?

Did Maki suggest something subliminally…?

*Maki and Toma run around* - LOL, this play is completely unorthodox, haha. I can tell even if I’m no expert.

Shinchou Yuusha 10

We’re back after another week’s break…

Come to think of it, how do fantasy worlds have concepts of “hours”?

LOL, how convenient it was that there just happened to be a dude needing healing walking past! (partially sarcastic, partially meaning it since the circumstances foreshadowed it)

“Talent”, eh? *stares at the camera, which is showing Rista’s boobs, with disapproval*

The Demon Spirit Orb is basically a monster cell from OPM 2, isn’t it…?

If Seiya came from our world…then I’m sorry, Wolks, but whoever told you is completely and utterly wrong. *gestures at all the conflicts around the world, including political turmoil*

“Are you calling…”  

No Guns Life 11

Second-last ep!

Oh great…another yandere?(I read JJBA: DiU hardcover vol. 2 yesterday, so I’m still thinking about Yukako Yamagishi…)

There’s a convertible in the OP, though…I wonder if that will come into play later. Update: Even if it does come into play in the future, it doesn’t happen in ths cour.

Stars Align 11

It was like Joy was showing off to the camera…LOL.

Apparently, Joy’s name is a weird reading for yorokobi (happiness).

This feels like a final episode…

Hmm. I thought Yonex sponsored this. Turns out that’s a parody logo after all (or at least, here it’s a parody).

One of the Itsuse bros looks exactly like Maki, so it’s confusing…

I’m still confused as to why Shijo Minami’s shirts say nantei on them. The minami might be nan in another way of reading it, but…the shi can only be read kokorozashi otherwise and while the jou can be read many, many ways, tei isn’t one of them.

Ume = plum blossom, so that purple-pink colour really suits them.

BnHA 73

Eri’s name means, literally, “to break reason”.

This scene with the stars and the dancefloor…that’s new.

Iruma-kun 12

Sometims you forget this dork *points at Azz* is more powerful than Iruma and Clara…

You can see Clara and Iruma in the shot of Azz-kun.

The reason why I like calling Kalego “Eggie-sensei” is because he doesn’t like it! 

I love how the narrator is even aware it’s been mentioned several times Iruma can’t decline requests.

New Magic is basically science…?

Oh, it would be hilarious if this character Iruma just bumped into and he (Iruma) would be in a Battler together…but I’ve read spoilers, so I know what Iruma will join…

Is this some kind of allegory for technology…?! *eyes sparkle* Yes, I want in! Iruma! Join this club!

Even this demon’s clip is a book! Amazing!

Clara! She dab! In a pot!

Come to think of it, in the basic premise, Iruma-kun (the show) is Kenja no Mago, right? The Wise Man’s Grandson…sort of.

Shinchou Yuusha 11

Almost at the end…I’ll sorely miss this show.

Is Tiana some former version of Rista…?

How old is Seiya again…? Update: Apparently he’s 17…and if he’s the same age as he used to be in this flashback, then…kinda squicky, no?

Stars Align 12 (FINAL)

I heard this show dropped the ball and that Nao’s mother got a rant, but otherwise I don’t quite know what happens here…so let’s finish what we started. Update: Nao’s mother’s rant was in a previous episode.

Oh hey! It’s that running thing Nao and Taiyo were doing…I think. (I don’t think I’ve grasped everyone’s names, even over 12 eps, so I had to check Taiyo’s name up.)

Oh, these gremlins…*sighs happily but also exasperatedly* No wonder this show took out a top 10 position for my 2019 list.

I’m worried now…there’s always a last minute thing to ruin an episode on this show.

I always thought Ryoma’s hair was pretty nice…(small LOL). That’s just my bias for bishonen showing though.

I’m…scared now…Maki’s dad must’ve come back and the red in the sky really sold that moment…

Maki…no!!!!!!!! Aw, f***, that’s the final seconds…geesh, way to end the series. If this were a 2 cour, I’d definitely watch the next one, but since I heard through ANN that this is all we have so far, really, the only thing I can do for a passion project is hope another cour gets funded and (maybe) purchase what I can to help out. Well, that’s it, folks, skedaddle out of here until next time.

No Guns Life 12 (FINAL)

This pendant reminds me of the mana compass I saw in Fate/Zero yesterday.

I bet Danny planted those footprints…or something like that. Update: Yup, he did.

Come to think of it, is Juzo still missing his arm from last time…?

“You weren’t my client, little lady.” – There’s one of two possible options here, I think: 1) the hands guy was or 2) Danny was.

I wonder, will the hand Extended ever become his (Juzo’s) left hand? Or will he get an Extension for it?

Wow, second huge end-of-season cliffhanger! Juzo got a new buddy, it seems…anyway, see you in spring!

Cautious Hero 12 (FINAL)

If the Valkyryja (sp?) isn’t magic…what is it???

That one guy lying on the side of the fountain, looking all drunk…LOL.

Geez, you make me wanna cry, show!!!

Even the alarm clock is dejected…geez…

This is…the best conclusion of the fall season in that Seiya defeated the Demon King and the story wrapped up properly, but the worst in that Seiya died. No one died in Stars Align, even if they failed a tonne! So…I dunno. I guess it should be happy it ended optimistically…anyways, enough of my moping. See you next time.

BnHA 74

Shin Nemoto = “the truth of the origin of the sound”, if you stuck the particle no between each character.

Tintin got scary, LOL.

Lemillion, making “no capes” go out of fashion again (LOL).

Wow, talk about a clip show…! This is really one.

Check the end of the episode, don’t forget to watch the post-credits segments, people.

[hopeymchope]

So, I'm trying to understand this, from a person who has next to no knowledge on the series. What exactly is going on with Attack on Titan? And I'm more than willing to read a long rant if it means I get an explanation.

If you’re wondering why the tag for the manga blew up in recent weeks, that’s one specific thing - a character “death” (or at least, character-serious-injury) that’s got fans freaking out.

If you’re wondering why everything has been sucking for like two straight years of manga and people like me keep making very salty posts about it, that’s a whole other topic.

And that’s what I’m gonna cover in this rant: How Attack on Titan has been shitting its own bed for more than a year now.

Basic Setup: Attack on Titan takes place in a world where the remnants of humanity live in a walled city. The city’s walls protect them from gigantic, grotesque “Titans” who attempt to devour people on sight.

…but naturally, as the story went on, it got way more complicated.

Most of the problems with the manga began circa the time-skip (which is also where the Anime is going to catch up to once the current season 3 is finished). Rarely has there ever been a time-skip in fiction that’s been wonderfully received, but the four-year gap between “Return to Shanganshima” and the “Marley” arc has to be one of the worst.

But the whole crash-and-burn kind of starts right before the time-skip, when we first learn the name “Marley,” begin to learn the true origin of Titans, and uncover true enemy opposing our heroes via a forced flashback. For the purposes of this little essay, let’s just put all of the Marley-related information into one big collection - I’m not gonna separate the last couple chapters pre-timeskip from all the tons we’ve had afterwards. All things dealing with the aforementioned “enemy” will just go into one big fuckpile.

SO. The time-skip jumped forward fouryears into an arc that lasted almost a year without letting us see any of our established protagonists. Instead, we follow… the enemy I just mentioned.

And since Attack on Titan begins and goes for most of its duration without any clear enemies outside of “TEH TITANS” and “general assholes within the system,” this is where I have to put a spoiler cut.

A Rant on Titan

So the enemy of the characters we know so far is Marley, the actual source of the titans. The world isn’t destroyed at all, naturally. Our heroes just live in one isolated place on the planet, which is forced to be surrounded by Titans because Marley shoved them into that walled city and then created Titans on the regular.

Marley is a nation of………………

…*SIGH*…

okay, look. I could try to call Marley  a “Nazi Germany allegory,” but the allegory is so thin that they’re basically just incredibly overt Nazis. They’re a military-focused nation of incredible genetic pride where purity is celebrated and where one particular race - a group of both different genetic descendancy than them AND of different religious beliefs - are treated as inferior garbage. The Marley government sees “Eldians” as disposable. They are forced to wear armbands with stars on their arms (YES, REALLY) to identify them in public, and they also make them lived in fenced-off, separate communities.

Marley’s science experiments on Eldians (yup, they tossed that in, too) resulted in the creation of the TITANS. It turns the Eldians into mindless prisoners of their own bodies who grow in size, deform, try to eat people instinctively, and long only for their own deaths.

If they made a third AOT video game, it’d have to be something like this. …. So maybe we shouldn’t.

ANYWAY. During this Marley story arc, we mostly follow child soldiers. They’re of “low birth” because of their race. They chose to enter military service in exchange for having their families treated like regular human beings one day, if they earn their way to become titan-shifters. Nevermind that titan-shifters all die within seven years because of the power of turning into a titan - it’s worth it to raise their family’s status beyond just your regular Jews Eldians, right? Nevermind that they’d never really be seen as equals. Even those who have elevated their own rank by becoming shifters are shown to still be subject to some snark and disdain,but yknow - you were just born that way, so you’re shitty regardless, right?

Through this horrific scenario, we follow a few kids in particular - most notably Falco, who is gradually seeing reality and realizing how they don’t deserve to be treated like shit and that this is all a work - and Gabi, who is becoming increasingly militant and more zealous over time.

RELEVANT SIDE NOTE: Gabi’s character design is based upon a sketch Isayama once did of a gender-shfited Eren Jeager (Eren Jaeger is the main protagonist of the series). For that reason, you might be inclined ot think that Gabi is some kind of alternate/parallel Eren.

Except that’s fucking ridiculous, of course!

Gabi is shown to only care about her own rage against the people within the walls of “Paradis” (the sarcastic name for the walled city where all of our heroes come from) above ALL else. She doesn’t care about her family at all, never noticing her brother’s suicidal tendencies and pain even as Falco is acutely aware of it. The fact that her parents are pained by her following her brother’s dark path to becoming a shifter. She doesn’t notice or care. The more evidence that is put in front of her that the other side might not be as evil as she thinks? That just makes her want to commit murder MORE.

Oh, and she DOES murder people. And try to murder more. A lot. She even successfully murders a fan-favorite character - a character who shows her mercy by pointing a gun at her, seeing she’s only a child, and opting to let her live. Gabi repays this mercy by shooting that character in the back later and boasting excitedly about it to anyone who will listen for multiple chapters in a row.

She then tries to top that by attempting to murder that character’s little adopted sister, who is like, maybe 10 years old, tops? Gabi is then protected from harm by Mikasa and now seems to be on the path towards some kind of “redemption arc” because… uh…………..

………………..because Isayama is shitty?

By contrast, Eren struggles throughout the ENTIRE NARRATIVE to bring harm to people who betray him/those he cares about or those who try to kill him/those he cares about, but often runs into incredible challenges when fighting these douchenozzles. The entire time we followed Eren up until now, he always prioritized his family and friends above EVERYTHING. He would risk ANYTHING to protect them and his comrades in the Paradis military… this was true from when he was a young boy at the start of the story up through him being a young man at this point. And he is ESPECIALLY intense about protecting his closest friends, Armin and Mikasa, who he’s known for nearly his entire life. They grew up together.

That’s set in fucking stone for like 90 chapters, so we’re good. Yeah?

Oh, sweet summer child. Perhaps you were so unprepared for Isayama’s Nazi mallet that you didn’t see his secondary weapon coming?

See, the post-timeskip Eren treats his friends like shit. He lies to them, betrays their trust, runs off and starts a literal war on his OWN, and then tells them how much he hates them. Claims he always hated them.

So in the course of just a couple chapters, he goes from saying this:

To swiftly saying THIS:

Note that devastated look in her eyes. Wonderful.

And yes, he’s GOT to be lying, because I don’t think Isayama would juxtapose those two scenes so closely together in some unwitting fashion. But he’s doing so much damage to them by now that I honestly don’t even know if it matters?

Take Hange.

She’s the intelligent leader of the team, the one who always has a wild, unlikely plan. She’s a science whiz and comes up with longshot plans that always seem to weirdly… work out.

We’re told that, three years ago, she was presented a plan to overthrow Marley by Zeke - a fucking bastard who is clearly a member of the enemy, he’s lived with them his whole life, as a child he betrayed his parents to them and had them executed for being disloyal to Marley, and he’s killed COUNTLESS comrades of our heroes - and Hange decided Zeke’s plan was the only possible option and came up with no alternatives for four years. So she made them ally up with the least trustworthy person IMAGINABLE for a terrible plan,b because Hange’s… a stupid sucker now, I guess.

And why is it a terrible plan — aside from the fact that there is literally zero reason to ever believe anything Zeke says to you, since he’s the most evil fucker in the world? Oh, because it hinges HEAVILY around forcing another member of the team — Historia — into a pregnancy to churn out a baby they intend to use for the country’s gain.

Historia’s big character arc in “Attack on Titan” has been her coming to terms with her own identity and OWNING it. She’s been hiding under another identity or been controlled by other people much of her life. She finally comes out under her true name, declares that she’ll never leave in fear or be maniuplated ever again, and then—

… oh wait.. she’s manipulated into being barefoot and pregnant against her own wishes, because their greatest enemy asked for it.

There’s a lot to hate about the post-”Return to Shinganshima” Attack on Titan, in short. From characters becoming inversions of themselves to full fanatical Nazis being treated like redemption babies to complete destruction of self-actualization of other characters and the fact that, even if this is part of some larger plan being manipulated by multiple players (which seems likely), it still won’t really make up for much of the damage… and for that matter, how plausible would it even be?

But basically, there’s going to have to be quite an 11th-hour ass-pull to make this turn out decently in my eyes by now. And that’s not IMPOSSIBLE.

But it’s looking pretty unlikely.

[kaile-hultner]

Dialogues With A Dreg, Part Four

Spoilers for Destiny and Destiny 2 ahead.

Hello, Guardian.

Let’s drop the allegory for a while. I don’t think it was working to begin with, and I prefer to speak plainly instead of in prose.

I love the game you serve as the protagonist in, at least mechanically. Part of the reason I’ve put nearly a thousand hours in piloting you around and clicking on enemy heads is because I’m chasing that satisfying “pop” when something’s brain explodes after I get them with a linear fusion rifle. I guess it’s better than being addicted to drugs or alcohol or video games with gambling mechan- oh shit god dammit wait, fuck, there’s Eververse here, I forgot.

Anyway, Destiny 2 has my full buy-in when it comes to gameplay, as I think it’s grabbed many folks in its three-year lifespan. I’m not as big a fan of the many modes to choose from in the game, and I think the story – when looked at holistically – is more-or-less a wash. But one aspect I can’t ignore is one I’ve tried to reason out in these Dialogues: Bungie, the game’s developer, wants me to live at least part-time in this world, and there are certain ramifications that come with that.

I first noticed these ramifications during the Faction Rallies in D2Y1, when it asked me to pick a faction and fuck shit up across the solar system. I picked what I thought was the coolest-looking faction, a group of (it turned out) thanatonautic, neoliberal warmongers calling themselves Future War Cult. They basically killed themselves over and over to see the future, and as a result they want Guardians everywhere to become absolute war machines. But as far as I could see, they were a “better” option than the other two factions: Dead Orbit, who just wanted to get the fuck out of the solar system and away from the Traveler, our slumbering charge, and New Monarchy.

New Monarchy is the MAGA hat gang of Destiny 2. They want to keep humanity safe by locking them inside the Last City, forming an eternal Guardian-led kingdom, and ruling with an iron fist. Yeesh.

In my first Faction Rally, I fought hard for FWC. I liked the gear they were giving me, not to mention the guns I could earn from them. They had an aesthetic I liked, and the story of thanatonautics is interesting enough for me to want to know more about how all that worked. But I didn’t like the insistence that we “reclaim” the far-flung reaches of the solar system, as if they belonged to us inherently. I didn’t like the ramping-up, constant drumbeat for war they were throwing out. Even if Lakshmi-2, FWC’s leader, seemed like the eye of a hurricane – calm, yet clearly still dangerous – the hurricane she was the center of was starting to irk me.

I’m sorry to say I didn’t drop FWC in subsequent Rallies, even if I wasn’t as enthusiastic about them as I was initially. If I could pick again, though, I know now I’d pick Dead Orbit. They had it the most right, plus Peter Stormare plays Arach Jalaal, the faction’s leader, which is just cool.

But the winner of pretty much every rally was New Monarchy. I couldn’t see the appeal, even if you stripped the clear trump-ass bullshit away. But a LOT of other Destiny 2 players fought for them, and they were the victors constantly. Bungie took the Faction Rally away in D2Y2, but it basically put me on an inexorable thought track to where we are today.

Simply put, I think the world that Destiny 2 is advocating for is at best a fascist one. At worst, we’re talking about reinstating the divine right of kings. Not only does mortal humanity lose in this bargain, but every other living creature inhabiting our solar system suffers for it as well.

Now, Guardian, I can see that this is an unwelcome statement to hear. I get it. After spending the entire five years of your existence thanklessly putting around the solar system and killing gargantuan, god-level threats to humanity and life itself, watching some nerdy, doughy writer cast aspersions on everything you do probably extends past irritation and into wishing you could shoulder-charge me into Glimmer particles. But I want to be clear: yours isn’t the only video game world – or even the only sci-fi world in general – that does this. As Nic Reuben (the original Destiny 2 fascism warner) put it in his 2017 post on the subject, Bungie writers are “blindly following a set of culturally encoded science-fantasy tropes”:

“‘True leaders are born. It’s genetic. The right to rule is inherited.’ Any time you play as a really, really ridiculously good looking person killing mobs of ugly things for a vaguely defined reason, you’re witnessing this kind of ideology first hand.”

One thing I would like to point out, though, before we continue: Guardian, I know you personally. I’ve fought as you across the stars. I know you don’t inherently want to rule over anything. You are intentionally a blank slate, you never voice your own desires except for that one time when a possessed Awoken prince killed your best ramen bud, and I want to believe that the only thing you want — which is the only thing I want — is to race Sparrows on Mars. But the version of you I play as is not the only version of you that exists. There are over a million of you. And aside from that million iterations of you that exist in this game world, there are others who absolutely want to rule. It’s high time to interrogate this world.

Fantasy Space Fascism: The Game

In his book Against the Fascist Creep, freelance journalist and Portland State Ph.D candidate Alexander Reid Ross defines fascism as “an ideology that draws on old, ancient, and even arcane myths of racial, cultural, ethnic, and national origins to develop a plan for the ‘new man.'” He continues:

“Fascism is also mythopoetic insofar as its ideological system does not only seek to create new myths but also to create a kind of mythical reality (ed. emphasis mine), or an everyday life that stems from myth rather than fact. Fascists hope to produce a new kind of rationale envisioning a common destiny that can replace modern civilization. The person with authority is the one who can interpret these myths into real-world strategy through a sacralized process that defines and delimits the seen and the unseen, the thinkable and the unthinkable.

“That which is most commonly encouraged through fascism is producerism, which augments working-class militancy against the ‘owner class’ by focusing instead on the difference between ‘parasites’ (typically Jews, speculators, technocrats, and immigrants) and the productive workers and elites of the nation. In this way, fascism can be both functionally cross class and ideologically anticlass, desiring a classless society based on a ‘natural hierarchy’ of deserving elites and disciplined workers. By destroying parasites and deploying some variant of racial, national, or ethnocentric socialism, fascists promise to create an ideal state or suprastate – a spiritual entity more than a modern nation-state, closer to the unitary sovereignty of the empire than political systems of messy compromises and divisions of power.”

Ross, A. R. (2017). Against the Fascist Creep. AK Press.

The Destiny franchise begins with you, a freshly-reborn Guardian, shooting and punching your way through a hive of vaguely-arachnid aliens your Ghost companion calls “Fallen.” You find a decrepit jumpship deep in the heart of the Old Russia Cosmodrome, which your Ghost fires up and uses to take you to the “last safe city on Earth,” a walled metropolis underneath the Traveler. You first meet with the Vanguard triumvirate, Titan Commander Zavala, Warlock Ikora, and Hunter Cayde-6, and then, after completing some tasks for them, you are granted an audience with the Speaker (voiced by Bill Nighy):

“THE SPEAKER: There was a time when we were much more powerful. But that was long ago. Until it wakes and finds its voice, I am the one who speaks for The Traveler.

“You must have no end of questions, Guardian. In its dying breath, The Traveler created the Ghosts to seek out those who can wield its Light as a weapon—Guardians—to protect us and do what the Traveler itself no longer can.

“GUARDIAN: What happened to it?

“THE SPEAKER: I could tell you of the great battle centuries ago, how the Traveler was crippled. I could tell you of the power of The Darkness, its ancient enemy. There are many tales told throughout the City to frighten children. Lately, those tales have stopped. Now… the children are frightened anyway. The Darkness is coming back. We will not survive it this time.

“GHOST: Its armies surround us. The Fallen are just the beginning.

“GUARDIAN: What can I do?

“THE SPEAKER: You must push back the Darkness. Guardians are fighting on Earth and beyond. Join them. Your Ghost will guide you. I only hope he chose wisely.”

Bungie. Destiny. Activision Entertainment, 2015.

This introduction to the world of Destiny is… shockingly reductive. Even playing the campaign when this happens, my first thoughts were, “wait so we’re not even smart or good enough to hear the children’s scary stories about the history of this world? what the fuck?” But over the course of years, we find out more and more about the so-called Golden Age of Humanity, the tools humans built with implied assistance from the Traveler, the various rich families and corporate megaliths that consolidated power over people across the solar system in the years and decades leading to the arrival of the Darkness and the ensuing Collapse.

Not only that, we start to get a pretty clear image of what life was like immediately following the Collapse. Humanity was almost driven to extinction, and the people left alive after this apocalypse soon wished they were dead. The Traveler “defeated” the Darkness but in the process put itself into something similar to an emergency reboot mode. It deployed the Ghosts, who resurrected people who could, as the Speaker put it, “wield its Light as a weapon,” but the first of these “Risen” were nothing short of horrific. They used their Ghosts’ regeneration and resurrection powers to become regional warlords, subjugating what few mortal people remained, draining the desolate wastes of what few resources they had, and basically sealing the deal on the “Dark Age” brought on by the Collapse. It wasn’t until the advent of the Iron Lords that these warlords were defeated and the “age of Guardians” could begin, but even the Iron Lords did some pretty heinous shit – like use a whole town of mortals as bait to lure in a band of warlords on the run.

But when it comes to creating a mythical reality, the Speaker has his formula down pat. Don’t get too bogged down with details, paint the conflict in stark good vs. evil, literal “Light vs. Darkness” broad strokes, and mythologize the actions of Guardians (but most importantly, our Guardian). And oh, what fodder for mythology we are.

By the end of the first campaign, we’re the hero who severed the connection between the Hive, the Vex and the Traveler and tore out the heart of the Black Garden. By the end of The Taken King, we’ve slain a god-king. In the Rise of Iron expansion, we stop the spread of a virulent nanoparticle with murderous intent called SIVA in its tracks, using nothing but our fists. In Destiny 2, we become the Hero of the Red War, the one who put an end to a Vex plot to sterilize all worlds, and who killed a Hive Worm God. We avenge our fallen Hunter Vanguard, we kill a Taken Ahamkara. We are the hub on which the spokes of history are turning.

In terms of video game power fantasies, I really truly can’t imagine a better-feeling one. It’s basically pure uncut dopamine being transmitted directly to the pleasure centers of the brain, one Herculean feat at a time. And if we were the only Guardian, if we were not part of a larger world, if everything around us was in a vacuum, I don’t know if I would be writing this article. But Bungie has been very clear about wanting to make a world where our actions do materially affect our surroundings. As such, we are essentially a walking propaganda tool for the Consensus, a pseudo-democratic government over the Last City, consisting of faction leaders, the Vanguard and the (now-presumed-dead, hasn’t been replaced) Speaker.

The Consensus wants badly to declare the advent of the New Golden Age, a time in which Humanity can finally emerge from under the shadow of the Traveler to pick up where it left off prior to the Collapse. The problem we supposedly face is the never-ending onslaught of Enemies. Four alien species showed up on our doorstep after the Collapse, all seeking to finish us off (according to the Speaker): the Fallen, the Cabal, the Hive/Taken, and the Vex.

Of the four-ish races of enemy, only one can said to be truly, deeply “evil” in the sense the Speaker intends: the Hive and Taken, led by Taken King Oryx and his sisters Sivu Arath and Savathun, the only force in the galaxy more fascist than the Guardians. The Vex are a race of machines whose only focus is on making more of themselves, a threat similar to SIVA. The other two alien forces, the Fallen and the Cabal, are certainly antagonistic toward Guardians but our initial reasons for fighting them are, frankly, butt-ass stupid. Basically, we fight them because they’re there. They have the audacity to land on planets that “belong to us” and scavenge resources from them. Until the Red Legion showed up on Earth, we basically only ever fought Cabal on Mars, and there’s really no reason as to why.

The Fallen, or Eliksni, on the other hand, end up coming off more as the tragic victims of our flippantly rampant genocidaire practices than actual “enemies.” They’re probably the weakest alien species we come up against. Their backstory involves them living in peace under the Traveler before their entire society was caught up in a Collapse-like “Whirlwind” and destroyed. Rather than give them Guardians, like it did with us, the Traveler instead just up and peaced out, leaving the Eliksni for dead against the maelstrom of the Darkness. The surviving “Fallen” got in their skiffs and desperately chased the Traveler across the heavens, stratifying the remnants of their society into “houses” and developing religious devotion to machines like Servitors in the process.

They tried to take the Traveler back at the Battle of the Five Fronts and Twilight Gap, and lost. Their armies were shattered, and we’ve been nonchalantly killing them en masse ever since. They are the “parasites” our Guardian must exterminate, along with the Hive, Cabal, and Vex. When we make friends with, or even simply allies with, a Fallen (like Variks the Loyal, Mithrax the Forsaken, or the Spider), it is made clear almost immediately that this 100 percent doesn’t change the relationship we have with the Fallen as a group. Variks is absolutely subservient to Mara Sov and the Awoken. Mithrax wants to create an Eliksni House that bows down to Guardians and Humanity for being “better stewards” of the Traveler than the Eliksni was. The Spider makes it clear that he only wants to grow his crime syndicate, but that we can help him out if we want. Never once does the Vanguard or the Consensus reach out to these allies and try to broker peace. And in-game, we simply don’t have an option but to fire on and kill Eliksni in droves. Kill or be “killed,” right?

When it comes to Humanity itself, while we never get a chance to actually leave the Tower and walk through the streets of the Last City, there are at least hints as to the deep class stratification at work here. You can’t get much more on-the-nose than an ivory tower of immortal beings overlooking an enclosed human race. Guardians atop humanity, the Speaker above the Vanguard over the Consensus over the people, and you, the very fulcrum on which history pivots, functionally over everything else. But in the mythical reality of this game, it’s really the Traveler über Alles, and humanity underneath the Traveler has become a wonderful, diverse melting pot without class, without fear. An ideal state where the walls keep Darkness at bay and humanity can discover the joys of tonkotsu ramen yet again.

A Light Story Vs. Lore Steeped in Darkness

Destiny has a reputation, unfairly earned, for being an okay game with a bad story, or at best a nonexistent one. The story isn’t really all that bad, it’s just poorly implemented up front, and I think my willingness to engage with the game’s world to the extent that I have is a testament to how powerful and evocative some of the beats in Destiny’s writing truly are. If we dissect the game we can separate the writing of the “story” from the writing of the “lore,” and in watching the plot develop over the past few years, we can see a gradual unification of these two areas start to occur.

This is helped greatly by third-party resources like Ishtar Collective, and by mechanical decisions Bungie made in D2Y2. Adding the lore back into the game with Forsaken was a good idea; choosing to fully integrate the lore into the world starting with Season of the Forge was a great one.

A side-effect of this lore-plot unification is a dismantling-in-real-time of some of the game’s most beloved and widely-spread legends, like the legend of Shin Malphur and Dredgen Yor. Even our personal legend is challenged in this way, and it’s a really neat way that Bungie writers new and old are critically engaging with their work. But it also really throws into stark relief some of the issues I’ve laid out in this article so far.

Take, for example, the lore book “Stolen Intelligence.”

Presented to us as intercepted secret Vanguard transmissions, “Stolen Intelligence” shows us exactly what the Vanguard really thinks of our actions, and what their goals really are. It was part of Season of the Drifter, which overall had a “trust no one” vibe to it, but some of the entries here are BLEAK, y’all.

Here’s an excerpt from the first entry, titled “Outliers.”

“Fallen armed forces continue to fall back from active fronts across Terra. Factions of House Dusk remain active in the European Dead Zone. Throughout the rest of the globe, refugee attack incidents have dropped by more than 70 percent since the conclusion of the Red War – largely attributable to depressed Fallen and human populations rather than any significant change in interspecies relations.

[…]

“The recent trending emergence of so-called “crime syndicates” (cf. report #004-FALLEN-SIV) is emblematic of the continuing destructuralization of Fallen society. Likely an artifact of multi-generational colonization of human strongholds, this agent believes that because these syndicates have no relation to indigenous Fallen culture, young Fallen are appropriating and imitating human mythology in absence of a strong cultural heritage of their own.

[…]

“VIP #3987, another former confederate of the Awoken, is a lesser-known personality known as Mithrax. Scattered field reports suggest that like #1121, #3987 styles himself a Kell of the so-called “House Light,” an otherwise unknown House apparently founded by #3987 himself. We have secondhand accounts that Mithrax has engaged in allied operations with Guardians in the field, though we have not as yet been able to corroborate these accounts with any degree of veracity. This agent is inclined to treat these reports with a healthy degree of skepticism until otherwise confirmed, as they may be propaganda from Fallen sympathizers in the Old Russian and Red War Guardian cohorts. We have requested intelligence records from the Awoken which may further clarify the matter.

“In addition, whatever the findings of said intelligence records may be, it should be stressed that one or two sympathetic outliers cannot be relied upon to erase the wrongs of past centuries, nor should their good-faith efforts to correct the sins of their forbears be taken as sufficient symbolic reparation.

[…]

“We have come too far to pull our punches now.”

Bungie. Destiny 2: Forsaken – Season of the Drifter. Lore Book: Stolen Intelligence. Outliers. Activision Entertainment, 2019.

Here’s another piece of “Stolen Intelligence,” about our relationship with Cabal Emperor Calus:

“Related to the above, #3801’s aggressive propaganda campaign appears to have been successful. Despite #3801’s recent inactivity, sentiment polls captured in the Tower at regular intervals over the last several months indicate that he has successfully swayed a significant percentage of the Red War cohort to believe that he may be a potential ally. Given our history with the Cabal as well as the events of the Red War itself, this is shocking and perhaps attributable to a case of mass traumatic bonding.

“It is my strong recommendation that the Vanguard pursue a reeducation curriculum before #3801 invites any Guardians of the City to defect to his service, a possibility which we have documented in multiple previous reports.”

Bungie. Destiny 2: Forsaken – Season of the Drifter. Lore Book: Stolen Intelligence. Passivity. Activision Entertainment, 2019.

Other entries detail the efforts of the Vanguard from keeping ostensible “conspiracy theories” from being published in the Cryptarchy’s journals; show the apparent oddity of mortal-Guardian “integrated neighborhoods;” and discuss the ongoing surveillance of the Drifter, a rogue Lightbearer who has survived since the early Dark Ages and who uses Darkness-aligned technology to run a PVEVP game called “Gambit”.

There are many other stories like these, scattered throughout the lore. Stories of Cryptarchy students being banished for making fun of New Monarchy’s leaders, of Guardians messing with Hive technology being burned alive and killed fully by the Praxic Order for their crimes of experimentation. Stories like these wouldn’t happen – couldn’t happen! – to our Guardian, because they’re too important, but are seemingly everyday occurrences to less consequential members of this society. In the real world, we’d call that an increasingly oppressive police state. In Destiny 2, it’s just flavor text.

There was a degree of narrative complexity added to Season of the Drifter that hadn’t been in the game prior. The entire season was essentially boiled down to “which side are you on, the Drifter’s or the Vanguard’s,” and in our path to make a choice, we heard from various bit players in our world. The Drifter told us his story in greater detail than perhaps we needed (and how much of it is true is debatable), but his story is also the story of a less morally-pure Guardian class. Everyone from the warlords to the Iron Lords did heinous shit to humanity while the Drifter watched, and it hardened him. The Praxic Warlock Aunor goes all in on her adherence to the City’s propaganda and ideology, trying to show us how untrustworthy the Drifter is. She ends up revealing more of her order’s goals than perhaps was wise.

This narrative complexity is nice, but it still betrays the game in a fundamental way. We now have the documents. We know what Guardians are actually about, and how they’re not exactly shining beacons of unwavering good like the Speaker would have had us believe. Regardless of declining Fallen activity, of a shift in Fallen culture, of actual living Fallen who want to ally with Guardians, the Vanguard is still adamantly pursuing “extirpation,” which is a fancy way of saying genocide (I’m not kidding, it literally means “root out and destroy completely”). We know the Vanguard and the Praxic Order have a hard-on for exile, reeducation and information suppression.

On top of everything, the narrative complexity was not met with any kind of mechanical complexity. Even with proof that the Vanguard wants to kill every Eliksni in the system, conscientious objectors don’t get to opt out. The narrative path that forks between the Drifter and Aunor converges again by the end of the quest. The “conspiracy theorist” that has been trying to publish paper after paper detailing exactly how the Nine worked with Dominus Ghaul to sneak his fleet into City airspace undetected was proven right by lore WE FIND IN THE GAME, but that doesn’t change our combat relationship with the Cabal remnants anywhere in the system, and homeboy still gets his papers rejected.

Ikora and Zavala, our remaining Vanguard members, insist repeatedly that Guardians are not a warfighting force, that the Vanguard and the Consensus is not an authoritarian organization. But everything we do says otherwise.

“A peace born from violence is no peace at all.”

Guardians do not get to choose their paths in the world of Destiny 2. The paths laid out before them lead to a life of warfare, of pain, of endless murder. Ostensibly, they are agents of good, trying to beat back the forces of evil, but if you look too close you see that really they’re just a bunch of indiscriminate killers with a mandate from the Orb God. Desperate to get out from under the heels of warlords, the Guardians created a fascist society, and adding insult to injury they pretend it’s a democratic, free one. Killing the Fallen is genocide, but you can literally never stop killing them because the game won’t let you. The only right way to play at that point is to turn off your console and go outside.

Destiny 2 isn’t the only video game to fall into this trap. As Nic Reuben said in the follow-up piece to his first story on how Destiny 2 is fascist, “I’m not saying Destiny is propaganda, just reliant on some of the same narrative tricks that make propaganda so powerful. At the same time, I don’t think that it’s too much of a stretch to say that games like Call of Duty make certain assumptions about what is justifiable, righteous slaughter and what is terrorism. Replace modern military hardware with future tech, replace terrorists with alien races that have traits synonymous with cartoon portrayals of traditionally marginalized social groups, and you’re effectively playing through the worst aspects of Call of Duty with a new coat of a paint.”

There is one glimmer of hope in the game. One sliver of lore that gives us pause and helps make the game bearable in its current state. It comes in the form of Lady Efrideet, former Iron Banner handler, youngest member of the Iron Lords, and a Guardian in self-exile from the City, the Vanguard, and its fascist dogma.

Lady Efrideet is one of the most fearsome Hunters in the Destiny universe. She is known as one of the best marksmen, if not the best one. She is impossibly strong, having once thrown Lord Saladin bodily off a mountain into a Fallen Spider Walker, destroying it. And she is also one of the only named pacifist Guardians who isn’t a member of the Cryptarchy. Her story is the story of the fall of the Iron Lords, as well as the beginning of the SIVA crisis, many years before our Guardian’s rise is documented.

But it isn’t SIVA or the Iron Lords that we’re interested in. Instead, we know that after SIVA was sealed away, Efrideet snuck away from Earth. She saw the deaths of everyone she knew and her will to fight was shattered. If this was the result of fighting for the Traveler, she didn’t want any part in it. So she took to the stars. In doing so, she ended up in the far reaches of the solar system, beyond even where we currently roam. It turns out, a small enclave of other Lightbearers, hesitant or unwilling to use their powers to kill, had also fled to this part of the system and had established a colony. It’s there that Efrideet resides, and it’s there I’d like to go.

Unfortunately, our Guardian is too “important” to the vast tidal forces at work in the Destiny universe for us to be able to leave for the outer reaches whenever we want. Because we are the hub on which the wheel of history turns, and there is no escaping that now, if ever we could. We are death, the flattening of a complex and intricate universe into one of simple shapes, the sword logic in a human/Awoken/Exo body. We are needed for the plans of the Nine/Mara Sov/Hive Queen Savathun to come to fruition. When or if the Darkness ever does come back, we will be the force that faces it and, win or lose, shape our future afterward.

Sometimes it’s nice having a video game place your character on a linear track. Games like Half-Life or Titanfall present to us simple choices in otherwise-complex story environments: progress, or die. Our characters are not immortal, but they have help from the technologies around us, are tenacious, are resourceful, are quick to adapt to changing situations. In Destiny, we simply exist. We can’t truly die. Even when it comes to the rules of the game, our immense “paracausality” causes us to shrug Darkness Zones off as mere inconveniences where other Guardians have died their final deaths. Because we are necessary. The Vanguard and Consensus need us to justify their horrific fascist policies. The great forces at work in the background need us to work as a pawn. Even Bungie itself needs us, powerful, trapped beings with a sense of right and wrong but no agency to actually act on those ethics, to continue its game.

I haven’t preordered Shadowkeep yet. For once I’m glad we’re not focusing on the Fallen or the Cabal. Going to the Moon means we’ll pretty much just be dealing with Hive, to say nothing of the unreal Nightmares we’re supposed to face. But I’m still undecided as to whether I even want to order Shadowkeep in the first place. If Lady Efrideet can go to the edge of known space and live peacefully with other pacifist Guardians, maybe I can put my controller down and step away, once and for all. It would be nice to have the extra space on my Xbox One’s hard drive. Other games exist to be played, and having the time and energy to do so would help me here, with No Escape.

But even then. I’m not expressing agency as a Guardian, but rather as the person who controls you, Guardian. While I go off to play other games, you sit and wait in stasis. Even if I don’t play, there are a million iterations of you willing to commit genocide daily for cheap rewards (shoutouts to the sixtieth Edge Transit drop in my inventory this month alone). Sure, it’s just a game. But this is what having a dynamic world means in practice. There are consequences to your actions. There always have been.

There is no reason why Humanity couldn’t share the Traveler’s gifts with, at the very least, the Eliksni. There is no reason why we couldn’t just ignore the Cabal in a state of mutually assured destruction, given how small a faction the Red Legion was relative to the Cabal army’s full size. Of the two remaining enemies, the Vex are less evil than they are simply a thing that wants the universe to be like it, and that’s threatening to diverse life throughout the universe, not just Humanity. The Hive/Taken are the true enemies in the game, but even they are directed, pawn-like, by their Worm Gods.

There is, likewise, no reason why the Risen had to organize in the fascist context they did. They could have created a society in which everyone could come and go freely, where ideas and actions could be given and received absent interference, where a true “golden age” could have sprung up naturally simply by living together harmoniously and using the Light the Traveler gave them to create, rather than destroy.

But that’s not how this story shakes out.