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canonsinthehead · 4 months ago

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so hows the night life in the villages? which is the best and worse? 😸😸

Glad you asked... there are few topics ni the answer ill go deeper in another post but i hope yall get the picture...

Naruto Headcanons - Ranking Nightlife in Different Villages (from best to worse)

1- Kumogakure (THE Party City)

Obviously Kumo takes the first place for its unmatched nightlife culture. It is alive at night and very welcoming of foreigners, some people make a whole trip to Kumo just to party.

There are sooooo many nightclubs of different types. Hip hop, Pop or Western etc. Kumo is known for being the only nation to have stripclubs. other countries, always claim to be more conservative in that area. it ties into the more liberal/accepting expression of sexuality (especially from women).

everything is intertwined when you look up the country's music history. Many famous artists strated in nightclubs.

The city lives at night, many sports clubs are operating during dark hours and inviting the night owls to join in. Along this, you can take all types of classes/courses taking place at night if clubbing is not your cup of tea.

Kumo is so diverse, there is a district/area or stores/businesses for all types of preferences, interests or way of life. Are you LGBT, plus size, disabled, a salary man, vegan, emo, a sneaker head or whatever it is, you will find a place for taste.

it has become a challenge some residents (and tourists), to make a 6PM to 6AM Challlenge. where it consist of staying awake and indulging in the nightlife until sunrise. it was popularized by an episode of Killer Bee's Showtime where they came up with the concept and has became a legit tourist attraction since theres so much to do

2- Konohagakure (6 to 9 Heaven)

In Konoha, a lot of people have a 9-5 schedule so big part of the village nightlife is centered around "after work" activities. When you go out on weekdays, you will mostly encounter employees trying to unwind after a long workday

regardless there are so many activities to do after the sunset. the most popular are karaoke, hot springs and street food stands.

Konoha's foundation being a mountain, there are many hidden spots hidden in its complex foundation. when look over it, you can observe spots of hundred of spotlights all over the city because small goups loves to meetup in various places and just chill together

the largest cinemas are located in Konoha. it one of the few places where you can go watch movies from other nations to the exceptions of Kiri for their heavy censorships laws and Suna for being in a different language.

Cabaret clubs are huge in Konoha.

you can find many 24/7 ramen shops and Internet Cafes

The comedy scene in Konoha is big. off course it doesnt match Kumo's but Konoha produced many well known comedians. All the "Comedy Open mic nights" are to die for.

Konoha scored high also for being a welcoming nation and embraces tourist/foreigners with open minds.

3- Iwagakure (Rock 'n' Roll)

if you are looking for a good music concert to attend. especially for rock and indie music.

it scored lower because many of those locations (to party) and the culture surrounding them are sometimes hard to find

mixed with the nightlife, Iwa has a strong adult entertainment industry. There are countless soaplands and burlesque show, again only if you can find them

(Honorable Mention) 3.5 - Modern Kirigakure (Work in Progress)

On the way to become like Konoha (along with their own sauce) but is not there yet

outside of the capital, they still operate like the previous system like the rest of the country of water.

4- Sunagakure (Organized Events)

The nightlife of Suna is more made of organized events where mass of people attent. The largest venues happen on Fridays since there are a lage diversity of shecdules among the population but everthing stops from Friday night to Sunday morning.

A typical night activity is enjoying tea, there are hundreds of tea stands across the country, sometimes even in the middle of nowhere for travelers during their long journey in the desert. they along serve flavourful whiskeys and tasty snacks. It is the #1 socializing spot.

The food is to die for. The culinary scene of Suna is unmatched, with all the ingredients natives to the regions it gives unique meal you cant find anywhere else. there are many restaurants of all types open until the early hours of the morning.

Live performing is a very prevelant part of Suna's nightlife,

A lot of night activities are meant to be enjoyed in large numbers especially among families since many of them are large.

the problem is that Suna is really weary of tourists/foreigners, so accessing certain areas, restaurants or pubs may be denied because they require invitations. That would limit your acess to tea houses and restaurants in the main city/touristic areas where the inflation is crazzzzyyyyyyy for outsiders. Also the language barrier doesnt help...

the best deal would be to be invited among someone's familiy and celebrate with them, it's just as good as going out

5- Old Kirigakure (Dangerous Territories ahead...)

It is advised for regular citizen (especiall women and children) to stay inside as soon as the sun sets. They say the freaks come out at night, all criminals and gang members come out after nightfall. they occupate various pubs and bars. The city is dual face because it is literraly re-birthed at night for a whole different aura to plague the city at night.

most illegal activities take place at night.

there are a lot of brothels operating under criminal leadership. along with illegal/dubious boxing matches and fight clubs where gambling happens.

Gambling is no joke, it is a serious widespread practice where you can witness (and participate with) players with dices on street corners.

At all time, territories are clearly separated, either by criminal affiliations, ethnicities or caste levels. cross it and will likely pay it with your life.

as a foreigner, if you fit the physical attributes of the local men, you could go unnoticed for some time but it adviced not to even try since you may be cooked when people ask for your paperwork to enter certain spaces. also even if you make and get "accepted", the wrong gesture, word could lead to a misunderstanding and escalate into violence

Kirigakure is male centered society. 90% of the people outside at night are male. many levels of society caters to them hence why a lot of adult males without criminal affialition have no problem going out at night to drink their souls away.

you can witness public intercourse

going on the previous point, there is a deep (but hidden) male LGBT culture running in Kiri. many of them are affiliated with various gangs or crimelords like Gato. Some would suggest that homosexuality is lowkey normalized among gangs (do the homie) but it will never be confirmed. So if you know where to look, are determined (crazy) enough, and looking for a hookup with a tattoed muscular dude with a questionable (dead) body count, then go ahead.

Ironically, the gigolo scene industry is as large as female adult entertainment/prostitution in Kiri. they are not going to tell you that most of them are gang members who fell from grace/punished for making mistakes or literal human trafficking.

6- Amegakure (DO NOT TRESSPASS)

RAVES. The rave culture is unmatched. If you are looking for hardcore parties with moshpits and loud eletronic music you are looking at the right place.

The night culture is really the bulk of what there is to do in Ame, its residents uses thoses parties and alcohol to escape for the reality of their daily lives.

Like everything in the country, it is so hard to acces and it doesnt like outsiders not even a little bit. most of them are not allowed to even enter the city's walls.

There you can find the HARDEST drugs in the entire world. Addictions is a real issue in Ame but when i mean hard i mean amnesia (you forget your life before you consumed it) type of hard

if you go there, you 10000% getting robbed.

thanks yall for your request, that was fun to do. hope the formatting is not too much.

shoutout to @getyourmindrightson, @oceanjenna! thanks for the support.

#naruto headcanons #my stuff #naruto #naruto imagines #naruto modern au #naruto au #naruto shippuden #kiri #konoha #ame #kumo #sunagakure #konohagakure #kumogakure

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ask-the-prose · 2 years ago

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Building a Character Arc

Hi all! These past 8 months have been a busy time huh? I’m back and hoping to jumpstart this blog with a bit more organization. So let’s get started with our next guide!

We talk a lot about worldbuilding and plotting out stories, but there’s an important factor I haven’t seen much discussion around, and that is: character arcs.

We’ll be covering character building next week, as that will build off of this post. But building a character arc is just as important as knowing all the static facts about a character and how they react to the world you’ve built around them!

What is the character’s purpose?

We love to imagine our characters as people and real in our heads, but ultimately they are a tool to tell a story. So when building your character arc, you need to know what the purpose of this character is. How do they serve the story? How do they enhance the themes?

Characters can have tons of purposes, from the protagonist to the antagonist to cannon fodder. Characters can serve multiple purposes at one time, even. So what do you want your character to do for the story?

An example: in The Hunger Games, Gale Hawthorne serves a purpose far beyond just love interest #2. Gale helps propel the plotline in a number of ways. He spurs Katniss into action when he is whipped in the town square, he challenges Katniss’ worldviews both directly and indirectly by proposing ethical and complex questions that Katniss must later answer, and he’s symbolic of an answer to the main theme of the books. He isn’t relegated to just one of these purposes, but he does have to have one otherwise, he would be irrelevant words distracting from the actual story.

What changes within the character? What doesn’t?

Characters can be divided into two categories: static and dynamic. Static characters stay the same over the course of the story, whereas dynamic characters do not. So a good question to ask yourself when building a character arc is what, if anything, changes about the character over the course of the story?

One important factor to consider is the character’s attitude towards the world, the conflict, or the other characters. If that changes, how does it change? Why? What happens to cause that change? These questions can be applied to any number of factors you wish to include, like a character’s opinion of themselves or another concept, a character’s worldview, or a character’s feelings towards their circumstances.

If the character is a static character, why? Does it serve the story’s themes?

Is your character an active participant or reacting to plot events?

Naturally, a character reacts to events and responds to those reactions through action. But do those actions actually affect the plot? Does the plot happen to the character or does the character act and consequences follow?

These seem like plot building questions, and they are, but it’s critical to understanding your characters as well. Characters that always react to the plot and have little consequences for actual actions taken tend to be placed in the “reactive” category. While I can’t speak to every style and story structure, most traditional publishers and western audiences prefer active characters over reactive characters. They want the character to impact the plot, their actions have natural consequences that push the plot forward.

Reactive characters can absolutely be utilized to tell interesting and compelling stories, though, so don’t throw out the whole story if you find your character is more reactive than active.

Conclusion

So you’ve created the plot and the premise and you need to populate your world with characters! Remember these key points in building a character arc: purpose, change, and action. Hopefully this guide can help you get on the road towards creating a character arc that not only compels your reader, but enhances your themes and serves your story.

-- Indy

#writing advice #writing tips #writing help #writing characters #character arcs #writing character arcs #amwriting #writers on tumblr #writing guide #writing resources

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girlfriendsofthegalaxy · 2 months ago

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tuesday again 9/17/2024

come take this very very friendly little man out of my bathroom! he is fiv+ and we are in houston tx! i am willing to drive a couple hours for the right home! he is a good boy he's just orange! more details here!

listening

emily jeffri's DENY off my spotify recommended weekly playlist: i can only describe it as "throbbing". immediately attention grabbing lyrics:

What kind of lover does your mother want? I'll do whatever, oh but you could not

very distinctly indie electronica. this would be the song in a cyberpunk/80s hacker movie where the chase takes you through an goth/alt fashion show where the models are actively giving blood as they walk or something.

i love the spotify daily mix for me and my bestie bc there's a guaranteed four bluey songs on it and it's a nice jumpscare. i know my mental health is taking a turn for the worse when a lot of mother mother starts popping up, i know my bestie's is taking a turn for the worse when a lot of girl in red starts popping up. suicide-watch-level sapphic angst singer-songwriter, generally. except for this song! extremely fun! didn't even recognize it as her! DOING IT AGAIN BABY is a more traditional selling-you-a-dodge-charger car commercial song and it's such a startling departure from her usual work that i wonder if it was a commercial commission? hard to immediately find out tho

I'm on a new level Something's got me feelin' like I could be inflammable And I might be I'm gonna light it up Nothing's gonna stop me if I say this is what I want

reading

i read twilight (yes that one) at the behest of my bestie and bc my mental health could not have gotten any worse in that moment. it has led to some uncomfortable realizations about my high school experience i will save for a therapist. i am mostly putting it here to remind myself that i read this book this year.

^ this is some silly goofy nonsense. not that i think people shouldn't be recognized at their retirement, but what happened to giving people nice watches instead of a thousand dollars in plaques

Saying that, the records did reveal something actually interesting: although the individual contract I sent a request related to was for a few thousand dollars, an attached blank purchase agreement (BPA) says that “the government estimates, but does not guarantee, that the volume of purchases through this BPA will be $360,000.00 over the term of the BPA.” So, a lot more than a few thousand bucks.

watching

Hang 'Em High (1968, dir. Post). certainly not clint's sluttiest role but really up there. i do wish he kept the fucked-out little rasp for the whole movie :(

youtube

When an innocent man barely survives a lynching, he returns as a lawman determined to bring the vigilantes to justice.

it has a typical bizarre shoehorned romance that (i think) deeply undercuts the theme it wants to explore, but there is no on-screen rape. the bar is on the FLOOR with westerns and yet i DNF so so so many.

hell of a whump film. literally everything happens to jed cooper. i will trumpet this again from the rooftops: that character needs cbt both ways.

playing

youtube

HIGHWATER, a 2022 adventure/turn based strategy thing from Rogue Games, courtesy of Netflix Games, whose game library is a fucking nightmare to navigate on mobile.

i loooove a water-based postapoc. the boat does in fact handle very poorly and like a horrible inflatable raft on mobile, which is both charming and frustrating.

i do not love a turn-based combat. despite the vibes off the charts, including a very well integrated "pirate radio" station as the game's soundtrack, i am not patient enough to muddle through complex turn-based combat. i'm sure someone had fun fighting off six guys and two bears (who aggro anyone and can one-hit anyone) and then a further three guys who show up for backup but i gave it the good old college try over two days and wasn't able to swing it. it would be nice to have either a difficulty setting or some way to spectate the ideal fight, but alas. a lot of fun environmental stuff in the fights you can use to your advantage, like the bears and these trees you can flatten your opponents with in a much earlier fight. there's a fun mix of different characters with different abilities and different weapons you pick up and keep during fights. i have no specific beef with this game's choice to make this the way you move through the game, it's just not my preferred genre.

a lot of book and newspaper collectibles in this one that i feel of several minds about. it feels less like environmental storytelling through newspapers and just the devs telling me their opinion when they provide little book summaries like this. also i wish The Industry as a whole was more thoughtful about using the word "insurgent".

not a game for me, i have once again confirmed that i cannot tolerate a turn-based combat no matter how much seafaring postapoc you drench it in :(

making

got a Phantom Menace era curtain panel for $4 at the thrift, and i was convinced it was fabric someone had made into a curtain panel until i got home and discovered it was an officially licensed product with bafflingly generous seams.

it's about two-ish yards of a 50/50 cotton/poly blend, which i feel like i haven't seen in a while? i think the current fashion leans more 70/30 or 100 poly for curtains i've purchased. after i finish unpicking the seams and pinking it, i am going to throw it in the wash again with some vinegar and see if that softens it up any, or if it makes the transition between the wear lines on the seams and the body of the fabric any nicer.

thinking about what kind of dress to make that 1) shows off this extremely large scale pattern 2) does not look like i am wearing a paper bag, and 3) does not look like the late aughts craft trend of sewing a twin flat Star Wars sheet to a tube top and calling that a dress, bc that's how hard up we were for feminine merch. much to consider. maybe it Will be a maxi skirt with pockets and i can wear one of my seventy black tees on top?

#tuesday again #tuesday again no problem #Youtube

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starfieldcanvas · 4 months ago

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You seem like the appropriate person to ask, so might as well. How do I read Scum Villain's Self Saving System? I'm an english only reader that's not very familiar with the danmei ecosystem.

It's been published in English! Big bookstores like Barnes & Noble are carrying Seven Seas danmei these days. My local indie carries them as well. And of course you can buy them on Bookshop or your preferred online retailer. There are four volumes in the English printing, which comprise the original chapters, a lot of illustrations, some translator notes on the basics of cultivation novels and Chinese forms of address, and the "extras", bonus chapters that are a fairly common addition to books that were originally published as pay-per-chapter webnovels.

My local library system has at least one copy of every volume. I do live in a large city (with a large Asian population to boot), but I don't know how relevant that is. The series was an NYT bestseller, so it's totally plausible that even a medium-size county system would have them too. And if you're very patient, you can always request the series be added to your local library catalog.

But the obvious easy answer is that the whole thing is (shh!) still online. 'Lily's BC translation' made it through the whole thing, and there are other slightly smoother fan translations that you can start off with before switching translations when you run out of chapters.

The issue with reading it online is that you're going to run into some odd mixes of preservation vs translation vs localization ('Shidi' sounds much nicer than 'Junior Apprentice-Brother', imo. but why is it always Regret of Chunshan and never Regret of Spring Mountain?) and some transplanted Mandarin dialogue formatting (often it's just [Charactername, "Dialogue"] with no dialogue tag at all) that will take a little getting used to. The translator notes are a lot more colorful, though!

Scum Villain is a fun trip to read knowing pretty much nothing going into it. It's a convergence (and parody) of four different genres: stallion novel, danmei, isekai/transmigration, and cultivation/xianxia. Stop here if you want to go in genre-blind!

Here are my random thoughts about what might be nice for new readers to know IF they don't feel like dropping themselves in the deep end and learning by osmosis:

Stallion novels:

This is the type of webnovel being parodied by Scum Villain's book-within-a-book Proud Immortal Demon Way. Kinda like a harem anime, but more focused on providing a satisfying male power fantasy. Though you can definitely get the gist of it just from the exposition in Scum Villain, there were a few misconceptions I walked away with at the end of the book. This rundown on AO3, Stallion Novels: A Guide, is a brief introduction to the genre and how it differs from or overlaps with other genres of Chinese webnovel.

Danmei:

The popular danmei that have made it the furthest into Western circulation don't necessarily give a representative sampling of common-denominator danmei tropes, precisely because the popular stuff is usually the memorable standouts rather than the generic pulp. So just keep in mind that the common gong (seme) archetype is the dangerous, demanding, quasi-rapist huge-dicked dom who magically makes dry pounding feel insanely pleasurable, and the shou (uke) archetype is the delicate virginal younger man who says no but means yes and cries prettily during sex. These traits WILL be thrown in a blender and parodied, lovingly.

Isekai/transmigration:

This is the trope where you die in real life and wake up in a fantasy world (typical isekai) or in an explicitly fictional setting you recognize from your real-world media consumption (fairly typical transmigration.) Especially in the Chinese webnovel side of the genre, there's often a lot of emphasis on 'leveling up', point farming, and getting 'achievements' like in a video game. Access to this game system typically gives the player advantages over the natural inhabitants of the new world. If there isn't a game system, the player usually still has some kind of magical specialness conferred by being from 'the real world', such as knowledge of how the plot will go. These things will, again, be parodied all to hell.

Cultivation/xianxia:

It's apparently pretty common for westerners ignorant of Daoism and new to xianxia ("immortal heroes") stories to assume cultivation stuff is unique to whatever cultivation-setting book they happened to pick up first. If you had never heard of vampires and then you watched Buffy the Vampire Slayer, you'd be forgiven for initially assuming that the show invented vampires, but you'd misunderstand its commentary on existing vampire lore, and it would probably be confusing how much vampire stuff it inexplicably expected you to already know. With that in mind, you can see why it might be helpful to have a vague awareness of what "cultivation" refers to in xianxia novels.

Here's my stab at it: "cultivation" means something like "increasing one's spiritual energy reserves and improving one's control over spiritual energy (qi) through meditation, study, and physical discipline, in order to develop a powerful core of spiritual energy that can heal wounds, enable powerful martial techniques, slow visible aging or stop aging entirely, and allow a person to forgo food and sleep indefinitely as they transcend the limitations of their physical body and become immortal, maybe even ascending to godhood."

Usually cultivators practice cultivation in cultivation sects - these sects are typically depicted as a cross between a temple, a boot camp, a university campus, and a small independent political entity

Everyone in the same sect ("martial family") refers to each other using sect-flavored family terms. Two people of the same generation are sect-siblings and will use sibling suffixes with the "shi-" prefix to indicate it's a sect relationship. Your sect mentor is your shizun/shifu ("honored teacher-mentor-master"/"teacher-mentor-master"). Someone in your mentor's generation is your sect-uncle or sect-aunt; they'll refer to you as their sect-niece or sect-nephew.

Similar to how Chinese family name suffixes differ by age order, sect-family suffixes differ depending on seniority (i.e. when your master took you as a disciple, relative to the other disciples.) But different novels play with these seniority rules differently and may assign suffixes by age alone or by some other ranking system.

Westerners occasionally get freaked out when people in the same sect generation fall in love because the characters are sect siblings. But there's no incest implied at all—it's nothing more than two people being in the same boarding school or church congregation.

If a cultivator is not in a sect, they're called a rogue cultivator ; this confers less stability and political prestige, but despite the name, rogue cultivators are not outlaws or apostates. It just means "independent."

Cultivators will often accept requests from civilians to deal with marauding monsters and mysterious ghost-related deaths. How much money they expect for their services is generally tied to how righteous they are.

Depending on their chosen cultivation path, they may be more martial or less martial. Cultivators of the sword path use spiritual swords that can (1) work like a regular sword but better, (2) project power at range in a glowing beam called a sword glare, or (3) be directed remotely in battle using hand seals (adopted into Daoism from Buddhism, known elsewhere as mudras) or wordless telepathy. Some cultivators of the sword path will nevertheless have non-sword spiritual weapons or favor other qi-powered martial techniques.

Cultivators make use of talismans (spells written in red cinnabar ink on strips of paper and then activated, often used like throwable magic stickers) and arrays (more powerful, longer-lasting spells painted or carved into locations or objects.)

Various stages of core formation may be referenced to indicate power levels. Reaching a new stage may involve some kind of tribulation, health risk, or grueling purification process (e.g. expelling all your body's impurities out through your pores as black goo.)

Spiritual energy is channelled through pathways in your body called spirit veins to key points called meridians. Different people may be said to have different types of spirit veins typed according to the five elements. A trained cultivator can examine someone's meridians to check their spiritual health or cultivation aptitude.

Strain on your psyche or your spiritual energy can lead to what's called a qi deviation, where the spiritual energy circulating through you gets fucked up and you have the spiritual equivalent of a stroke. Sufferers may bleed from all their face holes, lash out mindlessly at anyone who comes near them, hallucinate, straight-up die, or endure wacky shenanigans like temporarily reverting to childhood.

Cultivators may use external alchemy to create power-boosting pills in small alchemical cauldrons.

Dual cultivation is exchanging energy through sex in order to aid in spiritual regulation or to mutually increase power levels. It can be done in a one-sided way to steal spiritual energy, which is known as making a human cauldron. In the real religious practice on which the fantasy version is based, dual cultivation relies on the exchange of men's yang and women's yin, but somehow in danmei xianxia the m/m couples seem to manage it just fine...

Different Chinese novels and shows do different variations on cultivation (the same way Western shows do variations on vampires/angels/demons/etc) but they're all ultimately drawing on the same Daoist tradition of internal alchemy (also called The Way of the Golden Elixir) with bits of Buddhism and Chinese folk religion mixed in. (Chinese folk religion is usually where the monster/ghost/demon stuff comes from.)

Other stuff:

Scum Villain is peppered with a bunch of trope references that will be largely unfamiliar to most western readers, like "white lotus"/"black lotus", "blackened", "black belly", and so on. It also borrows a few Japanese archetype references here and there. "Cannon fodder" is fairly self-explanatory at least.

It's fun to look these up, but it's equally fun to just figure them out from context.

Hope this helps! Enjoy your reading!

#scum villain #scum villain's self saving system #svsss #ren zha fanpai zijiu xitong #mxtx #fandom #dove.txt #asked and answered

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arimiadev · 6 months ago

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Developer Interview — Making A Date with Death

6 months ago, a brand new self-insert romance visual novel hit the market called A Date with Death, created by visual novel veterans Two and a Half Studios. Coming off of the success of The Divine Speaker, they dived into the chat sim space in visual novels with a huge splash. A Date with Death is currently sitting at over 5,000 positive reviews on Steam with a Kickstarter for an after story launching this week.

Read the interview on my blog or read it below.

Arimia: Hi Gabby, thanks for sitting down to talk about A Date with Death! Both of us have been into visual novels for quite a while, but what got you into them?

Gabby: I feel like my introduction to visual novels was probably similar to a lot of people my age…. and that was being on Tumblr too much and being introduced to Dramatical Murder much too young, and installing the fantranslation for myself and all of my friends, hahaha. From there I played the rest of the N+C games, and then moved to things like No Thank You! since it had a translation. After that I moved further to Japanese games that didn’t have a translation. These were 95% BL as well – I’ve played one or two otome games in my time but never really been super into them.

Actually, when I first got into development, I hadn’t played any Western visual novels yet. It was only after I started in game development that I tried more indie visual novels in general.

As for my favorite VNs, I have a few favorites! My first favorite and it’ll always have my heart is Lamento. It was kind of the culmination of a lot of different things I love in media, and I still love the game. There’s another untranslated game I really like called Pigeon Blood. I actually helped with some editing of translations for some of the routes a looong, long time ago. A more recent favorite, and probably my favorite overall, is MAMIYA! MAMIYA is a Japanese indie visual novel by KENKOULAND which I will happily shill over my own games (LOL) about a group of people at the “end of the world”. The way the story is presented, I don’t think I’ve ever played anything like it, and I found it very inspiring. I was lucky enough to work with the creator Kokoroten on an animation for my own game Dreambound, which was fantastic.

youtube

Arimia: Would you believe I’ve never played DMMD? Definitely cut from the same cloth though about being exposed from too much Tumblr time and hearing about all of these Japanese VNs that would never get localized over here, but now Fate/Stay Night is coming to Steam in a few months…. the visual novel landscape has changed so much.

You’ve worked on several boys love and girls love titles before A Date With Death that are more in the fantasy historical realm – how did you come up with the idea for ADWD?

Gabby: Well, we’d actually been wanting to try something more modern for awhile now, despite our love for fantasy settings, and we only happened across a screenshot from another developer’s chat sim and I kind of fell in love with the format. I’ve been really wanting to try my hand at something “cozy”, and though A Date with Death doesn’t really sound cozy on the box, we have a lot of features that I think set well with that crowd. I’m a very big fan of the informal aspect of the writing. I think even in my more serious games, I always lean into humor a little bit and I really enjoy writing banter, so the chat sim format was perfect for that.

(I styled my MC after my character Rose. he’d probably wind up in a shady chatroom like this)

Arimia: Having played some of A Date with Death, I can definitely see how it’s more “cozy” than some of your other games, and I think a lot of the player reactions I’ve seen have shown that too. The overall scope of the game is also on the smaller side, despite the player customization. How did you go about deciding the size of the game? Were there any parts/features you wanted to include but didn’t?

Gabby: Actually, the size is a lot BIGGER than we originally planned. Being our first free to play game, it’s always a little bit of a risk to put a lot of money into something when visual novel development is your livelihood, and obviously with a free game there’s no guarantee of a return. We originally planned for each “day” of the game to be only around 2000 words, for a grand total of 14,000 words for the game. Very short and sweet. Over the development we realized we had a lot more words than originally planned that we wanted to tell, and part of that is owing to just how many choices and options there are. There’s some conversations in the game which people are honestly surprised about because they’ve never managed to get them on any of their playthroughs. The game actually ended up being around 60,000 words, and this should be near doubled when Beyond the Bet releases.

We also included a lot of other things that weren’t originally planned when we concepted the game. We knew we wanted character creation and some degree of room decorating, but we also added a lot of small missable content – like interacting with your pet, watering your plant, reading books on your bookcase, minigames and websites on your computer, eavesdropping on your neighbor… the one thing we had originally planned but cut was voice acting. It’s something we really wanted to do, and we wrote Casper’s character with a very talented voice actor in mind, but it was a bit too much of a risk with the price of it and the unknown of releasing a free game but still making money on it. We don’t believe in having people work for us for free, even on free projects or jam games, so it wasn’t something we were prepared to have someone do for free even though I’m certain we could have.

Luckily, in the end we decided to hold a Kickstarter for the project, and that allows us the possibility of adding voice acting if it goes well!

Arimia: Yeah, it’s definitely a risk to spend so much time and effort on a free project, but I’m glad it worked out in the end. When announcing the game, what was your strategy? Did it differ any from how you announced and marketed your previous games?

Gabby: It was a little different! This is the first time we’ve had TikTok as one of our platforms when announcing a new project, and we knew we wanted to focus a lot of our attention there. Video content is very strong performing we’ve found, but it is definitely a skill in and of itself. We spent a lot of time honing down on our hook and how we could make people get it in a single line. On a platform like TikTok, you have a split second to catch someone’s attention.

We also had a much shorter amount of marketing time than our usual multi-year projects. We knew we wanted it out within a few months of announcing it, so we needed as much impact as possible in a short amount of time. We knew we wanted to get an animated opening since it can be a very powerful piece of marketing material, and I think that was a great idea and we’ll likely continue it going forward.

At the time of announcement, we had less than 10,000 followers on Twitter. Twitter is probably my favorite platform, but it was kind of falling off for us a little when we were ready to announce A Date with Death – but it just took off after we announced the game. We had a multi-month document with marketing beats and announcements we’d make over the few months we had, but with everything taking off much more than we expected we added to it a lot. I think you always have to be ready to adapt to change quickly in this field.

We actually never planned to market the game as “tease the babygirl”, but it’s something fans latched onto, and you can’t make that kind of marketing yourself, I think. We really leaned into our audience and what THEY thought of the game, and used that to our advantage in a way. I’m very thankful for whoever first asked if he was a babygirl.

Arimia: Twitter (was) probably my favorite platform too, mainly because it’s so easy to just make a quick post or update. TikTok has so much reach but it’s just so much easier to tweet a meme out somedays.

A little side question- with the name having the word “death” in it, were you worried about SEO / being censored on social media, or did it affect you? When I was creating Drops of Death years ago, I was worried social media platforms would suppress posts about it but ultimately went with it because it fit with the serial killer theme.

Gabby: Actually we weren’t too worried about that – we’ve definitely used words like death, kill, murderer, etc. in relation to our other games before and haven’t have much trouble. There ARE certain words especially on TikTok that it’s best to censor, but I haven’t had any problem using the name anywhere and we were prepared to risk it to use the name we wanted.

Arimia: It’s definitely a catchy name that summarizes the experience well. Back to the part where when people were first getting exposed to the concept and came up with Grim being a babygirl— how would you advise other devs to understand what keywords and pitches work better for their games?

Gabby: My first suggestion is to look at similar games to yours and the words they use. Look at the concept of your story and try to boil it down to a paragraph, then a sentence. Look at what makes your game unique, or how you can lean into what fans will get out of your work. Give your players elements that they can recognize instantly without a lengthy explanation.

“A romance chat sim where you flirt with and/or bully the Grim Reaper”

“Compete against the Grim Reaper to keep your soul… or die trying”

“Create your custom MC and flirt with the man trying to take your soul”

I use all of these in our marketing, because even though there’s a lot more to the game we’re not talking about, this is a hook that can capture someone’s attention straight away and then you can funnel them to your game.

Arimia: Getting hooks down can be such a difficult part but it’s so, so important. What do you think helped you most marketing-wise?

Gabby: It’s a tough question. We did a lot, and had huge amount of attention from all over the place and it just snowballed more, and more, and more. I think honestly what started the snowball was TikTok. Once we had one video go big, we were having multiple a week go 30k-400k views. We were getting 500-1300 wishlists per day for months. A lot of people joined our Discord from there and went to follow us on Twitter. TikTok is hard and the format is a lot to handle when you’re new to the platform, but it was absolutely worthwhile for us. Another thing I’ll quickly note – reuse your content. I just repost my TikToks to Insta Reels and they get a similar, if not more views, for no extra effort.

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Arimia: Yeah, it’s wild how quickly TikTok can blow up for someone. I’ve had posts get 100k+ views and then a few posts later they’ll struggle to hit 1k.

Side note: Gabby has written about her experiences with TikTok on her blog. You can also read about my discussions on TikTok marketing for visual novels here.

What do you think was the least effective thing you did for marketing?

Gabby: I suppose Steam events this time around kind of paled in comparison to our own marketing efforts. They’re always worth doing though – any Steam events you can get into, participate in them! You’ll always see some kind of return. But for us, an event giving 200-300 wishlists was just a drop in the water. Not at all not worth doing, but certainly it wasn’t a huge focus for us this time around.

[A]ny Steam events you can get into, participate in them!

Apart from that, I posted also to some other social media sites like bluesky, but I didn’t find it very worthwhile and stopped rather quickly. There’s only so much time in a day, and as the only person handling all of the marketing, it just wasn’t worth it.

Arimia: For newbie devs, what would you recommend they focus on? TikTok, Twitter, or something else?

Gabby: I think TikTok is the easiest platform to hit it big on “fast”. I say “fast” because it’s not guaranteed that you’re going to hit it big, it really depends how well you adapt to the platform, but your content there has a chance of being seen, even without any followers at all. That’s probably why I recommend it as a platform for new and old visual novel devs alike.

I think you’ll also find that once you pick up the format, it can be pretty fun to make. I think platforms like Twitter are easier to use, but getting started on them is hard. VNs are so visual heavy so we already have so much content that works well on TikTok. Of course, there could be problems in the future with using TikTok in the US, so we’ll see how that goes.

It’s best to focus on a few places though, and not to put all of your eggs in one basket. When you’re putting your audience in places that can go away, it’s always a risk, so it’s good to spread them between places like TikTok, Twitter, Tumblr, etc.

Arimia: Yeah, I think one thing devs forget is that these social media platforms are ran by big tech that don’t care about the little guys – if your account gets banned or falsely flagged, what are you going to do if you can’t get it back? Always best to have more than one site you’re posting on, but you don’t want to spread yourself too thin.

At what point in ADWD’s development cycle did you start marketing it? It was a pretty short development cycle to begin with.

Gabby: We started working on the concept of A Date with Death January of last year, and announced it on the 5th of July. This wasn’t really 6-7 months of dev time though – we were working on two of our other games at the time. By that point, we’d finished maybe half of the game and announced the game in time for the Steam Visual Novel Fest a month later.

This was actually pretty successful for us, and gave us a decent boost to start from. We then released the demo at the end of September in time for Steam Next Fest, which was a bit more meh for us despite going in with a high wishlist velocity. We then released the game at the start of December. But, like I said, we were working full time on Dreambound and The Divine Speaker: The Sun and the Moon, so I think we could have made it in much less time if we didn’t have other games on our plate.

My suggestion is to announce the game and start marketing early, but not so early you run out of content you can post. My strat is usually announce the game at the same time the Steam page is ready, so you can use the announcement to drive people straight to it. A trailer can be another marketing beat, and then lead up to the demo release. Going in with a solid marketing plan is a great idea, too.

Side note: despite the short amount of time to market the game, they were able to enter it into at least 2 different Steam-ran festivals! That’s a great boost to wishlists and they usually don’t require much work from yourself.

[A]nnounce the game and start marketing early, but not so early you run out of content you can post.

Arimia: Once you’ve worked on a few games it’s a lot easier to gauge when that sweet spot is, but when you haven’t it’s definitely hard to figure out. I usually go with how much progress I have towards something playable like a demo. When ADWD was ready to release, how did you reach out to press?

Gabby: Actually, I didn’t sent out any press releases for the full game! I can’t tell you exactly if this was a good thing or not – but the way I’ve done it for all of my other games is that I send out a press release and streamer keys for the demo only. Especially for A Date with Death, we already had a lot of press and streamer interest naturally, so we decided to use our time for other forms of marketing and polishing up the game instead.

For the demo though, we curated a list of ~70 people to send out early keys to. I think this is quite worthwhile in hyping up the demo release, and it’s quite easy these days with tools like sullygnome.

Arimia: What lessons learnt from your previous games did you bring with you when making ADWD?

Gabby: We’ve been very lucky to work with our amazing artist Fuyuure for over six years now, so we came in with a great team who worked incredibly well together. I think that was a big bonus – working on something like a big character creator can be a difficult task for many artists, because of the sheer amount of assets you need. So, I would say coming in with a talented team who were ready for their tasks was a massive boon.

I think working on so many games beforehand prepared us to make the game in the time we did. We usually work on bigger, multi-year projects, and this was our first proper commercial endeavor into a smaller game. Our experience helped us to pinpoint exactly what we would need, which is a lot less than our other projects. The game actually only has 5 CGs, which is less than usual for us, but I think we managed to do it in a way where it doesn’t feel lacking, either. Getting scope right is a difficult thing and it’s easy to want to include anything and everything, but we were very particular about what we wanted and how long it would take.

Arimia: I can definitely see how that helped – working with people you’re already comfortable with can alleviate a lot of stress. For the A Date with Death: Beyond the Bet Kickstarter, how did you prepare the marketing campaign for it? How long did that pre-planning take you?

Gabby: We really started planning the new DLC the day A Date with Death launched last December. We knew we wanted to make more content, and with Dreambound nearly complete it was a good time to start thinking of running a new campaign. I would say the preplanning took a couple of months – working on a good date, working with lots of artists on new merch, setting up the page, getting the page to our graphic designer to make some images up for it… running a Kickstarter is definitely a lot of work! Even organizing the tiers takes some time.

We prepared mostly by getting the prelaunch page up as early as possible and getting the word out on all of our socials – Twitter, Tumblr, TikTok, Reels, Steam itself, Discord, our email list, itch…. basically, did a big blast out everywhere and we had a huge amount of people come and prelaunch straight away. We also really enjoy doing countdown images the week before launching – it lets us work with a bunch of amazing artists, and we use the art for rewards during the campaign too (as prints). Being our third campaign, we came into it knowing what we had to do, which is a big timesaver. For new developers, I’ll say don’t sleep on the prelaunch time – it’s not a good idea to put up a Kickstarter and instantly launch it. You need to bring an audience with you and get as many pledges lined up on that first day as possible.

Honestly, the support so far has blown our mind. With a similar amount of prep, Dreambound launched with less than 300 followers on the page, but as of writing this we’re already over 4500 on A Date with Death.

[I]t’s not a good idea to put up a Kickstarter and instantly launch it. You need to bring an audience with you and get as many pledges lined up on that first day as possible.

Arimia: Even though I’ve helped run and advised several Kickstarters before, there’s always something I forget or push off until the last minute. Was there anything you learned from the Dreambound KS that you used/did differently for the ADWD KS?

Gabby: Oh, for sure. I learned a lot about my tiers and page organization from our past Kickstarters. We actually have a lot more tiers than usual on this Kickstarter and I don’t think we’d be able to manage that without our past experiences.

If I had to pick one thing from the Dreambound Kickstarter that I’ve changed for A Date with Death’s, we decided to have all of our stretch goals viewable from the get-go. I enjoyed the “unlocking” of stretch goals we had before, but with the amount of attention I think we’ll get, it’s just easier to lay everything out for everyone.

Arimia: Yeah, I imagine you’ll probably be hitting stretch goals pretty early on with how many people are excited for the KS. Aside from social media like TikTok and Twitter, how do you keep your audience interested?

Gabby: I think one of the things that mobile games have as an advantage is continuously adding more content and patches. That really keeps people interested and coming back to your game and characters. Obviously we don’t really have a big enough team or enough time to be adding more and more content, so keeping people interested can be quite tough. We were very conscious of this when deciding WHEN to hold a Kickstarter in the first place – if we wait too long, people will move on. It’s already been 6 months since the game released, after all.

There’s multiple ways we’ve kept people interested during these months. One is that we funneled a lot of people to our Patreon, where we have exclusive art every month from the game, as well as behind the scenes stuff about the new DLC. We then can tease these on social media too, and drip feeding content works pretty well to keep people interested.

Another is we now have near 8000 members in our Discord, and these people become some of your core audience. We encourage interaction with each other and the game by weekly game questions that players can answer. If you had enough time to organize it, I honestly think even doing daily questions would be a really great idea. Anything to kind of keep people chatting and thinking about the game.

Arimia: To wrap this up – what advice would you give to other visual novel devs?

Gabby: There’s so much I’d like to say, but I’ll just give a few pieces of advice that I think could help newer developers. Don’t think of marketing as a bad thing, or an annoying thing. I see a lot of new developers come in and say “I won’t market. I feel like a shill and my game will speak for itself”. I think this is a huge mistake, because people won’t play your game if they don’t know it exists. Marketing can be fun! Share your little stories with the world proudly, don’t feel bad about that.

If you want to do game dev as just a hobby, then that’s absolutely fine – but it’s totally possible to do this as a profession, too. My partner and I have been working on visual novels full time for over two years now. A lot of people tend to think that’s there’s no money in visual novels, but I would say that’s not true at all. It’s hard work – like all small businesses are – and not every game is going to be wildly profitable, but it’s totally possible with a good game and good marketing. Keep making the games you love, doing market research to see what other people love, and you might be able to find a good crossover.

-------------------

And there you have it, some insight into the development and creation of A Date with Death! If you haven’t already, check the game out – the base game is completely free to play on Steam and itch.io. You can check out their social media here:

Twitter – TikTok – Tumblr

Support their Kickstarter!

#visual novel #visual novels #a date with death #two and a half studios #visual novel game #my articles #interview #Youtube #Instagram

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eri-pl · 2 months ago

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Silm reread 5: Elves again (Thingol + other important ones)

So now it says Melian was most associated with Yavanna. Which one is it then?

Also the forest where they meet is Nan Elmoth, the same where later Eol lives. well, the place doesn't determine how well the relationship goes. remember this when picking a restaurant for a date. :D

Thingol was awesome before, but he gets the "extra tall + silver (glowing?) hair" description only after marrying Melian.

Geography… So Tuna is in Valinor but on the edge. I should probably remember this better.

Fëanor!!!

So, Fefe is better with words, more knowledgeable and more handy, but Finarfin is the prettiest! And the wisest. At least among the sons of Finwë.

Ambarussar are identical twins, same faces and temperaments. Also, they are even more associated with hunting than Celegorm, but he is a friend of Orome.

Unless it's Polish translation issue, Aredhel is canonically very pale-skinned. Not that I care about the canonicity here, but it's interesting because very few characters have clearly stated colors of anything. (Also I think dark-skinned fanart of her looks better because of the contrast). Oslo, canonically she is not romantically interested in any of the sons of Feanor (including Celegorm).

OK, so the Teleri reach Valinor proper… it makes sense that Alqualonde is on the continent, but I somehow managed to forget this. :|

Ingwë is the high king od all Elves. Hmmm. I don't think Feanor cares about this.

Darkness mentioned again!!! Fefe and sons wander to the edge of darkness (small d, but I'm not sure how consistent Jirt is), meaning the Western edge of the world, I think, because they are drawn to the Unknown. This is an important sentence!

Capital "U" Unknown — but not Darkness. And it is defined as outside, maybe Void, maybe the general direction of "out of Ea"? And I have thoughts. Oh, I do have thoughts.

Who was also drawn by the unknown empty far places in his youth? Yes, Melkor. (I wonder if he talked about it with some SoF in Valinor. Especially Maedhros. Yes, I love two part "polite maybe even friendly // torture" philosophical conversations it seems)

all of them share the "I wonder what's there" curiosity and go and wander in places (yes I cannot stop thinking about this siple proto-hobbit song)

at some point the neutral or even inviting "Unknown" becomes "Darkness" in their eyes. This is the (result of the?) fall.

(also, Men in the tale of Adanel or what her name was)

I feel like there's more to explore here, but not for now

Anyway, it is another place which may have impacted the notion of "darkness everlasting" in their minds.

Fefe's chapter.

The writing was invented in aman, and Rumil lived in Tirion (everyone important did I suppose).

Finwe and Miriel fell in love in Aman (not before) and were very happy and in love. After her death Finwe did mourn her a lot even in the published Silm.

Feanor is canonically tall!!! And pretty, light-eyed and raven-haired. He made a lot of glowy gems, silmarils were just the magnum opus.

OK, so Indis here isn't Ingwë's sister, just an unspecified close relative. from the order of those in the narrative, I suppose Feanor married Nerdanel before Finwë remarried. Before the remarriage and Melkor getting free, Feanor seems pretty stable mentally. but it is not clear, which of those two factors messed him up more.

Melkor is set free during the adolescence of Fingolfin and Finarfin, or at least before they are full adults, but after they're born.

Melkor is such a jerk. :/ I mean, sure he is but he's even more of a jerk instantly after his release than I remembered.

It's not like "the Valar set Melkor free to roam"! He was supervised and restricted to Valmar, but pretended to be good and behaved and the Noldor actually benefited from his advice (per the book!) so he was let to go whenever he wanted in all Aman. Because Manwë thoght that Melkor is fine now.

Tulkas is less nice than I remembered and does have anger issues indeed.

Melkor teaches the Noldor a lot of thigs they should not be taught. I wonder what were those.

Feanor never took advice from Melkor. …or from anyone else (except Nerdanel in their early marriage). so it's not as noble of him as it seems.

#silm reread #feanor #melkor #is such a jerk :/#nerdanel #sons of feanor #aredhel #the silm #tolkien legendarium #silmarillion #silm #the silmarillion #years of the trees

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lavampira · 6 months ago

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book recommendations

tysm @winedark and @rosenfey for the tag <:

passing it along to @hythlodaes @scionshtola @coldshrugs @likeabirdinflight @lesbianalicent @veeples @narrativefoiltrope @kirnet @disequilibria @jennystahl @elvves @queenofthieves @weird-ecologies @erielake @verbose-vespertine @solarisrenbeth @onceinabluemoony @queerbrujas @oldblood but ofc no pressure!!

1. the last book I read:

GOTH WESTERN by LIVALI WYLE — well. technically, it’s an indie graphic novel. but it’s a western meets magical realism about necromancy, revenge, and the power of love. and lesbians. I burned through it in a couple hours sitting because I was so gripped by it tbh.

2. a book I recommend:

THE HACIENDA by ISABEL CAÑAS — an absolute all time fave book in my heart; I would say one doesn’t even need to necessarily love horror to get invested in this one, since it also involves very interesting critique of spanish colonialism, religion, and class struggles in post-independence mexico only using hauntings as the lens to view it.

3. a book that I couldn’t put down:

THE PRIORY OF THE ORANGE TREE by SAMANTHA SHANNON — I was glued to this book for a solid two weeks despite its length. I have a lot that I would change about the pacing and certain events or qualities of some characters’ outcomes, but it was such a fun fantasy read, and I had a difficult time even moving on from the setting and protagonists once I was done.

4. a book I’ve read twice (or more):

THE SONG OF ACHILLES by MADELINE MILLER — my first time reading this myth retelling was my freshman year of college, so I reread it again ten years later to see if it would still hold up for how much I loved it, and it absolutely did. the perspective of the man standing beside and in love with the hero interwoven with the tragedy of achilles and patroclus takes me right out and the passages that tumblr enjoys to quote from it have so much more impact in the full context of the narrative.

5. a book on my TBR:

OUR WIVES UNDER THE SEA by JULIA ARMFIELD — this poor book keeps getting knocked down on my TBR but I’m determined to read it this year. I’m intrigued by the horror of the protagonist’s wife ‘coming back wrong’ in a sense, and the recommendations based on its similarity to ANNIHILATION, but also the fact it seems to be a wlw scifi horror, too.

6. a book I’ve put down:

AFFINITY by SARAH WATERS — I wanted to like this one so bad, considering how often waters has been hyped up to me as The Author for historical lesbian novels and the fact it delves into victorian spiritualism, but the pacing felt so slow at getting to the point in the plot, and when it finally did, the twist put me off on finishing the end. it’s probably more of a case of ‘it’s not you, it’s me’ but I def had to DNF it.

7. a book on my wishlist:

GHOST STATION by S.A. BARNES — space horror quickly became a fave niche genre that I got into last year, so I’ve been very excited for this release, too. I’m also a fan of how barnes writes atmospheric dread and I have high expectations for it.

8. a favorite book from my childhood:

WUTHERING HEIGHTS by EMILY BRONTË — it altered my brain chemistry as a teenager in high school and I haven’t been the same since I read it. I distinctly remember listening to ‘you said I killed you — haunt me then!’ read aloud and having to pretend like it didn’t make me feel so completely unhinged in the middle of class.

9. a book you would give to a friend:

PIRANESI by SUSANNA CLARKE — I was recommended this one by a friend to begin with, so it feels like an even more perfect book to pass forward. I think it’s one of those books that’s easy to get absorbed into even if it’s not a typical genre one would read, and it’s such a life-altering experience to go through with the protagonist, too. the underlying message that we’re all changed by our own trials and we’re never the same as we were before lingers with me.

10. a book of poetry or lyrics you own:

CRUSH by RICHARD SIKEN — it’s taken me so long to finally track down a physical copy at my bookstore but it was worth it because it remains my fave book of poetry to date. I could quote so many lines, after how hard they’ve hit me, and some of them have influenced my own writing or pairings in some ways.

11. a nonfiction book you own:

HAVANA NOCTURNE by T.J. ENGLISH — back in 2015-2016ish I went through a true crime phase in the prohibition era through the foundation of the US mafia, and this is a very informative book on how the mob became tied to cuba and how the revolution affected it.

12. what are you currently reading:

AN EDUCATION IN MALICE by S.T. GIBSON — I stumbled across this retelling of carmilla set in a late 60s massachusetts women’s college after reading gibson’s A DOWRY OF BLOOD and had to give it a try. I’m enjoying it so far; the prose is full of thick emotional yearning and electric chemistry, and the balance in the narrative of toxic mentorship, historical romantic and sensual attraction between women without shaming them for it, and vampiric elements is really fun.

13. what are you planning on reading next:

WHAT FEASTS AT NIGHT by T. KINGFISHER — I only found out the other day that the sequel to WHAT MOVES THE DEAD was even released but I’m so desperate for the next part of alex easton’s story (and how eerily kingfisher writes horror) that it shot up to my next read.

#childhood is a stretch but i only read like. where the red fern grows. as an actual smaller child #and honestly? who let me do that? i sobbed for weeks i can’t consider it a fave after how bad it shattered little dani’s soul #dani.txt #tag game

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olderthannetfic · 1 year ago

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What's interesting about the complaints about "no POC" in anime is that the vast majority of characters are not white. They just have different colored hair and eyes for the sake of easily differentiating characters from one another. I guess what they mean is "We want more Black and (Afro-) Latine characters in anime," which is fine, but it does speak to a kind of ethnocentrism that prioritizes the USian understanding/value of race and ethnicity without considering what diversity would look like within the context of Japan. Similarly, I think of lot of people forget that animanga is aimed first and foremost at Japanese people. Foreigners typically only learn of titles because they're already successful enough in Japan to warrant translating and selling overseas. I don't see much value in Japanese creators tailoring their stories for Americans/Westerners because they already have a lot of competition in their fields with works being cancelled constantly. It's just not a good investment.

Whenever I do see diversity within animanga, it is interesting because there are usually characters who are Ainu, Ryukyuan, Portuguese, Brazilian (not necessarily Afro-Brazilians, though some are), Chinese, Korean, and other groups from East and South East Asia. Given the history of Japan, these are depictions that are interesting and answer/address some questions of the presence of these groups in Japan. I would argue that this is actual representation within the context of animanga. The Ainu (and other non-Yamato Japanese people) are oppressed in Japan. There are still Koreans (and their descendants) living in Japan from WWII who are oppressed, as well. There are close sociocultural and historical connections between Japan and Brazil and Japan and Portugal. It makes sense that diversity in Japan would look different from diversity in the US (not addressing how a lot of USian "diversity" is just telling the same White stories with ESG-insentivized checkboxes, so not true diversity at all). The landscape of animanga is just what you get when there's media coming from a country that's over 98% homogenous. I'm a Black and Hispanic animanga fan (same anon from 718760234172170240 and 719551319937007616), so I get how disappointing it feels. But just because you like something, doesn't mean it's made for you or that you're the target audience. It's made for Japanese people first and foremost. They just decided to make money from overseas markets, too. Also, why should a nation of people who typically never encounter Black people regularly feel the responsibility to represent us? It's corny and tone deaf when non-Black people beg to be included in Black-centered stories. The reverse is true, as well. Support more indie creators who make it a point to include "more POC" in their comics and graphic novels, and support creators telling different kinds of stories, not just checkboxes. The world is much broader than American ethnocentrism regarding race and ethnicity.

Yuuuuup.

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prokopetz · 2 years ago

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Do you have any recommendations for TTRPGs that emulate JRPGs well, or have a very JRPG-like setting? I find the unself-conscious mixing of fantasy, sci-fi, and steampunk elements that's commonplace in JRPGs very appealing, as well as the inventive combat and advancement mechanics (for reference I am playing the first Trails in the Sky game right now and I am enjoying it very much).

You've got several distinct questions there, though you may not realise it, and I'm going to tackle them in order.

First, with respect to emulating JRPGs and JRPG-like settings at the tabletop, it's hard to go wrong with, well, actual tabletop JRPGs. While English localisations of Japanese tabletop roleplaying games are admittedly thin on the ground, there are a few of them out there, including official translations of Double Cross, Golden Sky Stories, Ryuutama – Natural Fantasy Roleplay, Shinobigami, and Tenra Bansho Zero, as well as the odd partial fan-translation, of which Meikyuu Kingdom and Nechronica are probably the most notable. (No direct links to the latter two because fan-translation is technically piracy, though I'm sure you can chase them down on your own if sufficiently inclined!) There are a lot of cultural assumptions about what an RPG is and how it ought to work that aren't going to come across in an Anglophone author's attempt at genre emulation, so you'd be well served to go straight to the source.

(I vaguely recall that there are also a couple of Japanese indie RPG authors self-publishing their works in English via itch.io, though it’s late and names escape me at the moment – if anyone reading this can point us in the right direction, please do!)

Second, with respect to emulating the steampunk science-fantasy settings that Western fandoms often associate with JRPGs (though they're far from universal within the genre – their apparent prevalence is more a reflection of what gets localised than of the genre as a whole), the above-cited Tenra Bansho Zero will give you that in spades, though it's also one of the most rules-heavy entries on that list. If you have a specific desire to play in a game where the party consists of a cursed samurai, a child mecha pilot, a Shinto MiB, an oni Jedi knight, and Robocop, that it'll do.

If you'd prefer something less crunch-heavy, or more American-style in its game design approach, you might alternatively have a look at Anima Prime. It's not a localised title, but its lighter and more familiar approach may be an easier sell for your group than dropping Tenra Bansho Zero's seven hundred page rulebook on them. Aesthetically, it sits somewhere near the RWBY-meets-Final Fantasy XIII intersection.

Finally, with respect to emulating the combat of The Legend of Heroes: Trails in the Sky specifically, that’s a tough one – I don’t think any Japanese tabletop RPGs with proper grid-based tactical combat have workable English localisations at the moment, even taking fan-translations into account. In terms of non-localised games, I’d probably go with something like Valor; it’s basically an anime-themed Dungeons & Dragons 4th Edition clone, but then, most games that focus tightly on grid-based tactical combat are to varying degrees these days – D&D4E is extremely good at what it does, the protestations of certain vocal grognards who don’t approve of what it does notwithstanding.

#gaming #tabletop roleplaying #tabletop rpgs #tabletop rpg recommendations #violence mention

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gartenofbanny · 1 year ago

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Hell as it is shown in Helluva Boss and Hazbin Hotel is really underwhelming because Vivziepop for some reason decides to make Hell very similar to Earth which in my opinion limits what can be shown and limits ideas as well. So I'm gonna discuss my problems with the rings that were shown thus far and how other pieces of animated media showcase Hell within their own series.

The Pride Ring

The Pride Ring is one of the main settings of Helluva Boss and will most likely be the only main setting of Hazbin Hotel. Right off the bat, The Pride Ring is literally just any big city, but with a red sky, more clubs and drug stores, and somewhat bizarre-looking buildings such as the Hazbin Hotel. The only creative things I can really think of when thinking about the Pride Ring are the cannibal colony and the fact that certain buildings look bizarre.

There are also signs that tell us what the buildings are or where it's at as if we couldn't have picked up the pieces on our own.

The Cannibal Colony is a location in the Pride Ring with its main residents being cannibals with the entire theme of the place being the early 1900s. It's interesting to me because Sinners were once human, but they don't want to move on from their times and want to stick with it for as long as they want. Plus they're all cannibals you don't see that every day.

Anyway, there are certain buildings shown in HH and HB, and the reason why I believe those are creative is that they don't look like any regular building you can find in the big city. Aside from those two creative stamps, the Pride Ring doesn't have anything else going for it.

Blitzo literally acknowledges this in Seeing Stars as when they went to LA, he literally says that it isn't any different from Hell. Why would I believe that Viv's version of Hell is unique when the character says that it's almost the same as Earth?

The Greed Ring

The Greed Ring is literally just the same as the Pride Ring except with more pollution for some reason and there's a green sky instead of a red one. That's all it is and it's very underwhelming because I really expected the Greed Ring to be very different, not just another Pride Ring but with a changed color scheme. At least there are more neighborhoods so that's something different from the Pride Ring, but nothing different compared to Earth

The Sloth Ring

The Sloth Ring similar to the Pride Ring and the Greed Ring is a big city with a different color scheme. Instead, it's more unique compared to the Greed and Pride Ring because it has floating rocks that hold buildings and it actually looks less chaotic and dangerous compared to the two previous Rings. But alas, that's the only thing that really makes this Ring unique.

The Wrath Ring

The Wrath Ring is the most unique and stand-out Ring of Hell in Helluva Boss as of making this blog. It has a Western cowboy theme to it which is something you don't really see on Earth at face value, the Wrath Ring has unique wildlife like Striker's horse or the hog that Striker killed. Yeah, they are similar to the wildlife that's on Earth, but they're actually really strong and look hellish.

There are volcanoes in the Wrath Ring which makes sense as to why the animals look a certain way because they were born there. Plus the volcanoes look very pretty as well.

I basically described the Rings that we were shown thus far because there's a running theme with most of them and that theme is, the Rings are a big city with a different color scheme. The only Ring that's actually different and creative is the Wrath Ring and it's telling a lot when one out of the four Rings of Hell is actually creative. There are two indie animation projects that I believe represent Hell way better than Vivziepop does. Those projects are "Welcome to Hell" by Erica Wester and "Satina" by Hannah Daigle

Welcome to Hell

While Hell itself isn't really shown in Welcome to Hell, the entire concept of it is that Hell is currently being renovated by the ruler Mephistopheles and that every sinner isn't suffering at least not now. So first off, Sinners actually suffer the consequences of their actions at least for a time they did but due to this lack of suffering and chaos, Mephistopheles is losing his shit.

To Mephistopheles, Hell is similar to a business but when it's out of control he tries to make the most of it. I don't know why Mephistopheles wants Sock to convince Jonathan to off himself, but I believe it will be answered in the next episode. All and all, Wester's version of Hell is actually good in my opinion because it's what we expect and I like the fact that Mephistopheles views Hell more like a business instead of a circus like Lucifer from HH. If you haven't checked out Welcome to Hell, I suggest you all do so and stick around for the second episode or installment. It's on Erica Wester's Youtube Channel.

Satina

Satina is an indie series created by Hannah Daigle and with her latest teaser of Satina Season 1 being released, I can safely say that Hannah's version of Hell looks 10X better than Viv's version. And it wasn't even a full showcase of Hell either. What was shown to us was very unexpected. Her version of Hell is something I never even predicted and that's what makes her version leagues better than Vivziepop's, it's unpredictable and creative. The four horsemen of the apocalypse are literally inside a bar that's most likely alive. Not to mention the humor in the teaser is also much better than Helluva Boss'. The designs of the demons are all unique and not just tall stick figure people in suits.

But anyway, long story short, Viv's version of Hell is just barely creative and is quite boring which is disappointing because you can do so much with Hell. We don't know what Hell looks like or if it even exists, you can come up with a lot of creative ideas for Hell and I'm pretty sure that people will like it because we don't know what it looks like. But making Hell just Earth 2.0 is disappointing because I and some other people want to see something different but what's done is done.

Thank you all for reading and I hope you all have a nice day! ❤️

#helluva boss #helluva boss critical #vivziepop critical #helluva boss criticism #vivziepop criticism #helluva critical #hazbin hotel #hazbin hotel criticism #hell #vivziepop #hazbin hotel critique #vivienne medrano

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syrupspinner · 3 months ago

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i completed the demo for metaware high school

shoutout to beloved mutual autistic nari for selling me on this, and sorry for forgetting to make this post until now lol. thisll be a long one so strap in!

so i think its safe to say that ddlc really shook up indie gaming from a cultural standpoint. first is that it helped people figure out that visual novels have value as a medium, inexplicably. theres been this weird holdover in western gaming culture at large from like, the 2010s xbox era, where visual novels dont count or something. if people engage with them at all, its dismissively, and people come away with the idea that everything is a sound novel and therefore boring. but like... not only are sound novels good, but ryukishi07's work is the only example of a vn not having an interactive component. dating sims are basically stat managers, detective games require attentive puzzle-solving, and a lot of vns outside that have interesting gameplay hooks like va11hallas drink mixing

all this is to say that i feel like ddlc was designed in a lab to be a 'hiding medicine in the balogna' situation, where people can say that it may be a visual novel, but its totally worth it for the funny viral scares. well, im glad it did, because now it feels like people are very very slightly more receptive to visual novels

but, more importantly, it brought more attention to the postmodern potential of video games as a medium. this isnt the first time that gaming has borrowed aspects of postmodern literature (characterized by interacting with itself and intentionally subverting audience expectation) such as stanley parable's famous use of a unreliable narrator within the context of a controllable story. but ddlc makes it feel ludonarrative. games like oneshot and imscared already paved the way for games that interact with the player as computer files and use this context to create puzzles and simulate a haunted computer, but ddlc was one of the first games to make a character aware of the fourth wall and interact with their negative feelings on the matter. traditionally, 4th wall breaks are treated as comedic, seen best with characters like gwenpool. but... wouldnt knowing that not only is everything in the world fake, but there is only a single person who actually matters? a player that has agency that you are designed to lack, a sole audience member that you are asked to perform for. thatd fuck anyone up.

hence, metaware high school. fun fact, because of how much i associate VNs with high school settings with japanese culture, i keep wanting to pronounce it metawarAY, but that ruins the pun of the portmanteau of meta and aware. i played fucking めたわれ bro.

so its pretty clear that this game is iterating on ddlc, only in the context of being in a demo. in addition, it takes more of a character studying approach to how individuals understand their world. nari gives into despair and helplessness knowing that she is helpless to fight her scripted actions. hope takes a very relaxed and lackadaisical "its just a demo, bro" outlook, izzy is obsessed with fulfilling her role but anxious because she doesnt know what the full game is. the idea that they dont know the full game is interesting, because it brings to mind religious undertones. christians, as children of god, are 'supposed' to live godly lives, and seek fulfillment from something that they can only trust is invisibly real. the difference is that the player is different from the creator. i didnt make izzy, but its still her purpose to demonstrate the game. what is the punishment for failure? what does failure even look like? is it worth the risk to find out?

going back to nari and hope, i find their dynamic really interesting. the game presents nari as a mysterious character to begin with, hardly talking except for the end of routes. personally, i think it makes sense for her to have such a connection to hope. i should capitalize her name so you dont get confused, huh. its funny because nari has a pretty hopeless disposition, resigned to her fate and disillusioned from her surroundings. i dont think she has completely dehumanized the other characters in the same way monika saw the other club members as meaningless code. my view is that nari is just as real as her friends, and any disregard of them is just from post-realization depression. the player isnt more real or more important, at least outside of the demo's machinations that nari is forced to work within, but instead a lovecraftian intruder from outside their schema of reality. Hope sees them as more of, like, some fella. weird glowy thing. i wonder if they like mochi. this isnt out of stupidity or callous disregard, we are shown scenes of Hope being emotionally considerate and using the structure of reality in creative ways (the "what word am i thinking of" gate), so we as the audience know that Hope is making the personal choice to acknowledge the world in a more positively nihilistic way. yeah, its a demo. thats what the world is. wanna get mochi? i like mochi

i think if Hope werent so roxy lalonde flavoured, Aspen would be my fave. nari reacts with despair, Hope reacts with a casual smile and a shrug, izzy reacts with concern and anxiety, then aspen reacts by thinking about how they can directly benefit from the situation. the second they find out the player knows about the future, they sequester you into a very long series of questions. like, im convinced if the the apocalypse was happening, aspen would cheer and go full mad max. i think this extends to why they want the game to be a dating sim so much, because that would be the genre that directly benefits them the most. like, if its a detective or mystery game, theyd have to solve a mystery or die or whatever, but if its a dating sim they get a cool ephemeral entity to date!

and then theres chris. shes something of a mascot for the game demo, so i expect her reaction to reality (read: her personal philosophy) to be pretty important. from her route, we learn that she loves visual novels, and from that she wants to make the player enjoy her visual novel (demo) too. i think this is interesting on its own: if you learned that the world was a game, wouldnt you want that game to be good? especially in the context of the player messing around and taking the piss, where she gets upset that youre not taking her effort seriously. if izzy is the stage director, chris is the lead actor, at least that's how she's appointed herself. actually, her contrast with izzy is interesting, because theyre both the only characters who feel dedicated to performing their roles appropriately. with izzy, it feels more negative, but chris feels more like a sincere and intrinsic dedication. she wants to make the world better, just because shes enjoyed so many other great worlds and wants to spread that feeling to others.

so yeah, this feels like a more exploratory expansion of ddlc's concept. but upon reflection, i dont think theres anyone who copes with their circumstances the same way monika does. monika goes through a sort of philosophical derealization where the player becomes the only thing thats real, but nobody in metaware feels the same level of disconnection in my opinion. nari gets the closest of course, because she has the most intimate awareness of the games code and script, but shes uniquely powerless and is forced to recognize that, in addition to the aforementioned realness of her friends. so she CANT be a yandere, she hates the player for essentially being spoiled by having the whole world live and die by their convenience. ddlc's player is the most important person (positive) while mwhs's player is the most important person (negative, in naris perspective). it reminds me of how everhood positions itself as a response to undertale, building on its interaction with games as an artistic medium by building on its themes without presenting itself as a correction. i also just love the fact that since the world being a demo is a known truth, no characters perspective is presented as definitive, which does a better job of inviting the player to engage with the world and come to your own conclusion on what reaction would be the most justified

oh, and the ending... its like every character is confronted with the ultimate culmination of the world, as a direct challenge to their personal outlook. Hope's playfulness dissolves into panic, because she never seriously contended with this and used her casual playfulness as a coping mechanism that doesnt work anymore. nari meanwhile is totally nonreactive, this has been a forgone conclusion for her for a long time, such an innate inevitability it may as well already have happened... which doesnt make the moment any more enjoyable, shes panicking as much as Hope. izzy's biggest concern is her friends, the ones shes been panicking at the whole game until that point, the ones shes been relaying her concerns to and desperate to force into line to try and Play Their Role as theyre supposed to, just in case. but shes alone anyway. aspen reflects on their efforts to extract meaning and benefit from their circumstances and lements never having real control. chris romanticizes their memories and just expresses thanks for everything, ever positive. its an interesting analysis of their culmination of all their philosophies. like, hope and nari were pretty opposed, but they feel pretty similar in the end. chris's optimism cant hold up in the face of oblivion and fades into the same mournfulness and regret as her friends. end the end, regardless of outlook, its hard to change the basic human reaction to inevitability and tragedy

metaware is immaculately crafted, its a wonderfully made exploration into human reactions to fundamentally inhuman circumstances. the characters all feel unique and reasonable, memorable yet realistic, but still with a thematically relevant twinge of scripted performance. anyone who doesnt like visual novels can kiss my ass, youre gonna play this and youre gonna like it.

so yeah, excited for the full game! i hope its a roguelike deckbuilder

#metaware high school demo #metaware high school #mwhs #completed #revisit #for the record steam says i played this back in late july #i... think that was before i started this blog? thatd make sense #either way! thank you again nari for getting me to play this #and for reminding me to make a post about it #youre a real one!

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kob131 · 2 months ago

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So I just took a look at the quote tweets from Pocket Pair's Japanese announcement.

... Holy shit.

So for some background, the general reaction to the lawsuit announcement is pretty spilit but the most vocal people are decrying Nintendo for suing an indie dev like Pocket Pair. Pretty simple reason why, people don't like it when a big corporation starts wielding the law against smaller devs.

...Well, that's a misnomer. Western people don't like that. Or rather, that's their perception of what's going on and thus they have a negative reaction towards Nintendo.

On the Japanese side? The story's completely reversed. People are shitting on Pocket Pair and saying that Nintendo is in the right to do so. Now a lot of people are probably thinking that this is corporate shilling and yes, it is on some level. (Much like how the defense of Palworld is in part shilling for Pocket Pair). And yeah, just like people thinking Nintendo is suing over designs, people are saying Palworld is getting their comeuppence from stealing from Nintendo.

But the majority opinion to their statement (which is translated as follows)-

Today, Nintendo Co., Ltd. and The Pokémon Company announced that they had filed a lawsuit against us for patent infringement. At this time, we have not received the complaint and have not been able to confirm the other party's claims or the details of the patent rights that have been allegedly infringed. As a result, there are no plans to suspend or change the operation and provision of Palworld. Once we receive the complaint, we will take the necessary action. We are a small indie game development company based in Tokyo. Our goal has always been to create fun games. This goal will not change in the future, and we will continue to develop games to bring joy to many gamers. It is unfortunate that this lawsuit may force us to devote more of our time to issues other than game development, but we will do our best to work for our fans and to ensure that indie game developers are not hindered or discouraged from expressing their free ideas. We apologize for any concern and inconvenience caused to our players and related parties, but we hope that you will continue to enjoy Palworld and support us in the future.

-ranges from:

"Don't drag the indie industry into your shit"

"You caused this, you were arrogant: now own it"

to memes mocking them for bringing up the indie bit with a handful defending Pocket pair/attacking Nintendo

If you haven't noticed it- this is almost the exact OPPOSITE reaction in the english speaking world.

It's really shocking to see such a stark contrast on a situation where everyone seemingly has the same info. A friend of mine thinks this is due to a difference in focus between the two groups. The English side sees Palworld as competition for Pokemon to force innovation while the Japanese side sees Palworld as creatively bankrupt.

I think it goes deeper than that, down to the core of the two cultures.

Let's be real, most of the people defending Palworld in the English side are likely Americans. And Americans are, by our nature, disdainful of authority and see more moral legitimacy in the underdog. It fits with our own founding story with teh Revolutionary War and the Founders against the corrupt and powerful Britan, leading us to be a highly individualist culture with such a disdain for big entities.

On the other hand, Japan is a culture defined heavily by respect for authority and the morality being with the leaders. They, to the best of my knowledge, value social cohesion and unity above the individual. The reason why so many main characters coming from Japan feel like bland self-insert MCs is actually because they're made to appeal to people who want to mesh well with others and interact without conflict (a sharp contrast to Americans who value heroes CLASHING with others).

By our very cultures, we view the same situation in opposing ways because our cultures, due to growing from such massively different circumstances, are effectively polar opposites. To us, it's the big bad corporation bulling the noble underdog. To them (as much as I can assume), it's the slimy thief getting caught by the big noble man and getting his just desserts. Yet we still react the same way- with chaotic scrambling to justify our viewpoints while widely refusing nuance and paitence.

This is just simply fascinating to me. It's always so intriguing to see how America's and Japan's opposing values clash with each other, showing human beings react the same way but saying different words.

#palworld discourse #kind of #neither viewpoint is any better than the other here #even as I prefer America's culture

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gccdwitch · 17 days ago

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RESPOND TO THE FOLLOWING PROMPTS OOC , THEN TAG OTHERS YOU WANT TO GET TO KNOW BETTER.

tagged by: @heirloomeds & @eternclsunshine (ty <33) tagging: @weedzkiller, @fruitpoem, @fadinglights

roleplayer name: yo. it's a nickname a childhood friend gave me and that i did not like at the time jkskjdj but it definitely grew on me and it reminds me of her which is super sweet :33 also my favorite nickname does nooooot work well in english lmfao so yeah, yo it is.

roleplayer pronouns: she/her

preferred communication: discord for sure!! i hate tumblr dms, they're ugly and they stress me out. discord notifications aren't the best but at least it's kind of cuter and it makes me less anxious usually

experience: uhh i think i started roleplaying on tumblr in 2018?? i only rp-ed in groups for a while, dabbled in indie but gave up and then i decided to return to it last year because my best friend was also doing it and here we are

preferred roleplay type: para!!! i love, love, loooove long threads so much, like 400 words minimum!! they take longer to write but they make me so happy. i get why a lot of people might find them overwhelming and prefer shorter and quicker ones, though, (and don't get me wrong, they are absolutely necessary for me, too, i think i would go insane if i only had longer threads) so i try to contain the yapper in me jdfkjd

pet peeves & dealbreakers: hmm i think it's soooo discouraging when people don't read. i kiiiinda get why someone won't read a full character bio (i can't relate, i'm Nosy and definitely snoop around through people's blogs to learn as much about their characters as i can jdkjsjk) but not really reading the reply you're replying to??? or someone's rules?? it's super obvious and it always bums me out when i notice it. rules especially are so important for people's comfort and checking if you're compatible with someone so :// (oh also slavic names & surnames. but... that's more of a general western media thing and definitely a rant for another time djkskj)

plots or memes: i think it depends on the partner?? like if it's a mutual who i know i enjoy writing with, i think pretty much anything goes. in general i prefer plots but also usually not super in depth plots. jhfjh i just like having some kind of vague idea of what the ship/situation would be before i get to writing.

best time to write: best for productivity?? around noon. best in terms of enjoyment would be around ten pm since i'm calmer then and writing helps me de-stress further. i have plenty of free time rn so i kind of just write whenever

are you like your muse?: oh no. i think there's pieces of me in every character for sure but i would hate to write someone who's entirely like me or too much like me jhdhsk, it would make me uncomfortable and probably die of cringe. i don't really enjoy writing characters who have their shit together so i guess, in that sense, we're all alike

#the good witch ˚₊‧⁺˖ tag game #i say this always but sjdj pls feel free to ignore if i tagged you and you don't want to do it <333

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daydreaming-scheming-demon · 25 days ago

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i hate mainstream appeal, or at least an extreme and intentional amount of it. actually, hate isnt a strong enough word. despise. absolutely fucking despise.

so many companies just do not care for experimentation, and whenever they do the experimentation is barely anything. i see this in so much stuff, in how cgi and specifically certain styles of cgi has taken over cinema to the point where the few 2d animated films, especially the western 2d animated films, just dont do as well, even when they're popular IPs, because cgi has become standard. it aint an animated film if it aint cgi.

and not just cgi, but a very specific style of cgi. you see it in everything. it started with toy story, when toy story did it, it was great. it was original. it was actually trying something new. but then they kept doing it, and then every studio joined in when they realized it was cheaper. not just cgi but a specific style of cgi, not necessarily even the cheapest style, just a very mainstream one. i see it in encanto, in turning red, in inside out. dont get me wrong, i dont think this style is bad or that these movies dont still have unique aspects of their style, but you cant deny the similarities, and more importantly, the reason for those similarities, that being a need to appeal to the mainstream.

and it's annoying, and it bleeds into the story too, into the characters. they never pass a certain boundary, trying to stay firmly away from controversy, within the confines of family friendliness and a mainstream understanding of concepts. and this is restricting in some serious ways. to clarify, i do not want them to swear, i do not even want them to show blood or a whole lot that would get labelled as too mature for children. i just want them to not shy away from vaguely controversial things, to not be afraid of issues beyond a mainstream understanding, and to not cater to such a simplistic and common worldview so dramatically.

one of the things that makes stories, and media in general, so special to me, is their unique perspectives. i see this a lot in indie projects, and the contrast between them and big budget hollywood films is startling. i get a feel for such unique individual perspectives in indie projects, even the bad ones, and i guess that's what happens when the team is smaller or it's mostly only one person working on the project, because we're all unique, im sure even the individuals who make up the mainstream audience have unique perspectives, but that just doesn't come across in these larger films, or games, or anything really. anything disney, or nintendo.

and sure, you could say this is just because it's a smaller team. and im sure that's a contributing reason, no doubt. but the thing is, the contrast in worldviews between some of the more personalized large projects and the things curated to the tastes of the masses. take gravity falls for instance, a disney IP, but not one considered enough to bother curating at the time, just a show, not a film at the cinema. the style of cringe comedy it has, the way it tells stories and reveals mysteries, the absurdist view on the world it has, sure, it has a lot of people behind it, but a unique perspective on the world comes across well. the same with something like spiderverse, which is a big budget film, but damn did they know what they were doing.

and the unique perspectives disney films have on the world? well, they're there. there is kind of a difference, but it's barely as drastic. you can tell it was kept within tight confines, unwilling to present anything that the mainstream wouldnt easily comprehend, agree with, or find appealing.

and that's just so infuriatingly limiting. you can say it makes sense because the kind of person this is appealing to is like, the most common kind of person. that fact probably even plays a part in why these movies and other things are like this to begin with, though certainly not the only reason.

but do you not think the common person deserves more? deserves to be presented with things outside of their understanding? or comfort? i dont just interact with media that fits my own beliefs and perspective, yknow. because i think it's quite a good thing to do that.

i just, ughhhh. the mainstream bugs me so much. i dont even think a lot of these things are necessarily bad. encanto had good songs, inside out 2 dealt with issues of anxiety well within the limitations of mass appeal, turning red actually mentioned periods which was a small and good step outside the usual boundaries. but they just, they rub me the wrong way, yknow. they all do. most of the big live action hollywood movies too. same with many kinds of games, especially nintendo games. i just hate it, it's so limiting on our media, it's why i mostly just go with independent stuff, because that way i can see more unique individual styles, ideas, etc.

and yknow what? i do actually think they should maybe show a bit of blood on screen for these movies sometimes. and go beyond the concept of family friendliness. because all that stuff is a load of rubbish in my eyes. beliefs that got too out of hand and have so much wrong with them. yeah, i think we should pass those boundaries for big media meant for the mainstream. not with everything, but definitely with a lot of things.

this was just a random rant about something i hate that i wrote in one take, dont nitpick with any details you think im not 100% correct on please. this isn't supposed to be a perfect critique of mainstream media, this is just me venting. okay?

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