#which just makes it technically difficult on top of what's actually happening

[altruistic-meme]

i am once again shaking myself upsidedown over my laptop in the hopes that the words i want to write come tumbling out of my ears

[ot3]

top 10 pokemon that are girls

'gender'.... much like 'animals' this is a concept from our world that has made itself present in the pokemon franchise. all pokemon began having genders (except for the ones that don't) in the second generation of games, in order to facilitate the pokemon breeding mechanic which has become a staple of the main series

you may think this means the issue of which pokemon are girls and which ones aren't is already settled. but do we really trust game freak to be the deciding voices on this one? i certainly don't. so here's a nonexhaustive look at some pokemon that are doing their best to be role models for young women everywhere who have been picking up and enjoying these games for decades.

#10 - NIDORAN♀

Not only is Nidoran♀ canonically a girl, she is the first pokemon to be canonically a girl as the gender distinction between Nidoran types predates the introduction of gen 2's breeding system that gendered all pokemon. she broke the glass ceiling, and for this we salute her.

#9 - KANGASKHAN

Both culturally and in media single mothers are subject to a lot of scrutiny and scorn, but kangaskhan breaks the mold. powerful, responsible, yet loving and joy-filled. the look on her baby's face tells us all we need to know; she holds on tight to the pouch, clinging to the safety she knows her mother can give her, but gazes awestruck and wide-eyed at the world around her, knowing its wonders will be there waiting for her as soon as she feels ready for it.

#8 - CELESTEELA

Technically, celesteela's gender is 'unknown', but it's obvious that celesteela represents what life can look like for a woman who truly has it all. As one of the largest and heaviest pokemon ever discovered, she's not afraid to take up space. she doesn't feel the need to soften herself to be more accepted by the world around her, but she's also comfortable enough with her feminine side to let it shine through where and when she wants. nobody tells her how to live her life but her and also she has big lazers

#7 - MISMAGIUS

Well she's not called MISTER magius now, is she?

#6 - LYCANROC

Perfect embodiment of the wolfgirl you knew (or, perhaps were?) in middleschool. There are many doglike/canine pokemon in the dex, but something about lycanroc's exaggerated unkempt mane and lanky, awkward posture evokes the physicality of a teenager who exists as a beast beyond the boundaries of her own body.

#5 - CHIKORITA

This saultry little binch...

#4 - RAYQUAZA

It's an uncomfortable truth in life that many women find themselves in the position of needing to play the mediator in order to stop the people around them from acting in destructive or harmful ways. But just because mediating conflict can be a difficult and unfair position to be put into, that doesn't mean it's a bad thing. Rayquaza just goes to show us all everywhere how a real woman can still thrive under these circumstances, doing her best to build a more peaceful world while not letting that push her into the shadows or make her take a back seat in her own life. she is a community leader and an innovator.

#3 - SALAZZLE

She's the archetypal femme fatale. A dominatrix. A baddie. Does she make me uncomfortable? Yes, absolutely. But I'm not a furry so I'm not really the target audience of what's happening here.

#2 - SLAKING

I know so many butches who look exactly like her. you love to see it.

#1 - MEWTWO

as one feminist philosopher has said: "I see now that the circumstances of one's birth is irrelevant, it is what you do with the gift of life that determines who you are."

I think any woman living in a patriarchal society can sympathize with mewtwo's story. enraged at being treated like the property of the people who created her rather than her own fully realized person, she goes on a rampage where it quickly becomes obvious that she is even more powerful than that what she was originally created in the image of. Although this takes her down a dark path, she eventually learns to self-actualize by working on herself rather than pointlessly lashing out at people who had nothing to do with hurting her. it's empowering stuff. doubly empowering because she killed all those clowns who DID hurt her

now, of course, there are plenty more pokemon that are girls than just what i've listed here today. but i hope youve learned a little something from this.

[mtkay13]

Wen Kexing!! My focus here was to channel his coolness even through warm colors, and to get his... "essential vibes" through one picture. More (rambling) below! (this is essentially a post about WKX's personality)

A big case can be made about "who or what is the 'true' Wen Kexing". So; let's be real, I don't know if anyone makes a "big case" out of it, but I sure have seen people seemingly arguing against a vague 'common opinion' regarding Wen Kexing's personality. The """common""" opinion (allegedly): the true Wen Kexing is [insert one of WKX's facets] (or something along those lines) The case against it: all Wen Kexing's are the true Wen Kexing Now I do agree with the fact that "all Wen Kexing's" are Wen Kexing, technically. For clarity, let's list and name those various facets (most are commonly accepted, some I'll just name on the go): - Wen Kexing: I'll use his full name for the personality we're first met with in the book. Someone cold, rather quiet, analytical and distant. Giving off strange vibes in social situations (ZZS thinking he's weird, other jianghu figures being creeped out by him or thinking that he's up to no good), contemptuous - Philantropist Wen: The more extravagant, (bullshit) storyteller, outrageous and shameless flirting enthusiast version of WKX. - Valley Master Wen: cold, calculating, quiet, cruel, unbelievably patient, dislikes fun and games, barely feels anything - Wife Wen: The over the top dramatic wife whose life is made difficult by his difficult and shameless husband, essentially a lot of roleplaying the good littol domestic wife and whatnot - The wooden man: similar as Valley Master but demure and apparently subservient? (for calculated purposes) Okay they could be more I guess, but the point is, we have an array of WKX personas and personalities and the actual consensus (I think, my sample is like 10 people so....) is that every one of those is "true" to WKX and that not one of them is a fully constructed persona. Now, while I agree, I guess that what I wonder is: what is WKX in his resting state? If nothing is happening and that he's not in a particularly social or specific situation, what do we get to see? I think that the answer mostly resides in extra 4, which is an INCREDIBLE retelling of TYK from WKX's perspective; someone who thinks quite a lot, and for long, someone who observes things with distance and little to no emotion. Someone who is used to having one goal (revenge, taking care of ZZS during his coma), and who will probably go through a lot of quiet thinking when finally faced with the void of not having one specific thing to aim for. Someone who will have to learn to find joy/happiness, and who probably doesn't... get there "naturally"? (and by that I mean, without ZZS or without directly following ZZS around). Someone whose ties to his own emotions have been severed a long time ago, I guess. Someone still quite contemptuous of many things and people and who has a whole life he didn't plan for or even consider ahead of him. Which is............ what I tried to draw............ here..................... (That and also I wanted to draw a pretty looking hanfu in sepia colors) (but I SWEAR that was not the main goal) (I think) (anyway please ignore me)

[chaos0pikachu]

4 Minutes and the Cinematography of Nipples

I said before that I thought 4 Minutes was pretty instantaneously the best looking BL on the market for 2024 after one episode. Which, not gonna lie, is a pretty big fucking claim. There’s been a lot of BL that’s come out that’s looked good, and I do think there’s been a steady improvement overall in the market in the last few years. Personally I think Japanese and Korean BL have a stronger production quality over a majority of Thai BL but like, if that’s a hot take I guess I prefer my food spicy. 

The point being~ if I’m gonna make such a hyperbolic statement, well I better back it up right? 

So I’m gonna break down a few scenes from the first episode, what I liked about them, why they worked for me, and why on a technical level I think 4 Minutes has just got it going on.

For better readability you can also check out this essay here.

Sidenote: my google docs kept trying to autocorrect “Bible” to “the Bible” and idk how to teach google I mean the hot Thai actor and not the book of Jesus. 

To start, I’m going to break down this scene featuring Great and his nepo baby cat: 

I thought starting with this scene would be good because it’s such a low-key scene and honestly making these simplistic scenes visually interesting is very difficult! But if you have the basics down, the foundations of cinematography and film making, these simpler scenes can be really memorable. 

Like yeah we’re all gonna remember this scene because shirtless Bible and oh my god Akira!? - I have only recently learned who Akira is; why is this cat getting a bigger bag than me? - but beyond that, what makes it cool to watch? What makes it interesting? What information does it showcase to the audience? 

One thing I added to the video was a grid for the rule of thirds. 

Rule of thirds is a shot composition technique applied to both film and photography. It’s the grid you see if you film a homevideo and helps a Director and Cinematographer figure out where to place the subject or subjects of the shot. The idea is the gridlines show you where you “should” place the subject(s) of said shot. 

Like everything, the rule of thirds is a guideline in filmmaking, not a hard and fast unbreakable rule. Filmmakers like Wes Anderson like to play more with central composition shots, rather than ROT. 

Anyway on to the opening shot, right after our credits and we’re moving into the shot. 

To start, the first thing I notice is the scene’s color grading. Color grading in film is the manipulation of raw film footage to create specific color tones throughout a project. Sometimes this grading is more pointed and obvious, think The Matrix, while in other films it’s not as obvious but still very prominent, think Killers of the Flower Moon. 

It’s not that the before credits scene looks entirely, jarringly different from the opening scene, but the hospital scene is surrounded by whites and blue tones, it’s darker, and only a single source of light exists. It gives the entire scene a much more frantic, uneasy aesthetic but it’s not so far off from the darker muted tones of the next scene that it feels jarring or out of place. 

The second big thing I noticed in the episode is the use of aspect ratio. I’m not 100% sure what aspect ratio the production used exactly, but the use of widescreen as opposed to full screen in my opinion, gives the episode a more cinematic feel to it in comparison to other Thai BLs. 

Example, if you look at Century of Love (2024) it appears to be filmed in the standard full screen - which I believe is 16:9? - while 4 Minutes is widescreen (thus the black bars at the top and bottom). Widescreen can give a show a more “movie like” quality to it which is part of the vibes I get from 4 Minutes. 

(source)

Onto Great’s actual introduction scene.

We’re not starting the shot with static movement, but with a camera panning right. I’ve talked about camera panning and such in BL before and it’s something I’ve found doesn’t happen as often as it should. Which is a shame! It’s such a simple technique but it adds so much. 

Imagine if we entered the frame with a static center shot, and then a cut to Great sleeping and turning off his alarm clock, and then another cut to above the bed. Think about how much more boring that could be visually. 

Instead, we enter the scene with movement, panning over and creating some interesting visual framing. 

So here’s our opening shot, do you notice anything interesting? To start, what I like about this shot other than the panning movement in, is that we don’t see Great’s face yet. In fact we don’t see his face in full until about 30 seconds into the scene. This builds anticipation, yeah we all know what Bible looks like, but for the audience who doesn’t this helps build anticipation. 

Who is this character? What does he look like? What’s his deal? 

It also engages the audience more, if you notice part of the composition of the shot has Great in the mid-ground slightly blurred out, while the foreground emphasizes the things on his desk. He’s distant from us, the audience, sleeping off his hangover not yet ready to “join” the world yet. 

Here’s another two more things I like about this shot:

Lines. 

Using lines and shapes can make a scene more visually interesting and invoke different feelings to the viewer. In this shot, I get a sense of symmetry, the camera panning right, lightly drags across the screen alongside the lines below and above Great, almost creating a frame within a frame effect. As if Great is boxed into a clock in and of itself. 

You can also see the use of balance in the scene as well, connecting back to that visual theme of symmetry as well as blocking our view of Great’s face. The lava lamb and champagne bottle are almost the same height, which helps create balance in the shot. The champagne bottle informs us Great has been drinking or does drink since it’s positioned so close to his bed, whilst also continuing to hide his face away from the viewer. 

I also like that the lava lamp is a bright spot of color. The tone of the scene is mostly muted greens, and gray, but the bright orange lava lamp and even the pink champagne bottle draw our attention but don’t overwhelm us either. It provides the scene with some warmth but doesn’t offset the overall tone of the color grading. 

And then, the last bit of this shot:

We have Great knocking over the champagne bottom, and turning off his alarm clock. Notice that the alarm clock and the champagne bottle hit those ROT dots almost exactly. There’s also the use of lines by the length of Great’s arm - I just forgot to add a line I’m a failure, a fake, fml - we see him knock over the bottle, and then we follow the line of his arm directly to the alarm clock which is also a shape, a circle. 

I like that they used a clock with a specific notable shape, since by the end of this scene the clock is relevant to the story as a whole. Using a shape makes the clock more visually noticeable and memorable to the audience. 

So in the next cut we’re above Great - just like Great’s gonna be above Tyme, fuckin hell I’m corny - in a medium-full shot and there’s a couple things I really like here. 

I really like the use of lines here with the bed going in one direction but Great’s body going another. It’s disconcerting, and off kilter a bit. 

The use of patterns plus the opposing symmetry, whereas in the previous shot the lava lamp and champagne bottle were providing balance, here one side of the bed is patterned, while the other isn’t. This creates a sense of imbalance and makes the shot more visually interesting.

This medium-full shot at a high angle makes Great smaller, and continues to showcase his dishevelment, keeping him distant from the world itself. Also notice the lack of color here as well. 

What could this say about Great as a character? Or his story? 

So this next cut is the one that actually inspired me to write this essay to begin with and know what I’ma eat some crow here. I originally said it was a great ROT shot but I was wrooooooong. It’s definitely a center composition shot. 

Notice as well, the bed itself is its own shape - rectangle - center in the frame, and yet the shot almost looks unbalanced again because of that singular patterned rug. It’s the only pattern in the entire shot, not even Great’s pillows have noticeable patterns on them. 

The above view camera angle in a full shot creates almost an omnipresent feel, as if the audience - or something else? - were looking down upon Great. Whose face we still haven’t seen! It makes him smaller, less powerful, and almost vulnerable. Shots like this are often used in horror films like James Wan’s Malignant (2021) where the horror spector will be looking down above the would-be victim. 

Another thing I like about this scene though is we have Great moving. It would be simpler and easier to have his phone just by his alarm clock, or under his pillow, but think about how much more visually interesting it is that he has to move down the bed and reach for his phone. It creates action in an actionless low stakes scene. 

And now, 30 whole seconds in and we’ve finally seen Great’s face! 

Fun fact, with the ROT grid the gridlines fall right across Bible’s nipples. That’s not a film analysis, just something I noticed entirely intentionally. Thanks Madam Director Ning Bhanbhassa Dhubthien.

The actual shot is in center composition again, as Great rolls over and reveals his face the camera begins to zoom in. 

This creates movement in the scene instead of leaving the camera to statically observe it’s now, finally, inviting the audience to meet Great. Pulling us in towards him whereas before we were kept at a distance. Great’s awake and, well as ready to meet the world as somebody with a raging hangover can be. 

I also like how Bible is moving constantly in this scene; he rubs his eyes and nose, he twitches his fingers, titles his head back and forth, etc it’s nothing revolutionary but it’s appreciated. 

When the scene cuts, we get this shot: 

I didn’t put the red dot on his nipple, it just landed there. This is all Madam Director Ning chepie. 

But you can see how Great’s body is landing on all those gridlines pretty solidly. Also in the background we see his alarm clock again, a bright blurred circle in the distance. I also like the angle of this shot, as it creates depth in the frame, with Great’s head being in the foreground his lower body in the mid-ground and the background blurred out. 

What follows is Akira appearing in frame. Which was really difficult to capture so I don’t have a screenshot. But what I really like is Akira entering the frame out of focus. They could have just cut to Akira, but instead they opted for Akira to enter the frame which is more interesting. 

When we do cut, Akira is firmly on one of those dots so we don’t miss them in the frame. I think it’s also interesting that we’ve pulled out again, into a mid-full shot, hanging above Great, and we see that clear symmetry line again between the patterned rug and the regular carpet. 

I also really love that when we got to Great sweet-talking Akira and feeding them we’re not just doing a cut, we’re panning downwards which continues to add movement to the scene. And we get that moneyed sponsor shot! 

Durex can’t pay for everything okay?

So in the final bit of this scene we get focus on Great, who’s in focus, before he gets up and leaves the frame where the camera then focuses on the clock behind him. 

See how in the first frame the background is all blurred out, but once Great walks out of the frame - again, great that he walks out, movement!! Y’all don’t understand how boring 1000 Stars was for me to watch because of the lack of this stuff okay? - and then the focus shifts to the clock. Which is round. 

God I know that sounds so dumb, but imagine the clock without that ring light bit on it, it’s just a tiny little rectangle. Not as fun or interesting to look at right? Or as noticeable especially from a distance? 

This shift in focus also tells us “this is important” whatever “this” is. The subject of the shot goes from Great to the alarm clock but they are positioned as equally important. We’re meant to pay attention to this seemingly innocuous item, which we learn later in the episode is time. We’re meant to remember and note that time will be important to the story - I know with a title like 4 Minutes you’d fucking hope time would be important but have y’all ever read Youtube comments? It’s rough out there for visual comprehension okay? 

So all in all this scene is only 1 minute and 40 seconds give or take. It’s very short, but I don’t think it was boring at all. I think it’s a really solid introduction to a main character. Think, Korn didn’t get this much time to showcase his introduction, his scene is shorter - though also well done - which showcases which character is more of a story priority. 

This scene eases the audience into the story, inviting us to wake up into the world like Great is. It uses techniques like lines, shapes, symmetry, color and focus to make what could be a very boring scene into an interesting one. 

There’s so so much I probably and certainly missed, I’m far from an expert, but I hope I was able to articulate what I liked about this scene, and why I think it looks good. 

Stay tuned for more if I can manage to focus long enough to breakdown more scenes lol

Also red dots on Bible’s nipples are just funny to me it be what it be. 

Further Reading: 

Composition in Cinematography / THE LAST OF US

Center-Framing vs Chaos-Cinema: Mad Max vs Transformers

Camera Framing: Shot Composition & Cinematography Techniques Explained [The Shot List, Ep 2]

The Ultimate Guide to Camera Shots (50+ Types of Shots and Angles in Film)

Color Grading 101 - Everything You Need to Know

Mixing Film And Digital Footage: Killers Of The Flower Moon

In Praise of Subtle Cinematography

[a-memory-a-distant-echo]

it's time for the long-threatened post about how to get subtitles (including translated ones) for videos that don't have subtitles.

in my experience, the methods in this post can probably get you solidly 75% or more of the content of many videos (caveats inside). i've tested this on videos that are originally in chinese, english, french, german, hindi, japanese, korean, spanish, and honestly probably some languages that i'm forgetting. my experience is that it works adequately in all of them. not great, necessarily, but well enough that you can probably follow along.

this is a very long post because this is the overexplaining things website, and because i talk about several different ways to get the captions. this isn't actually difficult, though, or even especially time consuming—the worst of it is pushing a button and ignoring things for a while. actual hands-on work is probably five minutes tops, no matter how long the video is.

i've attempted to format this post understandably, and i hope it's useful to someone.

first up, some disclaimers.

this is just my experience with things, and your experience might be different. the tools used for (and available for) this kind of thing change all the time, and if you're reading this six months after i wrote it, your options might be different. this post is probably still a decent starting place.

background about my biases in this: i work in the creative industries. mostly i'm a fiction editor. i've also been a writer, a technical editor and writer, a transcriptionist, a copyeditor, and something i've seen called a 'translation facilitator' or 'rewrite editor', where something is translated fairly literally (by a person or a machine) and then a native speaker of the target language goes through and rewrites/restructures as needed to make the piece read more naturally in the target language. i've needed to get information out of business meetings that were conducted in a language i didn't speak, and have done a lot of work on things that were written in (or translated into) the writer's second or sixth language, but needed to be presented in natural english.

so to start, most importantly: machine translation is never going to be as good as a translation done by an actual human. human translators can reflect cultural context and nuanced meanings and the artistry of the work in a way that machines will never be able to emulate. that said, if machine translation is your only option, it's better than nothing. i also find it really useful for videos in languages where i have enough knowledge that i'm like, 75% sure that i'm mostly following, and just want something that i can glance at to confirm that.

creating subs like this relies heavily on voice-to-text, which—unfortunately—works a lot better in some situations than it does in others. you'll get the best, cleanest results from videos that have slow, clear speech in a 'neutral' accent, and only one person speaking at a time. (most scripted programs fall into this category, as do many vlogs and single-person interviews.) the results will get worse as voices speed up, overlap more, and vary in volume. that said, i've used this to get captions for cast concerts, reality shows, and variety shows, and the results are imperfect but solidly readable, especially if you have an idea of what's happening in the plot and/or can follow along even a little in the broadcast language.

this also works best when most of the video is in a single language, and you select that language first. the auto detect option sometimes works totally fine, but in my experience there's a nonzero chance that it'll at least occasionally start 'detecting' random other languages in correctly, or someone will say a few words in spanish or whatever, but the automatic detection engine will keep trying to translate from spanish for another three minutes, even tho everything's actually in korean. if there's any way to do so, select the primary language, even if it means that you miss a couple sentences that are in a different language.

two places where these techniques don't work, or don't work without a lot of manual effort on your part: translating words that appear on the screen (introductions, captions, little textual asides, etc), and music. if you're incredibly dedicated, you can do this and add it manually yourself, but honestly, i'm not usually this dedicated. getting captions for the words on the screen will involve either actually editing the video or adding manually translated content to the subs, which is annoying, and lyrics are...complicated. it's possible, and i'm happy to talk about it in another post if anyone is interested, but for the sake of this post, let's call it out of scope, ok? ok. bring up the lyrics on your phone and call it good enough.

places where these techniques are not great: names. it's bad with names. names are going to be mangled. resign yourself to it now. also, in languages that don't have strongly gendered speech, you're going to learn some real fun stuff about the way that the algorithms gender things. (spoiler: not actually fun.) bengali, chinese, and turkish are at least moderately well supported for voice-to-text, but you will get weird pronouns about it.

obligatory caveat about ai and voice-to-text functionality. as far as i'm aware, basically every voice-to-text function is ~ai powered~. i, a person who has spent twenty years working in the creative industries, have a lot of hate for generative ai, and i'm sure that many of you do, too. however, if voice-to-text (or machine translation software) that doesn't rely on it exists anymore, i'm not aware of it.

what we're doing here is the same as what douyin/tiktok/your phone's voice-to-text does, using the same sorts of technology. i mention this because if you look at the tools mentioned in this post, at least some of them will be like 'our great ai stuff lets you transcribe things accurately', and i want you to know why. chat gpt (etc) are basically glorified predictive text, right? so for questions, they're fucking useless, but for things like machine transcription and machine translation, those predictions make it more likely that you get the correct words for things that could have multiple translations, or for words that the software can only partially make out. it's what enables 'he has muscles' vs 'he has mussels', even though muscles and mussels are generally pronounced the same way. i am old enough to have used voice to text back when it was called dictation software, and must grudgingly admit that this is, in fact, much better.

ok! disclaimers over.

let's talk about getting videos

for the most part, this post will assume that you have a video file and nothing else. cobalt.tools is the easiest way i'm aware of to download videos from most sources, though there are other (more robust) options if you're happy to do it from the command line. i assume most people are not, and if you are, you probably don't need this guide anyhow.

i'm going to use 'youtube' as the default 'get a video from' place, but generally speaking, most of this works with basically any source that you can figure out how to download from—your bilibili downloads and torrents and whatever else will work the same way. i'm shorthanding things because this post is already so so long.

if the video you're using has any official (not autogenerated) subtitles that aren't burned in, grab that file, too, regardless of the language. starting from something that a human eye has looked over at some point is always going to give you better results. cobalt.tools doesn't pull subtitles, but plugging the video url into downsub or getsubs and then downloading the srt option is an easy way to get them for most places. (if you use downsub, it'll suggest that you download the full video with subtitles. that's a link to some other software, and i've never used it, so i'm not recommending it one way or the other. the srts are legit, tho.)

the subtitle downloaders also have auto translation options, and they're often (not always) no worse than anything else that we're going to do here—try them and see if they're good enough for your purposes. unfortunately, this only works for things that already have subtitles, which is…not that many things, honestly. so let's move on.

force-translating, lowest stress mode.

this first option is kind of a cheat, but who cares. youtube will auto-caption things in some languages (not you, chinese) assuming that the uploader has enabled it. as ever, the quality is kinda variable, and the likelihood that it's enabled at all seems to vary widely, but if it is, you're in for a much easier time of things, because you turn it on, select whatever language you want it translated to, and youtube…does its best, anyhow.

if you're a weird media hoarder like me and you want to download the autogenerated captions, the best tool that i've found for this is hyprscribr. plug in the video url, select 'download captions via caption grabber', then go to the .srt data tab, copy it out, and paste it into a text file. save this as [name of downloaded video].[language code].srt, and now you have captions! …that you need to translate, which is actually easy. if it's a short video, just grab the text, throw it in google translate (timestamps and all), and then paste the output into a new text file. so if you downloaded cooking.mp4, which is in french, you'll have three files: cooking.mp4, cooking.fr.srt, and cooking.en.srt. this one's done! it's easy! you're free!

but yeah, ok, most stuff isn't quite that easy, and auto-captioning has to be enabled, and it has some very obvious gaps in the langauges it supports. which is sort of weird, because my phone actually has pretty great multilingual support, even for things that youtube does not. which brings us to low-stress force translation option two.

use your phone

this seems a little obvious, but i've surprised several people with this information recently, so just in case. for this option, you don't even need to have downloaded the video—if it's a video you can play on your phone, the phone will almost definitely attempt real-time translation for you. i'm sure iphones have this ability, but i'm an android person, so can only provide directions for that: go into settings and search for (and enable) live translation. the phone will do its best to pick up what's being said and translate it on the fly for you, and if 'what's being said' is a random video on the internet, your phone isn't gonna ask questions. somewhat inexplicably, this works even if the video is muted. i do this a lot at like four a.m. when i'm too lazy to grab earbuds but don't want to wake up my wife.

this is the single least efficient way to force sub/translate things, in my opinion, but it's fast and easy, and really useful for those videos that are like a minute long and probably not that interesting, but like…what if it is, you know? sometimes i'll do this to decide if i'm going to bother more complicated ways of translating things.

similarly—and i feel silly even mentioning this, but that i didn't think of it for an embarrassingly long time—if you're watching something on a device with speakers, you can try just…opening the 'translate' app on your phone. they all accept voice input. like before, it'll translate whatever it picks up.

neither of these methods are especially useful for longer videos, and in my experience, the phone-translation option generally gives the least accurate translation, because in attempting to do things in real time, you lose some of the predicative ability that i was talking about earlier. (filling in the blank for 'he has [muscles/mussels]' is a lot harder if you don't know if the next sentence is about the gym or about dinner.)

one more lazy way

this is more work than the last few options, but often gives better results. with not much effort, you can feed a video playing on your computer directly into google translate. there's a youtube video by yosef k that explains it very quickly and clearly. this will probably give you better translation output than any of the on-the-fly phone things described above, but it won't give you something that you can use as actual subs—it just produces text output that you can read while you watch the video. again, though, really useful for things that you're not totally convinced you care about, or for things where there aren't a lot of visuals, or for stuff where you don't care about keeping your eyes glued to the screen.

but probably you want to watch stuff on the screen at the same time.

let's talk about capcut!

this is probably not a new one for most people, but using it like this is a little weird, so here we go. ahead of time: i'm doing this on an actual computer. i think you probably can do it on your phone, but i have no idea how, and honestly this is already a really long guide so i'm not going to figure it out right now. download capcut and put it on an actual computer. i'm sorry.

anyhow. open up capcut, click new project. import the file that you downloaded, and then drag it down to the editing area. go over to captions, auto captions, and select the spoken language. if you want bilingual captions, pick the language for that, as well, and the captions will be auto-translated into whatever the second language you choose is. (more notes on this later.)

if i remember right, this is the point at which you get told that you can't caption a video that's more than an hour long. however. you have video editing software, and it is open. split the video in two pieces and caption them separately. problem solved.

now the complicated part: saving these subs. (don't panic; it's not actually that complicated.) as everyone is probably aware, exporting captions is a premium feature, and i dunno about the rest of you, but i'm unemployed, so let's assume that's not gonna happen.

the good news is that since you've generated the captions, they're already saved to your computer, they're just kinda secret right now. there are a couple ways to dig them out, but the easiest i'm aware of is the biyaoyun srt generator. you'll have to select the draft file of your project, which is auto-saved once a minute or something. the website tells you where the file is saved by default on your computer. (i realised after writing this entire post that they also have a step-by-step tutorial on how to generate the subtitles, with pictures, so if you're feeling lost, you can check that out here.)

select the project file titled 'draft_content', then click generate. you want the file name to be the same as the video name, and again, i'd suggest srt format, because it seems to be more broadly compatible with media players. click 'save to local' and you now have a subtitle file!

translating your subtitles

you probably still need to translate the subtitles. there are plenty of auto-translation options out there. many of them are fee- or subscription-based, or allow a very limited number of characters, or are like 'we provide amazing free translations' and then in the fine print it says that they provide these translations through the magic of uhhhh google translate. so we're just going to skip to google translate, which has the bonus of being widely available and free.

for shorter video, or one that doesn't have a ton of spoken stuff, you can just copy/paste the contents of the .srt file into the translation software of your choice. the web version of google translate will do 5000 characters in one go, as will systran. that's the most generous allocation that i'm aware of, and will usually get you a couple minutes of video.

the timestamps eat up a ton of characters, though, so for anything longer than a couple minutes, it's easier to upload the whole thing, and google translate is the best for that, because it is, to my knowledge, the only service that allows you to do it. to upload the whole file, you need a .doc or .rtf file.

an .srt file is basically just a text file, so you can just open it in word (or gdocs or whatever), save it as a .doc, and then feed it through google translate. download the output, open it, and save it as an .srt.

you're done! you now have your video and a subtitle file in the language of your choice.

time for vibe, the last option in this post.

vibe is a transcription app (not a sex thing, even tho it sounds like one), and it will also auto-translate the transcribed words to english, if you want.

open vibe and select your file, then select the language. if you want it translated to english, hit advanced and toggle 'translate to english'. click translate and wait a while. after a few minutes (or longer, depending on how long the file is), you'll get the text. the save icon is a folder with a down arrow on it, and i understand why people are moving away from tiny floppy disks, but also: i hate it. anyhow, save the output, and now you have your subs file, which you can translate or edit or whatever, as desired.

vibe and capcom sometimes get very different results. vibe seems to be a little bit better at picking up overlapping speech, or speech when there are other noises happening; capcom seems to be better at getting all the worlds in a sentence. i feel like capcom maybe has a slightly better translation engine, of the two of them, but i usually end up just doing the translation separately. again, it can be worth trying both ways and seeing which gives better results.

special notes about dual/bilingual subs

first: i know that bilingual subs are controversial. if you think they're bad, you don't have to use them! just skip this section.

as with everything else, automatically generating gives mixed results. sometimes the translations are great, and sometimes they're not. i like having dual subs, but for stuff that Matters To Me, for whatever reason, i'll usually generate both just the original and a bilingual version, and then try some other translation methods on the original or parts thereof to see what works best.

not everything displays bilingual subs very well. plex and windows media player both work great, vlc and the default video handler on ubuntu only display whatever the first language is, etc. i'm guessing that if you want dual subbed stuff you already have a system for it.

i'll also point out that if you want dual subs and have gone a route other than capcom, you can create dual subs by pasting the translated version and the untranslated version into a single file. leave the timestamps as they are, delete the line numbers if there are any (sometimes they seem to cause problems when you have dual subs, and i haven't figured out why) and then literally just paste the whole sub file for the first language into a new file. then paste in the whole sub file for the second language. yes, as a single chunk, the whole thing, right under the first language's subs. save the file as [video name].[zh-en].srt (or whatever), and use it like any other sub file.

notes on translation, especially since we're talking about lengthy machine-translations of things.

i default to translation options that allow for translating in large chunks, mostly because i'm lazy. but since an .srt is, again, literally just a text file, they're easy to edit, and if you feel like some of the lines are weird or questionable or whatever, it's easy to change them if you can find a better translation.

so: some fast notes on machine translation options, because i don't know how much time most people spend thinking about this kind of stuff.

one sort of interesting thing to check out is the bing translator. it'll only do 1000 characters at once, but offers the rather interesting option of picking a level of formality. i can't always get it to work, mind, but it's useful especially for times when you're like 'this one line sounds weird'—sometimes the difference between what the translator feels is standard vs formal vs casual english will make a big difference.

very fast illustration of the difference in translations. the random video that i used to make sure i didn't miss any steps explaining things starts with '所以你第二季来'. here's how it got translated:

google: So you come to season 2

google's top alternative: So you come in the second season

bing's standard tone: So here you come for the second season

bing set to casual: So you're coming for the second season, huh?

reverso default guess: So you come in season two

reverso alternate guess: You'll be participating in season two

capcom: So you come in season two

yandex: So you come in the second season

systran: That's why you come in season two

deepl: That's why you're here in season two

vibe: So your second season is here

technically all conveying the same information, but the vibes are very different. sometimes one translator or another will give you a clearly superior translation, so if you feel like the results you're getting are kinda crap, try running a handful of lines through another option and see if it's better.

ok! this was an incredibly long post, and i've almost definitely explained something poorly. again, there are almost certainly better ways to do this, but these ways are free and mostly effective, and they work most of the time, and are better than nothing.

feel free to ask questions and i'll answer as best i can. (the answer to any questions about macs or iphones is 'i'm so sorry, i have no idea tho.' please do not ask those questions.)

[fastboatsmojito]

🕸️𖤐 Promptober Day Two - Choking 𖤐🕸️

| a/n; Tall man barely fits in the picture, poor thing </3

Promptober schedule here !

| cw; 18+ smut btc !!! Title, GN reader, Luca being a sweetheart <3

| wc; 755

Dividers by @strangergraphics <3

He was hesitant when you first asked, still sweaty as the heat of Chicago summers were dwindling, just getting comfortable on the couch beside you when you brought it up.

“Jesus, that was out of nowhere, sorry-“

You laughed softly at the look of surprise on his face and the realization that it was a little more difficult to bring up than you thought. “I was just thinking about it last night, and I didn’t want to ask you then and freak you out.”

“Sure- yeah. That makes sense. Well..” You could tell he was really thinking about what to say next, a habit of his you grew fond of, he was always so carefully kind. “I’m not against it I just want to make sure I know what I’m doing first, you know? I don’t to hurt you.”

“I know, sweet boy. No pressure.” You meant it, and so did he. You didn’t bring it up again until he did and he spent quite a while looking into the technicalities of it all.

-

Several weeks later, once the summer was officially gone - autumnal chill finally cooling off the city, you were reminded of the short and sweet conversation you’d all but forgotten about.

You were lighting a candle - pumpkin pancake to be specific, looking forward to cozying up on the couch with your boyfriend and some reality tv as soon as he got home. You pulled out all your shared favorites; your designated mugs soon to be full of apple cider, popcorn thrown together with peanut butter m&ms, plenty of Halloween themed blankets, all ready for a lovely night in.

You were bringing your mugs to the living room when he came in, kicking off his shoes and putting his keys back in the pumpkin-shaped dish he got for you a few days prior.

“Anyone tell you halloweens still a few weeks away?” He smiled at your slightly premature enthusiasm, coming up to hug you after you set the mugs down, falling back into the couch still squeezing you as you giggled.

“I knowww, but I’m excited!”

“Really? I couldn’t tell.” He said, smug as he laid down and pulled you to lay on top of him, resting your cheek against the soft fabric of his sweater. A strong hand was under your sweater, gently rubbing your back as you settled into him, getting used to the familiar warmth falling over you.

-

The show got less and less interesting when you looked up to kiss him, slow, soft kisses and touches getting longer and deeper as the tv turned to background noise. The warmth of his hand under your sweater pulled you closer into him, the lingering scent of your his ‘warm cider’ shampoo filling your nose as you moved your hands to his hair.

As you got impossibly closer, his hand on your back moving around and up to the back of your neck - you were reminded of the unintentionally abrupt conversation. You figured he forgot about it or just hadn’t had any time to think about it as it hadn’t come up again, his hand lingered at your neck when you pulled away.

He had just gotten confident enough in understanding how to choke someone without actually harming them. He wanted - needed to make you feel good, and he’d do basically anything to make that happen.

Just a few moments later you were lying under him, legs wrapped around his hips, his fingers clutching the sides of your ribs as he pulled you into him. He was just rough enough to make you drool, your eyes closed as your hands rested on his head tucked in your neck.

“Feel good?” He whispered low next to your ear, looking up at you when you hummed, moving your face towards his with a hand at the side of your neck.

His fingers were lazily draped over your throat, the simple, dizzy feeling - and the mere thought of him applying more pressure there, had you clenching around him. Which he noticed immediately to your dismay, embarrassed by the need he so easily drug out of you.

You weren’t sure exactly what you were begging for, pleas absentmindedly falling from your mouth until his hand gripped your throat, not applying any pressure until you looked up at him. “That’s all you need, isn’t it?” He cooed over you when you grabbed his wrist.

“Just tap my hand if you want me to stop, okay?”

<333

[rowanyx]

So in the Adventuring Party, Brennan asked Beardsley whether there is a world in which Kristen gives up being a Cleric.

Mechanics-wise, I understand why the response was a no. That kind of big change would have a lot of restructuring to do, from the character sheet to minis to even plot changes, which would be difficult mid-season like this. (See Riz's sub-class change from Inquisitor to Arcane Trickster happening now, rather than when we actually met Pok)

Story-wise, though, I respectfully disagree. In fact, I posit there is many a world in which Kristen could change her class.

The big one, I think, would be Paladin. Especially either Redemption or Oathbreaker. After all, you could easily argue that this whole situation (i.e. Cassandra seeing Kristen not putting her priesthood first, dying, and the new mysterious voice that taunted the party with the rotting corpse of the god Kristen already failed) cumulates into exactly the type of description for an Oathbreaker (going back on their word and then joining up with some evil entity instead). And, well, after two gods dying, one you've very much stated to want to be good for but can't get yourself to do so, sounds very much like the type of person that would seek Redemption. If not for themselves, at least for others.

And this could also work to show sort of backslide into the Applebee's family drama. After all, we know Bucky just started as a Paladin himself. He's probably not high enough leveled to have a sub-class of his own, but doesn't Redemption fit? The kid who was forced into Kristen's old role, who is already going around trying to save his classmates from Hell? If Kristen did switch to Paladin, they would most likely share classes (something like Gorgug's Artificier track, school-wise). A perfect opportunity to flesh out the relationship there, either to save Bucky from Mac and Donna or have him 'save' Kristen.

Of course, these are just two of the easier paths to see.

Porter did want another Bad Kid in his classes, didn't he?

Maybe Kristen finds she desires a guide and becomes a Totem Warrior Barbarian.

Maybe Kristen decides that just because her parents suck, doesn't mean the whole bloodline did. This causes her to delve into old records and come out of it as a Path of the Ancestral Guardian Barbarian.

Another idea, given the Buff Kristen movement, is a Fighter. Especially the training and power describing a Champion or the fighting spirit of a Samurai, to lose so many gods and keep going.

Or maybe she finds the issue is the evangelizing. That she cannot dedicate herself to bringing others into her path, but still desiring a higher being to help her. There are many to make a Warlock Contract with. She's even living with one, technically, by way of Fig's Archdevil job.

You could even argue for an Eloquence Bard, with all the speeches and now the Presidency campaign.

Or hey, Cassandra was a moon goddess, wasn't she? Maybe even a Lunar Sorcerer.

Unlikely but theoretically possible, she's just desperate to fix something and takes up Artificing. After all, how different can a Battle Smith really be? It's still healing and protecting, right?

Or, let's revisit an old topic. At the top of the game, Kristen was called the Chosen One. We saw that title following her even after leaving Helio. Sol treated her kindly for it, she invented YES! and even reinvented it into YES?. An argument can even be made that that's part of why Cassandra was fixed so easily after clinging to her. But what is that? Where is that power from? Perhaps some new magic awakens in Kristen. That of a Divine Soul Sorcerer.

Just, Kristen, taking a hard look at religion and Clericdom and deciding maybe it wasn't right for her.

[project-sekai-facts]

based on the interview posts, it's definitely thought-provoking to consider what's going to happen next. personally i do wonder if pjsekai will become "multi-generational" if it remains popular enough to continue (which is nearly impossible not to be considering a good portion of its competitors have been going for longer than 6 years at this point), the original 5 units would be the first generation, a conceptual new number of units being the next, and so on, because of the implication that "the original 5's stories will reach their conclusions and have an end" and after their conclusions are reached then, while they could write a new story with the characters with new adult issues and seeing them grow up further, there are still a lot of opportunities to expand on the game's lore and universe with new units, how the original units affected others, and especially sekai lore, especially since a lot of the game's lore has to do with miku helping out many individuals with their problems, and currently the majority of that is only done through the original unit's sekais, which is only a select 20 people's views (minus the vs fes cards which only have little lore anyways). Maybe it will be something like lovelive where the original generation (u's) has officially graduated but are still featured in newer games and still get some content in those games. Ultimately what happens next is something we just have to see the game develop closer to, but it's a solid option that the game can technically go for.

yeah like they said it's a difficult decisions. because on the one hand you've got these beloved characters and stories that people will have grown up with at that point, and continuing them on into 3rd year/university would mean there's more things you can do with them and new ideas you could include. and i think in a natural storytelling sense it would make sense to carry on with the main 5 because quite frankly having them all achieve their dreams and that before they've even finished high school is... somewhat unfulfilling? especially with n25 i think it would make a lot of sense to carry them on into uni, maybe have Ena go to art school and Mafuyu go to nursing school. even if their stories ended before they graduated uni I feel like that would be a really satisfying conclusion for them compared to maybe just mentioning that's where they're going when they finish high school. but then there's the fact they mentioned about just carrying on because it's popular and the story going stale because they only wrote so far. and that's definitely a threat because that can happen if they've only planned so far ahead. then again, the writing team is generally top-notch and other games have proven that you can stick around without people ever getting tired of the story.

i do however think the generational format could work. as you said it could expand more on the lore, introduce new characters with new problems, and prevent people from growing tired of the old ones. on the lore side of things i wonder if they would be included in the Tree SEKAI with the main 5, or if there would be a new collective sekai for them? the only thing about having a generational format similar to Love Live (where you completely conclude the story of the previous generation before the next generation...ish) is that you have to execute it well. SIP -> Sunshine worked because there was an in-universe 5 year timeskip. it left you with this legacy that u's had left that people were trying to chase, and Aqours had to learn that they had to find their own radiance instead of trying to directly copy u's. u's was long gone from the story and never actually appeared in the present day and that worked really well and i think was the best decision they could have made because actually having them there i think would ruin the whole idea of legacies and how they can work (sorry for rambling on a bit here I really like Sunshine). even in Superstar and Nijigaku there are nods to SIP and Sunshine but the characters never actually appear. It's similar to the VBS story actually with Nagi and trying to carry her legacy (with the difference is that u's and aqours are still alive. probably.).

that got a bit rambly but what i'm trying to say is that if you want to do a completely new generation and retire the old ones completely, it has to be done in a way that doesn't rely to much on stuff like random coincidences. you need there to be solid reasons why some kid would look up to a group of 4 kids who performed at a disneyland equivalent or 4 kids who held a music event. obviously there will be development in their stories between now and new units being added but I think adding in a timeskip and saying "yeah, they went on to do this really big inspiring thing" would be much more effective than a bunch of new characters who are hugely inspired by a niche teen music group that honesly doesn't really have much of an impact on anything. the reason VBS' story with legacies works is because there's actual stakes. RADder was a hugely successful group that had CD sales, national tours and a member that became a successful independent artist worldwide. RAD WEEKEND, although more limited to Tokyo, was still massively popular and inspired many people to put on an event that will surpass it. RADder is a big name and a big inspiration and leaves big shoes to fill, and that's why it works so well because there's big goals to work towards.

also in some ways as well a bunch of characters surpassing RW2 just after we saw VBS&Co put on RW2 would be a little bit unsatisfying I think. RADder are side characters who people are less attached to than VBS, but if you were to introduce VBS2 just after the original, even if there's a timeskip, it would probably leave a bit of a bad taste for some fans of the original VBS who'd spent years following their story.

to throw my own personal wishes for the games story on here, i think doing something similar to bandori or d4dj would work best for them. as in, adding new units who kinda take centre stage but still having the old units getting events and stories of their own. we could have new characters to keep things fresh but still get to see the original 20 growing up, having their careers take off, facing more adult problems and such. you could have the OG20 around to mentor the new characters as well, and keep the whole tree sekai lore intact with that being something that revolves around the original 5 units (and actually fucking develop the lore holy shit colopale it's been 3 years don't drag it out another 3 and then actually reveal all the lore before then completely retiring it). ahaha maybe this is a bit too self-indulgent and wishful thinking because I am way too attached to the main 20 but also from the perspective of someone who has done screenwriting classes at college it does work.

[something-about-sunflowers]

I kinda feel like too many people aren't looking at the whole picture with Guillermo and Nandor/his family this season?

Guillermo knows, to a certain extent, that it's hurting Nandor that he's avoiding him. He just can't not avoid him because of the whole 'secretly turned by another vampire and Nandor will have to kill him then himself for the sake of his bruised honor/ego' thing.

Guillermo is also hurting though. His attempt to take some agency for himself by actively pursuing something he's wanted since before he even met Nandor has massively backfired on him in every possible way he couldn't even begin to expect. He didn't know he'd have a Weird Transformation. He didn't know there was some taboo for having another vampire turn him as Nandor's familiar (and he's not actually Nandor's familiar anymore anyway, technically, they're all just dumb and forgot that fact). He, comparatively, only recently found out about the whole Van Helsing thing and that his family can't control themselves around vampires (though I feel like it probably will be different with their Memo, if we're being honest), so he very likely thought for most of his time waiting for Nandor to turn him that he'd still be able to see them occasionally and get/give closure over a longer period of time before he had to stop seeing them when it became obvious he wasn't aging like they were.

He does care about his mom, yall, did you miss him breaking down in the elevator or were you just distracted by him breaking the hand-rail? He's just been very preoccupied with a whole lot of drama (Which he complained about! He told Nandor how upset he was that the wedding and Baby Colin were keeping him too busy to see his family! The end of season 4 was days before the start of season 5.) and an extreme life change. He's an adult. That kind of shit happens when you're an adult (granted, his situation is significantly more fantastical given the whole vampires thing but still). Sometimes you get caught up in your adult life and you miss your mom's birthday. Sometimes you make a big life change that you think is what's best for you and it means you won't be able to be as close to your family. Yes. It's selfish of him - to an extent - but for fuck's sake you can't live your life for other people, even - especially, in some cases - if those people are your family. I'm kind of appalled at people saying that he's deserving to feel bad and rejected because he made a choice for himself. Do you think his mom is blaming him as harshly as some of you are? No! The first thing she asked him was 'are you happy with this change?' She cares about her son's happiness. He's not entirely in the right but fuck do yall know how to do anything but swing hard in the other direction? There's grey areas! All in the middle! Right there, look!!

And then on top of him already being extremely emotionally compromised from reckoning with having to leave his family behind, on top of the already 'emotionally difficult' avoiding Nandor for both of their sakes, he gets another big rejection in his own home from the people he cares most about. I don't know if Nandor noticed that his rejection hurt Guillermo. He's dumb but I really don't know if he's that dumb. He's been able to recognize in the past when he's hurt Guillermo so I don't see why he couldn't now. Are yall gonna blame Memo for feeling bad if Nandor decides to do something to try and win him back or cheer him up? Or if Nandor is upset/worried about having hurt Guillermo?

I don't really know where I'm going with this anymore lmao. My point is: Yes, Guillermo's choice is hurting people but it's also hurting him and he's been hurt for a while now and hurt people hurt people (which is why Nandor lashed out too!) so cut him a little bit of slack maybe? He didn't do anything to intentionally hurt anyone he just wanted to take some agency back for himself that he's been missing for like. Ten. Thirteen years or so now.

[temporarilyunstable]

it's a monster of a ppp essay

Finally writing about this film I’ve pretty much obsessed over for months! Hopefully I can put some order into this but in case I ramble you have been warned lol. Spoilers will be discussed. 

I first saw this film in Japan on opening day— prior to that I tried to gather as much information as I could via JP tweets and impressions, especially those of the pre-golden week screening on April 29, then adding more info as soon as spoilers were lifted to increase my understanding. And now a couple of months later, I finally have full context, but really happy that most of the information I got was accurate, and the only details that I had to clear up were related to the more complex elements of the plot, plus the ever-important talk-no-jutsus (tnj) in the film. 

If I were to give this film a score, it’s a 9/10. Prior to this, my fave iteration was case 3, being the ever-economic-just-over-an-hour-but-does-everything-right entry to the series. Maybe it’s my Akane bias but PPP just knocked that one right out of the park. The animation was great (I am not well-versed in this so you won’t hear me talk about it much), even if wonky Arata took me out despite the emotion in the scene. Voice acting, no one does it better than the JP actors, I will not be convinced otherwise. It’s my preference and frankly if you’ve never watched this in sub I do think you missed out. The music was TOP-TIER. I’ve not stopped listening to this OST ever since it came out, blessdt Ennio-Morricone-esque Is this your choice, Akane Tsunemori? track #27 CD2?!!?!??! *INHALE* 

I can’t actually use technical film critic jargon here so in short, I LOVE this film so much. 

A bit of background info from the recent interviews Director Shiotani participated during the roundtables/live stages in JP - the “switching” of the timelines were at the behest of the producers (Fuji TV), including the introduction of new characters, in order to continue the story indefinitely from a TV perspective (link). It was a ballsy move, and in hindsight it paid off, but not without its pitfalls which I will touch on later. PP3/FI was developed during PPSS, and PPP was developed during PP3/FI, so you can imagine the difficulty of making sure the creative team have crossed their t’s and dotted their i’s. That being said, apart from telling the story it wishes to tell, the purpose of this film was to tie the past to the present, and I think that they did it very well. 

My thoughts are still evolving, but interestingly enough, most of my impressions haven’t changed. So I’ll talk about some elements of the plot that interest me, then I’ll go to specific characters, and ofc I’ll talk about the ship (not the Grootslang 😉).

There’s a clear three-parts to this film: up to Saiga’s death, up to Atsushi’s death, and Akane’s career death (if it is to be said, so it is lol). Each part had their pros and cons, but it’s quite a feat managing to squeeze all the information in. There was no dull moment for me.

I think the deaths here (especially of the characters we were supposed to care about)— the manner and speed in which they perished, and at a certain point in the film, all for nothing— were part of the point.

Before I watched this with subs I actually thought that it would be more difficult to understand, but I have to say that the nolan-esque expositions were well executed and nicely placed, for example the talk about possession between Kogami and Shion was a good prep for the audience for when we actually get to hear about how it works from Akira. Also a great way to show both Kogami’s detective skills that have not dulled the slightest, and his and Shion’s closeness(?/familiarity? Call it what you want). Another example is the Mika-team essentially telling the audience what’s about to happen prior to us seeing Sugo get things done in the sky (also I forgot he was just flying a drone and was out of harm’s way ehehe). I would say that the hardest parts to piece together have to do with the elements related to PP3, including the involvement of Bifrost. I’ll touch on this later.  

I’ve talked about Saiga’s death to my friends way before the first trailer ever released. Him not being present in PP3 was the biggest clue, and not that I wanted it to happen, but it was necessary to raise the stakes and make it personal. As a fic writer, admittedly I’ve never been happier to be right 😅. His scenes with Akane and Kogami at the beginning of the film were standouts. I particularly love how Saiga and Akane are so at ease with having a simple conversation— they’re talking about work but he could so easily talk about his doubts regarding Atsushi, for example. I love how he’s the same with Kogami, how he clearly states his allegiance to Akane, and ofc reminding Kogami to apologize (and something else I picked up that I will discuss later). 

I can say that despite the initial ridiculousness of the Divider/possession, the way it was explained was quite convincing to me compared to how they brushed over how Arata’s mentalist skills worked in PP3. Also, there’s kind soul from the JP fandom who attempted to explain how it could probably work irl (link). It’s creepy, if you think about it, and well-documented too. Have a read if you’re interested. 

Action scenes, definitely a strong suit of this film - you just know they can’t help themselves sometimes LOL. Kogami v Akira is definitely the best one (RIP Kogami’s balls hihi), and I’ve said this before but they definitely have perfected Kogami’s animation when it comes to fighting, and he is always the most flawlessly animated, however I think they did Gino really well here too. There’s this other really wonky one where Sugo falls down the escalator and it just looks like he’s a solid object and not a human body asdlfkjaskldfj. Honestly I finally understood the critique that the Sugo drone scenes were definitely way too long (I didn’t notice this bec it was hella entertaining when you don’t have subs plus it was super fun if you watch it in 4dx/mx4d).

Really dropped the ball on the Stronskaya Papers imo. I think, for something that was meant to be so important, the exposition regarding its use was really a lazy excuse. “SEAUn essentially proved its value” ain’t gonna cut it. If this is something so important people choose to kill/die for, then the implications of it should have been shown to the audience, not told. 

I only noticed after the third subbed rewatch, but to me, everyone is being measured against Akane in this film. I will elaborate later.

Sibyl as an AI

Finally, the little complication about using the term "AI" when describing the Sibyl System. When the first impressions of this came out, there were a LOT of dissatisfied JP fans. Until it was described as such in the film, since the system constitutes actual human brains, then the interpretation is that it is human. I’m not sure if this was a general interpretation btw, but since this is the first time the term “AI” was used to describe Sibyl, ofc it rubbed people the wrong way, especially bec it feels like the whole concept of Sibyl was retconned. 

I somewhat agreed with this interpretation— I had always considered the Sibyl System as an independent character in this series, who was meant to be impartial but somehow acts/reacts as a human would— and it's not hard to think so, when you look at the way the system has acted and evolved throughout the show. At times, the system is shown to be curious, greedy, and even cruel. I am ofc talking about them as a whole and not their androids (Kasei, Misako, Chuan Han, Hosorogi, even the dude in Case 2, etc)— individual brains act as human with a CA constitution (so still slightly different from a normal human), that’s clearly shown in the series.

When I read about this through interviews of Director Shiotani, I didn’t quite get the full context as it was used in the film. My initial interpretation was that the system was human, but the mechanisms that make it work (the claws swapping brains supposedly without human intervention, the city/country-wide whole network/surveillance system, the immediate reaction to process a Dominator’s request, etc) were powered by AI. I thought that they used the term AI to update the terminology, since this technology is quickly becoming commonplace irl. Now I've seen PPP with subs and thought a bit more about it, I still somehow think this is the case but also, all things considered, the term AI also makes sense. 

Bear with me as I try to break it down. The Sibyl System is a system that is bound by its raison d'être: the greatest happiness for the greatest number of people (very important: not all). To achieve this, it has taken over control of the lives of its citizens via the Psycho- Pass, a quantified measure of mental states/psychological tendencies and aptitudes— a supposedly objective measure. This includes law enforcement, as the system is able to predict an individual’s tendency to commit crime. We also know that the Sibyl system has auxiliary functions, like planning citizens’ lives or recommending the best option for the individual’s happiness, matchmaking, art/cultural/historical/religious control. Its role is very simple: assign the best possible job that one is most capable of (essentially eliminating non-productivity as a society), and through psycho-pass measurements, maintain/execute (criminal) law and order under the PSB. It can be implied that other non-criminal laws can’t be divorced from Sibyl, since its functions make all these possible within the confines of what Sibyl constitutes as “right” (and is implied,) based on the rule of law. Sorta like a chicken and egg situation, but the law, being at the base of it all. Sibyl came into legal force - it is, first and foremost, lawful.

Applying that to the definition of AI, we could say that at its inception, the law would be Sibyl’s code/algorithm, prior research (be it criminal/non-criminal data/aptitude/psychology/physio etc etc) and eventually its actual application is its data set, and the use of human brains as its processing mechanism. If we review how the system has "acted" so far, it's all consistent with the fulfillment of their purpose, EVEN if exceptions, limitations and anomalies exist. 

A key concept that has been repeated in the show’s run is Sibyl’s “evolution”, which coincides with the same concept of AI “developing/learning automatically”. If I still have your attention, you will probably know that the main driver of Sibyl’s evolution has always been Akane, be it directly (S1, PP movie, PPP), or indirectly (PP2, PP3). This has been introduced from the start, with Sibyl itself acknowledging its imperfection, but insisting on the need to maintain its perceived perception in the interests of a peaceful society. 

What makes it a bit contentious is the fact that the individual brains ARE very obviously still human - so I think that the “the Sibyl System is an AI” really feels off somehow, or at least conceptually feels like it should have been carefully defined rather than left up for interpretation, given what we’ve seen in the series thus far. In any case, here are some references to help you think about it and make your own interpretation.

World Affairs (OffiPro)

Genesis 1-2

Genesis 3-4

Characters - I’m just gonna put this disclaimer, basically if I quote something from the film please just understand that it’s mostly paraphrased. 

Akira

Definitely one of my favorite additions to this massive cast. Not the first one to say it but what a shame (he’s so sexy UwU). He’s probably less complex of a character than Atsushi (oh we’ll get to him), since his motivations are not “heavy” enough for me to believe such a sacrifice. He volunteered to be a double agent, burned his face to prevent identification, took on the mental (physical, actually) load of the chips in his brain and for what? For the greater good? Where did we see that anywhere? It is implied that as an immigrant he’s had his fair share of exposure to wars/conflict - we all know this was the same case with characters like Kei and Maiko, for example, but if we’re simply relying on the context of this film, I got the impression that he was merely doing it for his brother. 

Things I love:

Dropping the machine gun post shootout with Kogami, signaling that he has no intention to go that far (gonna talk about the other side of this coin in a bit)

RECITING THE GREAT ASO on top of that holo cliff *chills* 

In the JP version, his very VERY noticeable voice change when he surrendered to Kogami and Gino

His “please take care of Kei” never fails to make my heart ache T-T AKIRAAAAAAAAAAA

Atsushi (& a bit of Yabuki)

One of the best characters in this film (who no one will invite in their wedding— oh the irony lol). I think that a good baseline from watching PP3/FI really helps appreciate him, though I didn’t actually care much if not for Niki making me notice in PP3 that there are conflicting accounts about him (a malicious one c/ o Obata in her testimony, vs Arata’s POV of him as a good and loving father), plus the more I learned about the complexities of Bifrost the more I got interested in him, too. Atsushi is clearly a morally grey character, and in this film it both comes out of his mouth (as a form of admittance in his speech), and shows in his actions. His speech: "The right choice can be wrong in a different time, that’s because righteousness is relative, but the truth is absolute. What we need is the truth, the means to accept that truth and choose the path where no one gets hurt." is clearly directed at only four people in that room. The speech also served as an admission of his guilt— and once again, the theme “he did what he had to/someone had to do it”.  

There’s a line during his interview with Akane where she says “you don’t make mistakes. Everything you do puts you a step further in your career, as if you’re following a path laid out before you.” When she seems to have hit the right line of questioning, he was clearly about to confess, but alas, it was not to be. I remember reading an interview where Director Shiotani said “he doesn’t get to have it easy” and you know what, ok fine. 

Atsushi and Yabuki’s approach is, in a nutshell, big picture thinking, the end justifies the means. They make difficult decisions, get things done and can’t avoid people from getting hurt. This is also driven home by Yabuki’s words to Frede “ideals are not enough to bring about change”. (He also said something good about needing that kind of power to exact justice and being prepared for the infamy that would result - help me if you remember this was my takeaway from it). To me, they both represent the kind of people who are about to become obsolete in Sibyl society IF it is heading towards the path people like Akane and eventually, Arata, are aiming for (put a pin on that). 

We know that he was a Bifrost Inspector, and interestingly enough, it seems that Yabuki is too since they’re communicating via the terminal we saw Kei use. As is on trend for anything related to Bifrost, you do not see the hands of these guys getting dirty despite all the dirty work they actually do. That said, Akira, Milcia and most likely Saiga, are probably foxes.

Things I love:

I think that he and Tonami, while they must have believed there was no other way at the time, acknowledged that there was no excuse, and as a result are inspired (or in Tonami’s case, persuaded though begrudgingly) to trust the newer generation to do it better than they could. I feel like Atsushi already knew his time was coming the moment the deaths of those he had personal ties with started piling at his door. 

His conversation with Kasei/Sibyl: “we’ve been watching you for a while”, implying Sibyl being complicit in all the dirty work he’s had to do. “Do you believe in the potential of humans?” and the response “of course. this is the reason why we exist” — really rubs the god/religious themes here, handing him the gun that will take his life as their parting gift, as if to say “this is your judgment”. I’m gonna touch on this again with Akane. 

I’m not the first person to say this but with the exception of Yabuki, who was killed, at the end, Milcia, Akira and Atsushi’s acts were extreme, and I’m just not gonna gloss over this, cowardly. Choosing to die instead of living. Choosing to be absent instead of being present (in his brother’s life, in her daughter’s life). Atsushi preached it to his son (“do not dive without a lifeline”) but not only failed to act on his teachings but continued his approach. You could say it was the only choice at the moment, but all their previous choices led them there, and it’s even worse that they got someone else involved and killed, even if that wasn’t their intention. 

HOWEVER, and this is going to be brought up again: someone has to do it, and therein lies the nuance in the other main character in PPP we’ll talk about later.

Saiga

I don’t really have much to add except they made him especially handsome in this film… 😳 And ofc I love that he picked up the lack of people in the building, he really said you can’t hide anything from my keen observation skillz. I loved that he was pretty chill about it too, maybe he was trying to cool down his favorite student 🤗

Things I love:

Akane visited him at 23:41 in the evening, I am assuming on that same day (it’s the time stamp on his laptop, also confirmed by Director Shiotani). I guess the concept of after office hours does not exist bec it looks like they left for Dejima immediately after. 

“People aspire for comfort and find themselves unable to escape it, like me” and Akane immediately saying that’s not the case 🥹

Coffee on the lips. Leaning back on the couch. The toast and the chuckle RIP

“She’s not a saint/bodhisattva”: I’ve understood this to mean that she WILL enforce Kogami if it comes down to, hence he better apologize to her while he can. 

His very meme-able criticism of Kogami before they got on the elevator 

“Well, that was crazy!”

HIM BEING PEAK HANDSOME WHEN HE HAD A KNIFE ON HIS THROAT LIKE?!?! 

The desperation and VERY obvious there is no other way here when Akane’s whole body is about to fall just trying to hang onto him

That they muted Akane’s scream when he fell

That she went straight down to him without so much as looking back at the fighting still happening

That she fixed his body 😭

I’m really gonna miss him. I always used to hc that Akane and Kogami would have a moment with him at some point in the future, calling back to their visit to his house in s1 but alas… we can’t have everything we want, huh? 

Tonami

AHHHH old man, old man. 

My favorite part about Tonami is that they clearly improved on making sure they don’t paint him as an evil guy. They tried to do this with Garcia, but frankly the novel did a better job at making him look more nuanced than the movie did— and that’s saying a lot since like I said, I love case 3. This is probably because they had the benefit of time, of course, and we’re gonna touch on this again later, they spend less time making Kogami look good (i mean, not physically) in this film. 

They were very economic with how they portrayed his character, too. With just that one scene of him and the kid, you immediately empathize and are forced to listen to what he’s actually saying. My favorite scenes of any iteration is the “reckoning”/tnj that Akane has towards the end, basically summarizing the thesis of the story, and the questions it poses to the audience. This film is probably the best at presenting the most nuanced argument of the series so far between two sides. Very simple, very straightforward, and the movie’s prior scenes have done the legwork for the viewer to connect the points each is trying to make, like neat little puzzle pieces that make you go oh.

Things I love:

“Don’t forget you were the ones who made me this way.” (mic drop).

Akio Otsuka’s voice acting, especially when Akane was crawling to grab the Dominator. THE FRUSTRATION IS REAL.

This was pretty much confirmed and I’ll touch on it again later: he was not going to kill Akane (link) . I thought this was up for debate at first, but actually after seeing the subbed version I am convinced this was actually not up for debate due to the following:

It was him talking to Kai when he killed Milcia, he asked “You killed her?” and said “You messed up, Kai” 

We do not actually see him kill unless there is a purpose. Killing the SAD guys to get to Milcia, killing the SAD guys to get to Saiga. He revived Bokamoso because he needed to get the papers (wasn’t convinced that Saiga really didn’t have it, as already established by Saiga a few scenes prior), and was biding their time when he engaged with Frede & Gino after Kai confirmed the papers were not there, probably waiting for Kai to finish with Kogami (“time is up”). Decided the ops team (Ko, Gino, Frede) needed to die after they were exposed and the safety of the General and Raphael were put in jeopardy. 

He shot Akane in the same place he shot Kogami a few scenes prior— this is also why I do not believe this is random, but rather just a means to incapacitate them while he needed to do what he needed to do: possess Kai bec he now knows where the General is and needed him out of there, (unclear whether he knew at the time that Kai had the papers but likely he did since he referred to the memory chip during his first meeting with Akane), and have Akane not bother him while he possesses the peacebreakers in battle).

Shooting Akane again, not fatally wounding her.  

Akane’s line “why don’t you just kill me?”. Like, really, why didn’t he? The link above sheds some light on the creator’s vision on this and it’s delicious, lol. IMO, if he had wanted her dead they’d not have even talked. Very simple.

This is not to justify his actions btw, in fact, Akane even called him out “the same wars you helped perpetrate”, and her lichrally saying “I promise to expose the truth about the peacebreakers, but this doesn’t excuse what you’ve done”. Madame Justice said YOU WILL BE JUDGED BY THE POWER VESTED IN ME AS AN INSPECTOR OF THE PUBLIC SAFETY BUREAU ETC ETC  

He cares about Kai/Akira (the line to Atsushi “so Kai is your pawn, too?” at the helipad, and his concern about the divider overloading and his reaction that Kai is choosing to die). He clearly cares about the peacebreakers, too. Nuance, man. Delicious. 

“You can’t stop what you started here” CHILLS. Definitely reminds me of Kamui’s tnj in S2.

Frede

I have a soft spot for her. She’s clearly more loyal to Yabuki & the MFA than to Saiga, and, judging by her character we’ve seen so far, she’s taking after Yabuki as well 😉

The reason why? #21 in Director Shiotani’s Q&A space last June 15 (link).

So pretty when she was conflicted about not telling Saiga/Kogami about le grand  ̶f̶a̶i̶l̶  plan

I like how she calls Yabuki “boss” 🥹

Fave scene when Kogami calls her out for lying to Saiga LOL, I just love that he can just do that and that she doesn’t even bat an eye, I like that about them. 

Gino

He’s not my fave, but I’ve grown a bit soft on him here I have to admit. Love that they gave his devotion to Akane more context, and that this whole system of trust between them (and the rest of Div 1) is shown. 

He is right, it’s his ego talking (the boat convo). Akane didn’t and isn’t staying/tied to the CID bec of them (Ko & Gino) jeez man. It’s not about YOU. LMFAOOoOOOOooo 

Little Ginomika moment, I loved that. Speaking of…

Mika

“This is no time to be playing politician” sis— did anyone ever tell you that you have an aptitude for it? The whole plan about selling them out if they all die so she could save their asses, then actually coming to their aid when it truly mattered? Does your fave ever?!?!?! 

While she’s probably the one who has one of the best charadevs in the show, I fear a little that she’s starting to become a gag character, ALTHOUGH i’m arguing that she’s clearly still a writer’s fave with the way they give her critical hero moments when it counts (the whole rock star raid at heaven’s leap in PP3, then this “I got it covered” in PPP). I think Mika best displays the balance required to stay (sane) in this job. She’s able to take on what she needs to, and accomplish the role she’s set out to play, and at the end of the day she probably goes home and has a boba, binges netflix and has a good night’s sleep. 

I dunno where I read this - but there are main characters, and there are main side characters. This is Gino and Mika’s fate in the grander story, with their arcs pretty much over since Case 1.  

Finally, the good stuff. If this ain’t much of an overly long essay already.

Kogami

Before I go off, my experience is as follows:

When the first trailer of PPP came out, his words “I have no regrets” were so jarring to me. I didn’t quite understand how that was supposed to add up to the Kogami in my head, the hopeful man who was ready to come home at the end of Case 3, and the guy who said sorry at the end of PPFI. This led me to find some answers by machine translating the PP3/FI novels, and the case 3 novel. 

In a nutshell, I had thought that the ending of case 3 meant that he was going to turn a new leaf and fight for the same justice Akane was (in short, no killing). Guess what? I forgot that he did kill Jackdaw in PPFI, and the novel pretty much confirmed his actions and thoughts around it (aka, he was really going to kill the guy— I mean, he came into the scene guns blazing, you know? AND I FORGOT ABOUT IT (I call this my akane-tinted glasses 😉).

Another line in Akane’s monologue that cemented my reinterpretation of Kogami, and I was immediately reminded of this passage when Akane sadly spoke to him right after he shot Tonami: 

“Believing in the meaning of the stars was something only she herself held, and it was as if she was being told that the stars were just stars by the others she believed to be her comrades. When she began to consider that perhaps it was not the incomprehensible others who were truly isolated, but rather herself, true loneliness arrived. The moment of being cast into the sea of true loneliness, without even the stars or the sound of waves.” (the stars here was implied to be either law, or justice)

It’s been confirmed by Ryo Yoshigami that Akane’s monologues in the PP3/FI novels were written with the plot of PPP in mind— so you all know, this was intentional. The novels really helped me take a step back and assess what I was really looking at as a character, and Kogami’s role in the overall story. I thought he was someone who was on his way to change, I was wrong. I thought that his values have aligned with Akane, again, wrong. Now I know what some of yall are gonna say, that you didn’t misinterpret him. Sure, this statement isn’t for you then. BUT don’t lie to me, those who DID. 🤪

As for the rest, go read and form your own opinion  (PP3 Novels)

Kogami’s sense of justice

As a main character of the series, Kogami’s journey has been up and down, but one thing that’s consistent about him, in the simplest terms: his justice is personal. Whether it’s one of revenge, which he had closed the door on post case 3, his inability to turn away from injustice, and in PPP, his acceptance and taking responsibility of what he stands for, and what he can do. 

In the beginning of Case 3, he was making an effort to avoid killing— even using it as a condition for cooperating with Kinrei on the raid in the train station. This was during a time when he was clearly at a loss of what to do, still swimming in his regrets and just letting himself go in whichever direction life takes him. Come the end of Case 3, we see his hopeful decision to return, and, in PPP, clearly stated during his convo on the boat, his reasons. He did not come back to die, but to help people. This is essentially an explanation of his choice and lack of regret that he failed to explain properly to Akane, but if it wasn’t clear yet, this is also where the lines have been drawn between the two protagonists, interestingly enough, since the beginning of the series. Akane’s sense of justice is directly tied to the law, whereas Kogami’s does not (and, I think a moot point to argue now, will never). 

He does what he does because it’s what he can do. The difference between Kogami S1 and Kogami PPP/PP3 is that he’s found a purpose/place that aligns with his sense of justice. He owns it, and takes full responsibility for it. It’s a facet of growth, though probably not in a direction that would bode well for him if he fails to look from above, as was Saiga's last words to Akane. I can take this apart in a few ways, firstly, and especially towards his “belief” in Akane, he’s a hypocrite (LOL). Says one thing, does another. Wanting to be judged after the fact is like, are you kidding me, man? Right in front of the blood of someone she just tnj’d “you will be judged according to the law”?!?!?!!

Let's take a break, I’ll throw him a bone.

He simply cannot turn away from injustice and would rather get his hands dirty than allow others to get away with their crimes

This is a great callback to his time with Garcia “you hesitated, and now someone’s dead.” See? Charadev. (I’m being sarcastic). It must suck for him that though he didn’t hesitate, Saiga is still dead. 

To me, he’s started walking forwards post case 3, and while he still regrets everything he did before that, he’s left that behind to fulfill a new purpose in his life

In this scene specifically, he would rather kill than have Akane be killed.

Very personal, very short-sighted, very impulsive, reactive sense of justice. That he agreed with what Tonami had said, for all that talk of his belief in Akane, he’s a funny  ̶l̶i̶t̶t̶l̶e̶ guy, isn’t he? 

I’ve always argued that if his aim was that good (and again, Tenzing commented on this, he CAN shoot to disarm someone), then why didn’t he? Kogami in PPP, in every scene, operates on a shoot to kill. I’m no longer here to apologize for the guy, even if he did, three years too late. I think that it helped me come to terms with their differences, and this is fundamental. Don’t get me wrong, I still like his character, maybe even more now that we’ve learned quite a few things about his… shortcomings (lol), but I’m not gonna make excuses for him in the same way he doesn’t make excuses for himself. He chose. He still chooses to. Cool motive, still murder. 

Where this will lead him, it’s been alluded to in the film. Tonami is what a misguided Kogami could become, and even Saiga clearly reminded him of it. That’s a matter for his future, but know that this movie is sowing seeds the creators may decide to reap someday.  

Things I love :

He got his balls kicked!!! Love that for him 🤣

Used to complain about how lousy his shirt looked is in pp3 and whoooaa he took the jacket off and I'm sweating

WET HAIR

TACTICAL GEAR

The PP OST and the dominator UI, before he takes his first shot *chills*

Despite all my beef about him, I still really do love the guy. Now I just dunk on him every chance I get, it's fun. And ofc, I still have a tiny bit of hope about his future, and I’ll be holding him to that standard, otherwise yeah, he can die in a ditch (or if we’re going there, he can die whilst leading an uprising to destroy Sibyl) 😉 

Akane

So when I said earlier that everyone is being measured against Akane, I really meant it. She had taken a back seat since the PPSS films, and in PP3/FI the whole mystery surrounding her imprisonment was an invisible hand driving many elements of the show. PPP is HER film, and as a character, her continued relevance to the series' thesis cannot be discounted.

“The law doesn’t protect people. People protect the law.”

If Kogami was consistent about his sense of justice, she is even more so. What makes her leagues above him is that she’s driving change, and change DOES happen in the manner that does not allow her to break her principles… that is, until the end of PPP 😉. I’m not going to elaborate on her sense of justice, it’s pretty straightforward even if the series likes to throw stones at it as if following it is the hardest thing in the world. What makes Akane stand out is that it's actually not hard. Look, ask yourself whether it’s easier to kill another human being or not— I’m not talking about exceptional circumstances, but even then, I think you know the answer— there’s a moral and ethical basis here that she shares with a great number of people. Killing is wrong, it’s against the law to take another life. To me, the point of each iteration is to keep stacking odds against her through characters, each with their own complexities and nuance that the audience is made to empathize with and contrasted to her sense of justice, resulting in making it look like her principles are ideal and impossible to achieve, when actually, they're not. 

One of my favorite lines of the film, when Tonami says to Akane, “these are the facts that lie in the shadow of the peace that you enjoy”. Let’s be real. Akane is privileged. She’s not had to fire a gun to defend herself in a war torn land— but the argument against this is the same argument for it— it’s because she doesn’t have to. Kogami is back in Japan, it stands to reason that he must adhere to its laws, because despite his experiences abroad, he is not and will never be above the law. 

I’m gonna touch on something I already discussed on twitter, because there’s a difference between the way Kogami has killed, versus the way Gino and Sugo have. 

As far as the series has shown, the following are Sibyl-sanctioned “killing”, the last one specifically relates to PPP:

As judged by the Dominator (LE/DD)

In cases of national defense/during the execution of duties as members of the NDF

In cases of self-defense in the course of an official operation

It stands to reason that just because they are sanctioned does not save the person from their hue deteriorating, because that part is directly related to a person’s view of guilt. Throughout the show, the audience is constantly reminded that the act of (indirectly) killing does not necessarily impact one's hue (e.g. the PP of the person who manufactured the gun is not the same as the person who fired it, the whole premise of the foxes in PP3, etc), hence the "guilt" associated with the act falls on the person who does it, which may result in a higher cc. A person is able to absolve themselves precisely bec they know they're doing it within the confines of the law, but this doesn’t always follow (e.g. Sugo’s hue deteriorating in Case 2). There's a good example of this in action during Akane's operation in PPP, when Tonami issues the order to kill, and the team, who had been disarming/arresting everyone a few minutes before, was left with no choice but to defend themselves, often resulting in a kill.

While the Peacebreakers were able to hand over this guilt to Tonami via the Divider, Gino and Sugo could not. At the start of the film, they only used the guns when the Dominator was not functioning. The difference with their actions in the last third of the film is they participated in an unsanctioned operation with Akane, have killed as a result and are now likely above regulation. Had no idea the words “once the hounds have thrown away their collars, public safety will never tame them again” also served as foreshadowing as this is probably why Sugo and Gino were requested for transfer to the SAD. And if you’ve been paying attention, you’ll notice that Gino actually gets the job done with fewer bullets than Kogami does. Kogami, from the start, comes into the scene, kills all his enemies on sight without hesitation. This is a huge difference, and this is what Akane is trying to keep him from defaulting to. Violence to fight violence was not the answer, but they clearly do not align on this. It’s a perspective thing. 😉 

So why did she do what she did? 

In principle, she made herself an anomaly, directly challenging the decision to repeal the law, by committing a crime in public while not having her PP deteriorate. In short, she pretty much broke the law to protect the law. So how did she objectively know that her plan would work? 

I had a few discussions on twitter surrounding this, and frankly the “she knows she’s doing the right thing, not for herself but for the greater good” doesn’t cut it for me, nor does the premise of “leap of faith”. To do this, she HAD to have known with certainty that her hue would not deteriorate because if the dominator suddenly activates for her, then it was a pointless act, and more importantly, she was fully aware (as stated in the PP3 novels) that she was committing a crime. 

There are cases to be made of course, the first being she knew that Kasei is merely an android and that Akane avoided shooting the brain (effectively keeping Kasei alive), but that still doesn’t establish the fact that Akane does not absolve herself of the act, and again, that she needed to objectively know this would work. This is theory time, but the only thing I can think about are two specific things, one in the film, one not. 

Defying Sibyl orders to enact her own operation in the Kuril Islands - this is directly disobeying Sibyl, using her Chief Inspector authority to assign temporary roles to Kogami and Frede so they could participate, loading the Stronskaya Docs to her Dominator and giving it to the General, all these, unsanctioned and should have at least raised her PP. My guess is, in the aftermath, she noticed that it had not, despite the scale and the effort and potential losses had things gone wrong, and decided that was enough to go ahead with the “answer” she found for herself.

She had to have procured a gun. This was not in the film - but procuring the gun establishes her intent/motive, and should have also raised her PP - my guess is it did not. This would have been sufficient, but you can imagine, until the point of carrying the gun to the venue (probably hidden inside her hat), the fact that she wasn’t flagged basically made it certain her plan would not fail.

In the June 25 roundtable (link) , Director Shiotani wished that if he had 3 more minutes to add, he would have added a scene right after Atsushi’s death where the men in the roundtable ultimately decided to proceed with the abolition of the law. In hindsight, I think adding this scene would have been better, because it takes away room for interpretation that Akane was actually in a desperate situation, and not just frustrated at the close of the case. In the movie, this was supplemented by Kogami’s line “what Tonami said is probably going to come true, the law will likely be abolished.” Not as desperate, if you ask me. 

Deviants

The difference between Akane and Atsushi is that, Atsushi, in his capacity as a double agent and methodology as a Bifrost inspector, is like a puppet master holding the strings, indirectly enabling change and leaving mere traces of his impact while others either take full credit (or fall) from it, whereas Akane pushes change by directly challenging Sibyl head-on. We have yet to clarify Atsushi’s motivations in rising the ranks of Bifrost (he was alluded to be on the way to being a congressman or that he had the talents for it), and the fact that he’s played double agent for so long with his methods steadily growing shady over time just goes to show that there was clearly a better way (and he ofc acknowledges it). 

In the same way a CA can only be recognized by Sibyl by committing crimes OR if a Dominator was wrongly pointed at them, Sibyl becomes aware of these deviants (I’m gonna call them that) the moment they start defying Sibyl while being able to keep their hues clear. Perhaps Atsushi would be an imperfect version of a deviant, Akane the better one, and Arata probably the ideal despite being CA, sort of like Genesis 3-4’s Makami Sou. It would be interesting if Akane becomes APA, let’s see (read the Genesis links above 🙂). 

“Do you believe in the potential of humans?”

Post-op Akane was forcibly promoted to Atsushi’s role (iirc, a Department Head of Statistics in the Ministry of Welfare c/ o Steohsama's translation). I think it can be read two ways: one, in the context of the recently closed case, to get her fully out of the way and busy with other, bigger stuff that she was already dipping her toes in prior to Atsushi’s death (referred to during their convo, about her not “making a fuss”). Two, that she really did have the aptitude to be someone like Atsushi— only that her methods would clearly be different. Now that she’s back in the CID, there’s obviously a question of Akane’s future as a statutory enforcer (fun fact, the creators pretty much confirmed that it’s just a name for someone judged according to the law but whose PP did not deteriorate / someone who was appointed as an enforcer whose PP is below regulation ( link / link ). If Hinakawa will be promoted to an Analyst, then there’s a spot open for her in Division 1, assuming she’ll be playing detective. While I think this is likely to happen, I think it’s a boring outcome for her. Like Atsushi, I want her to move up in the world, especially if the world is gearing towards Sibyl going public. It’s going to be interesting what role she’ll play in the future, especially because, as Niki had so nicely put, “she can’t do this alone”. 

Oh, Koaka. 

Objectively, I no longer think the ship is romantic in canon. I’m gonna copy-paste some thoughts I already shared at length in discord and edit parts of it, but if you’ve seen me the last few months, this isn’t new.  

This is nitpicking, because I'm a writer and facts like they don't know each other, not really (they spent not more than 100 days in s1, maybe a few days in PPP) are things that are at the back of my mind always. I have yet to see Kogami and Akane treat each other more than the pedestals they put each other on (arguable for Akane but I think this is also why she keeps getting disappointed that their sense of justice doesn't align).

This divide between their sense of justice is their biggest flaw as a potential couple, and one that is too fundamental. I do not see compromise here, especially after the events of PPP. If Kogami were to gear towards a positive change, then there’s hope, but I leave very little room for that now. I don’t think it’s necessarily a bad thing, either. I see it as a potential stance that the show is trying to make. “You murdered someone, you can’t go back.” If he had been heading towards change it should have been on the way for a while, not a “possibility” that he keeps failing to live up to. Getting over this hopeful assumption took me a while, but I think that it also helped me appreciate the wider story being told. 

That being said, I think that romance in stories is important and I would like to see the writing team go there, not just from a shipping perspective but from a storytelling/amping up stakes perspective. In PPP I felt how Gino was much, much closer to Akane, and I didn't see this previously. In the past he was more like a controlling dad esp in s2, undermining Akane's POV, improved a bit in the pp movie though he still felt a bit on the overprotective i know better than you side (nicely resolved in ppp where we see a piece of his mind btw)— there's a whole lot of trust there. With Kogami and Akane, while they cleared the air after the infirmary scene, once again I saw that trust shaken when he shot Tonami. 

These characters are depicted as human beings, and I think that entails grounding. While meaningful connections can be made through short moments (destiny, if you will), relationships built over time like literally and not let's have a nice moment in a film i'll see you next movie kind of thing, is something that, to me, means more. That said, Kogami was separated for a long time and it's lichrally impossible, but they're in the same place now. Where does that lead them? This is where part of my hope lies, small as it may be. Granted, this is not that kind of show and I'm fully aware of that, which is also why I'm happy to get what we get and that artists/fic writers are there to fill those gaps.

I still ship them but a lot less— I find it funny because even before PPP, I was always looking for more (I'm greedy haha!). I always saw the PPFI scene as just the beginning of their relationship— I wasn't convinced that scene was enough, despite the romantic undertones. And let me tell you the betrayal I felt when I found out the reason why they did the whole back to back thing in PP0308 was because... IT WAS AWKWARD FOR HIM TO CROUCH DOWN THE LITTLE WINDOW OF HER CELL and not the little romantic shit I had going on in my head— I just ( ╯°□°)╯ ┻━━┻

I went through the five stages of grief but at the same time it's not as bad since it's not like I didn't think that way from the start (it's just me being anal about it all, really. Because I would end up writing whatever I wanted anyway and canon didn't really matter in the grand scheme of things).

I do like their dynamic now given the recent developments, Kogami especially being particularly unskilled in the romance department just makes it all the more funny (I'm not capable of writing him that way though so I guess all my fics are ooc now 🤣). If they don't develop past the Arguably Platonic™️  way they treat each other then I won't be surprised if I stop creating for the ship, likely bec it will no longer satisfy my enjoyment of it.

Final Thoughts

I think it’s pretty much confirmed we’re getting more, it’s just a matter of when (can’t believe I’m staying here forever, huh?). Director Shiotani wishes that he will be making PP in the next 30 years, gotta love him for that. 

As the series progresses, there was a clear tonal shift and hopeful direction it seems to be heading towards. To me this is partially because in a practical sense, this benefits the prolonging of the show (which we already know is true), but in a thematic sense, destroying Sibyl means the end of the series overall. No Psycho Pass without the Psycho Pass. And to this I give credit where it’s due. This is not the kind of progress you’ll see if Urobuchi is still in the writer’s room, and frankly, the complexity and depth of the show ever since he left has pretty much taken off in great strides. I had wished they were heading towards a natural conclusion (Sibyl going public) and leave it alone for a decade before they pick it up again, but I guess the producers have other plans. After all, they don’t have any other IP that has withstood the test of time, is ahead of its time and continued to remain relevant as time went on. While not perfect, this is an amazing feat of a series, and this movie is a stellar addition to it. 

They’ve got a dilemma of course, because until now it seems they went with a serialized format (with a definite ending) versus an episodic one (criminal of the week). By choosing to expand the world and explore other facets of society, all the while connecting the threads in an overarching plot, they have to complete the “passing of the torch" before going back to an episodic format, which means they MUST give the new kids their time of day,̶ a̶n̶d̶ ̶e̶x̶c̶u̶s̶e̶ ̶m̶y̶ ̶a̶s̶s̶ ̶f̶o̶r̶ ̶a̶ ̶s̶e̶c̶,̶ ̶b̶u̶t̶ ̶t̶h̶e̶y̶ ̶h̶a̶v̶e̶ ̶t̶o̶ ̶c̶o̶m̶p̶l̶e̶t̶e̶ ̶t̶h̶e̶ ̶l̶i̶n̶k̶s̶ ̶b̶y̶ ̶e̶x̶p̶l̶a̶i̶n̶i̶n̶g̶ ̶w̶h̶a̶t̶ ̶t̶h̶e̶ ̶h̶e̶l̶l̶ ̶i̶s̶ ̶t̶h̶e̶ ̶d̶e̶a̶l̶ ̶w̶i̶t̶h̶ ̶S̶h̶i̶z̶u̶k̶a̶. Shifting the timelines allowed them to usher in the new cast, but now they’re marketing the legacy cast and have to contend with their obvious popularity compared to the new, fully knowing that the legacy cast is returning to the back seat once we kick things off again. This is a problem that can be solved if a spinoff is decided for SAD, because at least a chunky (huehue) part of the cast will be cordoned off doing their business in Dejima, while the CID with its usual players can stay where they are. I think if you’ve been following Director Shiotani though, this is not happening without him in the driver’s seat, so it’s like… if they’re smart he will delegate this task to someone he trusts and we’ll get both a main and a spinoff, then a converging point somewhere in the form of a movie. 🎶Psycho-pass forever!🎶 (to the tune of Emilia Clarke "best season ever" GOT S8 interview, iykyk). 

Finally, I’m just gonna say that I love Akane so much, I’m glad she got the spotlight on her in this film. To be able to experience this film is unforgettable, I’m so grateful that it was possible for me. I’m training myself to expect she’ll take a step back next time I see her, but more than anything, I hope to see her happiness fulfilled, no matter what that entails. Once more, I just can’t thank these creators enough. They’ve made a series and a world I’m obsessed with, makes me think and makes me evaluate its implications in real life, makes me create!!!!! I’m so happy that they continue to believe in the stories they want to tell. I hope they are all healthy and resting now (until the next one, eheh!)

I’ve talked way too much and it’s really just because I want this out of my plate so I can start writing my fics now lololol. If you made it this far, thanks for reading! Always happy to discuss! 

[haptronym]

I was very surprised when I saw this in the subs for the most recent episode. As you might recall, the manga translates it differently, saying that Endeavor couldn't look back on the past:

I've noticed that the subs of this show tend to be more accurate than the manga, so this was a surprise. Which one is correct?

The answer is: Japanese is confusing! Keep reading for a badly-explained language crash course.

One of the things that makes this language hard to translate is that it is heavily context-dependent, and looking at single sentences in isolation are often not enough to understand the meaning. One reason why is because, in Japanese, you often do not spell out who the subject of a sentence is if it can be inferred from other things.

For example, just a few pages earlier, Katsuki says:

But if you look at the actual raws, you will not see "anata" or any direct reference to the word "you." He's more literally saying:

We infer the "you" because... who else would he be referring to? It makes sense that he's taking about Toshinori because he's conversing to Toshinori one-on-one. This happens all the time in Japanese - it's actually a dead giveaway that someone is new to Japanese if they insist on using "I" or "you" where they're technically not needed.

Now let's look at the raws.

Right at the very top, we see 私 (watashi), the word for "I," which, at first glance, might suggest he's talking about himself.

BUT, note how the English sentence actually uses "I" twice:

1) "I ended up like this" 2) "I couldn't look back on the past"

The "watashi" seen above is used in the "I ended up like this" part of the sentence. It's needed because he needs to clarify who ended up like this. However, the other part doesn't have a subject at all in Japanese. Literally, the sentence reads, "Couldn't look back on the past until I ended up like this."

Not very helpful on its own. So here's the fuller context of the conversation we're confused about:

In this case, Endeavor is the subject that directly precedes the sentence in question. Toshinori uses "watashi" to clarify "I ended up like this," (as opposed to anyone else), but otherwise keeps the subjects vague.

So... technically, it could be either of them. If you took the sentence on its own, without looking at anything around it, it would be fair to assume that he's talking about himself and showing a rare moment of opening up about his own feelings. But Japanese is all about context. I think it makes sense, both in the flow of conversation and considering his character, that he is talking about Endeavor. He mentioned that Endeavor changed, then talks about what allowed that change.

Hope that was educational, and that it helps you understand a little better why sometimes Japanese translations end up so wildly off the mark. It's a difficult language to turn into English!

[rmorde]

Trigun Manga Reaction

Here we go! Chapter 8 Volume... Huh?

Voulme 2? I thought this is still Volume 1. Am I tripping?

Anyway! Just a moment of appreciation for this parody page of he cover.

This while thing is so "busy" yet it still make sense. There's so many elements layering on top of each other. It should be a confusing mess. However, I can still easily pick out the four components that tells a story.

Component 1: Vash as a happy salary man being served a drink by a geisha (judging from the hairstyle and accessory) with shadowed eyes on the opposite end of the page.

Component 2: BDN at the dead center. The text makes it a bit difficult to confirm if he has a top knot, but he definitely is rocking a traditional Japanese look. He looks menacingly at Vash as he drinks.

Component 3: Meryl and Milly running in a hurry but for two clearly different purposes. Meryl looks like a traditional restaurant staff frantically trying to serve a lot of guests. Meanwhile, Milly doesn't look she's working anywhere near the food service industry with her get up and the tool that she has on hand.

Component 4: The Bad Lads drinking in celebration while an ambulance seems to be sounding its sirens as it parked near them.

Look. I may seem to be too obsessed with this gag page but it's crazy how its a fucking busy mess that still works at telling a cohesive story!

With just this two page drawing, I can infer easily that someone is in danger and may need to be hospitalized - so the ambulance was called and asked to stand by. Milly is probably the heroine about to save the day with the overworked yet eager to help Meryl. The party the Bad Lads are having is a big distraction at a possible murder attempt starring Vash as the victim, the geisha as the accomplice, and BDN as the mastermind.

I'M SORRY BUT HOW THE FUCK?!!!

And don't get me started on the scaling of each figure and the silhouettes. Just... I'll just repeat, Nightow is amazing for how pretty AND technical his drawing is. It's so clean. Wow...

Sorry for getting derailed. So, back to the chapter.

Ok. I lied. Let me just appreciate Winter Mery and Milly here. I love them so much and they so fucking cute here with their dynamic pose... solid silhouette... Clean fucking lines... Sorry... Give me a minute!!!

Sigh~

Interesting. So, '98 rearranged the sequence of events here. This happened a bit later... which I think is better. It adds more impact on Vash's duel against BDN.

These guys are no stormtrooper shooters. They having really good aim!

They didn't hit Vash. Okay. Maybe the tails of his coat now have fresh bullet holes, but aside from that, Vash is fairly intact. The Bad Lads have great accuracy.

This is an intriguing way of drawing a spinning gun. It's simple but effective in visually communicating that that is what BDN is doing. A good choice. Thinking about it... If three twirling guns in a blur of circles were drawn, it would be too distracting and BDN will be overwhelmed in the panel.

Cool foreshortening. Incredible detail on the filigree. And a bonus Goofy Face Vash!

So so fucking glad '98 was faithful to the manga with these scenes. Meryl and Milly were such badasses here.

Huh... Well that's a huge difference. There's not much:

GASP! It'S VaSH tHe STampeDE!

vASh ThE StAMpEdE?!

VASH THE STAMPEDE!!!

It can get a bit much... sometimes in '98. So, this is refreshing.

WHAT...

WHAT THE FLYING FUCK?!!!

So, those lines by Miss Purple Avenger from the filler episode were originally from BRILLIANT DYNAMITES NEON?!

I-

Oooohhh.... Pretty art... Wait no... I can't distracted. I'm mad!

I'M VERY VERY MAD!!!

OML! This is much more intense! IT ADDS SO MUCH WEIGHT TO THE DUEL!

Oh my goodness... This nuance... WHY WAS THIS CHANGED?!

Not to say that Miss Purple Avenger and the episode featuring her was bad. It was actually great! Her version of July was nightmare inducing... and her confrontation with Vash was truly tragic too but.... Uhm...uh... AAHHHH!!!! I CAN'T CHOOSE! THEY'RE BOTH GOOD!

Oh... break my heart into fucking pieces will you huh?!

LOOK AT THESE! Manga Vash getting cheered on by the people! People were supporting him! He is being treated nicely as he deserved.

Even in '98! It was not as overt at this page. However, that scene of the captain from the beginning of this chapter replaced these panels instead and is just as effective. '98 Vash has people believing the good in him.

TRISTAMP VASH WAS ROBBED!!! HE NEVER HAD THESE!!! That poor precious boy! The few precious people who supports him only showed up near the end... and... and...

Now getting even more upset again with the Jeonora Episodes in Tristamp!

It's so not fair!

Oooh. A cinematic page!

HOLY SHIT!!! THESE PAGES ARE AMAZING!

I can't believe this. This fight is better in the manga!

I am not dissing Studio Madhouse for what they've done tho. The '98 Duel was epic too! They did great! But all these crazy angles and perspectives in the manga just elevate the overall awesomeness of the gunfight. It's just more immersive.

Tbf to the '98 anime, this is a nightmare to animate faithfully. With the technology and techniques at the time, this would be so difficult to pull off beautifully - going topsy turvy in one smooth motion for two characters at the same time in a fight scene with a complicated moving background? Yeah... The animation staff would go insane. It's totally understandable that they simplified this duel into extreme close ups and strong facial + gun drawings instead.

I hope Studio Orange re-hashes this fight in some way tho... or does the Episode 1 duel count?

Sigh... With the my discovery that Miss Purple Avenger's lines were actually BDN's, and that the outrage towards Vash for not remembering anything about July belongs to the Bad Lads', these words have become so much more meaningful.

It's also now more effective at convincing me that Brilliant Dynamites Neon have hidden depths.

Oh... Ow... The detailing here is just ow for the hands of an artist. Perhaps I overreacting, but those fine lines in the crooks and crannies make me wince.

Once again tag responses:

@revenantghost

Yeah. The more I see his work, the more I'm awed by his skills. That's a cool detail that his design incorporate realism. I thought the glasses are for the light tho? But maybe it's like those the Olympian gunners wore during the competition?

The dead REALLY haunting the narrative? Looking forward to it!

@takeshidude

Ok. Monthly publication are still grueling but at least its not as nightmarish with weekly mangakas. No wonder the quality is consistent with the art. Nightow was allowed to breathe.

You make a good point. '98 did have a bit of a mystery woven into it. We know Vash the Stampede - we follow his misadventures and people kept saying who he is ad nauseam in every episode. However, we don't really know know him for quite a long time. It's a different, but no less interesting, spin to the story.

Which kinda explains I'm misremembering some scenes and characterizations? The last third of '98 made a long lasting impression that I kinda forgot about Vash's horn dogginess.

[madame-mortician]

Why the In Water ending is the most canon ending to Silent Hill 2

So Silent Hill 2 is in a weird spot with its endings, since it never got an official follow-up. Silent Hill 1 and 3 have canonical endings, and you can’t really argue that any other endings could be canon because of this. The closest thing to a “sequel” would be Silent Hill 4, since James’ father appears in it, and it takes place after Silent Hill 2.

Now the devs have stated that there is no canon ending, which technically works since again, James never shows up again. You could say any ending is canon, and it could work. Now the only “canon” thing we know about James after Silent Hill 2, is that he’s considered “missing” to the general public. What this means is either that he’s dead and his body hasn’t been found yet, or he’s disappeared.

Again, this can work with any ending you got, as you could just say he ran away in the Leave or Maria ending, so that doesn’t apply to my point. Let’s just say for now, he’s missing and continue.

I want to bring up is Pyramid Head. Masahiro Ito stated he designed Pyramid Head with the In Water ending in mind. Yes, this doesn’t confirm that that ending is the “true ending” but for somebody who is so adamant that Pyramid Head has to represent a specific thing and cannot be mishandled, it would be weird for him to design a character based on a specific ending that wouldn’t be canon. Now to be fair, I can’t tell where the In Water elements are, so it can’t be that noticeable but it’s his words not mine. (Maybe PH’s violent nature towards James represents James suicidal thoughts, which leads to In Water?)

Moving on, there is the Silent Hill 2 novel. Now, novel adaptations of games usually never work, especially games with multiple endings. Unless the game has multiple endings but a set, canon one is known then it’s usually difficult to choose an ending. Unless you wrote multiple endings and had the reader choose their own adventure, it would never work, you have to pick one. So what ending did the novel go with? In Water. Now take this with a grain of salt since the novel wasn’t written with any input from the develops as far as I’m aware, it was just a written adaptation, but it’s still an official book, and that’s the “canon ending” for it.

Now my last point, before I summarise. Silent Hill 4 was originally going to have James appear as a ghost. The concept art is the photo at the top of this post. Essentially, in the Otherworld, James would appear as a ghost haunting the apartments. We don’t know if he would be an enemy or just an Easter egg, since this was cut rather early in development and it obviously didn’t happen. It’s hard to use this as evidence since it was cut, but it was still considered, and with James’ father being in this game it implies a bigger connection. Now here’s the thing with this though… it’s not a representation of James, that wouldn’t make sense since Henry nor Walter or even Eileen knew James. This would’ve been the actual manifestation of James’ ghost. Like, this would’ve been him. Why is this important? Well that would mean he’s canonically dead then. Not missing. Dead.

Now taking all of the endings into consideration, James only dies in one. In Water. Unless you made up an excuse like, he died after the Maria ending, which is stupid. With James being canonically “missing” you could again, argue that he’s just in hiding, but if his literal ghost is showing up, that means he’s deceased. Since he only dies in the In Water ending that’s gotta be the most canon one then.

All of these things are small, but when put together it can’t just be a coincidence. Pyramid Head being designed with the idea that the In Water ending was going to be canon, James being “missing” in the present, James’ literal ghost showing up AND the official novelisation using the In Water ending. C’mon.

Now the reason I keep saying “most canon” is because it won’t be the definitive canon one. The devs have structured the game specifically so that every ending, EXCEPT for the 2 joke endings, could be canon, so if some random girl on Tumblr starts saying “Actually, the original developers of the game are wrong, this is the canon ending ☝️🤓” I sound stupid don’t I? The point is, there will never be a canon ending, because this game will never get a follow up. Sure we will continue to get Silent Hill games, but we’re never going to see James or his supporting cast again, so we can’t say what’s canon, and we never will. I’m just trying to say In Water is the most canon out of all of them, not that it is canon, in fact it’s not even my favourite ending. Mine is the Maria ending.

[senka-mesecine]

Idk if this is too much to ask you to write but what do you think the ideal dates are for the platoon boys? Thank u sm!!

---

― For Taylor? Especially post-war Taylor? Weed, music, slow dancing and you. Anywhere. Anytime. It can happen in an intimate, dimly lit room somewhere for all he cares, away from prying eyes, because hey, that room contains just about everything he technically needs for an excellent time, which is the exact opposite of his least perfect figurative date which undoubtedly involves all the pomp, ceremony, pretentious mingling and posturing of high society; the very environment he grew up in. All the inane questions. All the formalities. All the stares. The judgement, of course. All those bullshit rules and expectations. The very thing he ran to the 'Nam from. If he ever went out to such an event with you the first and last thing on his mind would be how to get the heck out of there, retire somewhere, light up a blunt and actually just unwind in your company. That's the perfect date and a cause for happiness.

― O'Neill likes beaches, palm trees, sunsets, tanning oil and the whole shebang. You asked for a perfect date, so yeah, what's the point of even asking if he can't describe literally the most stereotypically perfect image humanly imaginable, with all the elaborate details that go along with this fantasy. The type of crap you'd put on a postcard and send someone to make them angry and envious of you. Maybe throw in a Pina Colada in there with a tiny umbrella. Someone cooling him with a bamboo fan. He wouldn't mind a massage either. Basically, man just wants to go to some paradise island with you and go native out there for a spell. Maybe you can feed him grapes. And then undress too. Feed him grapes while you're undressed. Ah, who are we kidding. It's quite the opposite, I imagine. Man would probably end up massaging your feet by an open pool and cockily beam with pride while doing so (all unprompted).

― Bunny. God, Bunny. What on earth would Bunny even consider a perfect date? Running over road kill while speeding on the open highway? Maybe placing a can on top of someone's head, pulling a gun and saying 'Hey, babe! Watch!' as he aims. It is very difficult to imagine him in a civilian life and the unhinged crap he'd get up to, but in any case he got to be sadistically braggadocious, got to do whatever he wants, got to, the way he'd see it in his unhinged mind's eye, impress you and he got some pussy for it too afterwards, because what it boils down to. Getting laid with you is the perfect date. Indulging in some delinquency on the side? An excellent appetizer and side dish to said perfect date's outcome. Everything else is stupid and distraction to him from what he really wants. It's best just to put out. Might just sate him and distract him from doing something chaotic.

― Wolfe's the polar opposite of Taylor in that he undoubtedly wants all the fluff, puff and pomp of higher society. All those Ivy League graduates. Colleagues from West Point. And of course, him, flaunting you. These are his type of people and individuals, unlike those in his platoon, he actually fits in with. Here, he is not a fish out of water. This is a place where his socialization is well received, he's seen as at least semi-competent over the fact he served at all and what's best, he's seen as something positive instead of something negative. It's his compatriots from the platoon that might not fit into his world over here if they were ever figuratively present, the tables finally turning and Wolfe privately might relish that thought the same way he relishes showing you off, sipping on some champagne, ensuring you're in your finest attire yet while he half-smiles like the cat who got the cream.

― Swinging on a hammock in his arms? Literally, you think Elias needs more than that? Man genuinely strikes as easygoing and casual enough to consider, lets say, a nap date as a perfect date, because yeah, to quote him, feeling good is good enough and that's just about all he wants when he's in love. To feel good; feel happy. That's a philosophy he abides by. Unencumbered, carefree and light. I imagine him, in say, a civilian life, out underneath a shade somewhere where it's still sunny enough to feel the warmth on his face, just having done smoking some weed, maybe some soft music playing from somewhere and him caressing the top of your head as you're nuzzled into his chest, dozing off, being outside on that hammock long enough to actually see the first stars at dusk accompanied by the early moon peer up from above head. That's the definition of paradise. Everything else is missing the point to him.

― Hard to explain just why, but Rhah strikes as the only person on this list who'd consider something usually seen as a traditional date as his perfect date, convinced his person needs to be pampered and treated right because he isn't an animal; meaning that, yeah, he'd want the meal, the candles, the set table, the atmosphere, the everything. Probably cooks himself too. Sets up the whole scene. Throws on translucent red shawls on all the lamps to ensure the coloring of everything is a deep red because that's the color of love, baby. Undoubtedly doesn't choose a restaurant, rather goes for something more intimate of the homemade variety because he thinks civilians are inhuman robots not in touch with reality and he'd rather avoid meeting any of them, if possible. You get the roses, you get the schmoozing, you get a million and one complement delivered in that gravely voice and you get the romance in the most classical sense possible.

― For King? Fishing? Somewhere in a creek back home? You're both buck naked? Surrounded by pine trees? Bathing, splashing around, laughing like a pack of unruly kids, swimming around and having fun? He eats you out at one point? Maybe someone busts out the weed for good measure and maybe that person is him? Maybe not? What? You don't think that's a perfect date? Stop lying to yourself! Everything described is the exact opposite of the high stress, hard working environment of daily military life; everything he couldn't have there (with the exception of the reefers), he gets to have and experience during a figurative perfect date with you and he makes sure to experience it as frequently in quantity as humanly possible because in his own words, it's all gravy now that the war is done and he wants to make sure he indulges in that gravy guilt free without any pressure or social expectations involved.

― Again, Barnes and Elias are more similar than they think, because much like Elias, Barnes doesn't need much for something to be perfect, even though he'd staunchly deny there's such a thing as 'perfect' because it's not realistic to reach out for nonsense like that, but deep down, below all the cynical gatekeeping and rampant gloom and doom, a bottle of something hard, a good smoke, a meadow somewhere and you; all he really wants and needs. Literally imagine him as the type to just observe the wild nature of Tennessee somewhere up in Hill Country and be content with that, as far away from the world as humanly possible. it's the closest to peace he's gotten, really. In fact, man needs so little in way of quality time spent it's almost daunting. He is quite literally the definition of 'you're all I need.' Not at all a mere figure of speech with Barnes. Not just pretty words. Nope. He means that. Somewhere you'll never be found so he can have you all to himself. There. A perfect date. But then again, with him that sort of thing is never just a date; it's a lifestyle, really.

[tickfleato]

tell us more about the greys i'm so intrigued

WEHEHE ok so i DO have a slightly outdated post about them here! it's accurate about their biology but not 100% on culture and i've since retconned their average height to be a little shorter, though i kept enen's height the same so i didn't have to redraw their ref and because it's really funny if they're a chilchuck situation.

long ass reply under the cut

Anyway. the greys (in my setting) are by far the oldest spacefaring sophonts, and in fact their original homeworld has been uninhabitable and lifeless for hundreds of years. the majority of their population belongs to the imperial culture (which... i should come up with a better name for What empire it is... but it's hard to come up with grey names for things due to their lack of vocal language), which is highly conformist and is the main reason that despite their advanced genetic engineering capabilities they all look pretty much the same.

for most of the empire and most people in it, life is pretty good. they are largely post-scarcity, having access to large mining operations on uninhabitable planets and producing most materials from bio-machines. people are required to work jobs but generally one is given plenty of choice as to what they want to do in life and it's ok to change. basic rights (sustenance, shelter, etc) are guaranteed.

however... there are absolutely people who fall through the cracks, and their society stands on some unethical columns. imperial society is deeply ableist towards anyone who cannot or does not want to be 'fixed'. this mostly applies to mental illnesses & cognitive disabilities, as well as telepathy-related disabilities (enen, for instance, has the equivalent of a bad speech impediment due to what amounts to brain damage, on top of difficult-to-treat PTSD and alien contamination of the mind).

and now of course we get to OVERSEERS!!

i explained it a bit already but they're essentially their equivalent of AI. whether you want to actually consider it AI or not is wobbly. they're fully made out of meat like all grey tech, and their core minds & brain matter are grown artificially, but a significant chunk of their computing power and the source of much of their personalities and memories while still growing come from a hivemind of grey bodies. and well, you might wonder how they get enough people to agree to subsume their consciousness to a hivemind...

coercion! it is nominally a volunteer position but in practice it happens to:

people with certain incurable mental illnesses or severe distress that can't be fixed (whether forcibly or not) as becoming part of the whole usually makes those issues irrelevant to the overseer itself. enen would technically be in this position but for plot reasons they aren't allowed to volunteer.

certain types of criminals that are too far gone for re-educate. this is carefully arranged so that they don't 'infect' overseers and no individual OS is allowed to get more than one at a time so that they don't form a 'clump'

people who were mentally damaged in some way from botched re-ed, therapy, etc. this is sometimes done on purpose when there's a shortage of volunteers but it's rare and illegal

a certain number of greys are grown with the intention of becoming seers when they hit adulthood, to make sure that quotas are filled when there aren't enough volunteers

also there sometimes are genuine volunteers who aren't going into it just because they've been made to believe it's their only option :) but that's relatively uncommon, most people think it's kind of scary

NOW OF COURSE there are other greys that aren't part of this society, and they all have varying customs and views and government and etc. they are all considered "fringe" cultures by the core. by and large they don't have access to all the tech that the core has, but some transhumanist (trans...greyist?) groups have their own technological advances.

heights for the anatomically standard greys are outdated

the empire currently (approximately for the past century or so) has a hands-off approach to interspecies meddling, and doesn't colonize inhabited planets, but they have in the past. their attitude towards other greys, though, is uh... well, it varies, but there are some sticky situations.

it's worst and stickiest when it comes to the claymin.

the claymin are descended from transhumanist/post-flesh greys, but are considered by all parties to be a separate species... sort of. they have access to the same genetic tech as the empire and can reproduce on their own as opposed to solely growing through exiles like other post-flesh groups, and have completely different anatomy as their true bodies have been engineered down to basically just a brain, referred to as the core, which can be put in various modular constructed bodies.

they are, however, mysteriously exempt from the 'hands off other sophonts' rule that the empire has. when enen was a combat mech pilot, this is who they were fighting.

i'll leave off there... for now. i can elaborate on some of the other groups later :3 hope you liked reading all that

[triangle-strategy-notes]

Cordelia Concept Art

Cordelia concept/reference art. Translation notes and image id below the cut.

Translation Notes

The word for "sash" on this page was literally "obi," the type of sash a woman would tie around a kimono. "Obi" is a valid English word, so I went back and forth between what to use, but since her dress isn't technically a kimono + the sash isn't tied in the style an obi usually would be, I decided to go with the more catch-all term.

"White as snow" was a word that literally just meant "white," but the first character and the word in general had some connotations with innocence/purity, so I added "as snow" to try and give that same connotation.

"Simple" as it refers to the fastener might have also meant "casual."

"Once upon a time" wasn't exactly the Japanese phrase for "Once upon a time," but it was fairly close. A more literal translation would be, "In the olden days, it just so happened that..."

"Girl of innocence" appears to literally be the word "witch". However, if you take the first character as a separate prefix to the second, it would mean something along the lines of "pure/genuine/true girl." I'm not really sure if that's how it works, but it seemed to make more sense than "witch," so that's what I ended up going with.

Image IDs

[id: Five images. The first two are the full pages of Cordelia's concept art in Japanese, the other three are translated versions of the text. On the first page, there is a colored and uncolored version of Cordelia's portrait. Underneath, there is an illustrator's note that reads, "Cordelia's overall tone is pale, so I thought it ended up being pretty difficult to choose a shading color. And actually, her initial facial features were much younger, but Mr. Ikushima redesigned her several times to give her the elegant look she has today. (Rina Yoshiura)". The second page is titled, "Morality's Sister (Healing Hands to Protect) Rough Draft". It has a small illustration/comic of a childhood Cordelia and Roland. It has the notes "Country A," "13 year old," and "girl of innocence." It then has a note that says, "I have to protect," with a large bracket beside it that contains the list, "small, dainty, gentle". There is also the word "pure" nearby. Underneath that is the illustration, titled, "Sister and Morality" with the subtitle "about 8 years ago". In the illustration Roland seems to be throwing a caterpillar-like bug aside. It's labeled, "Weird Bug Arm Bar Throw." Roland has some dialogue that reads, "I've for real gotta catch it!" Cordelia has some dialogue that reads, "huh?" Underneath them both, there's a note that reads, "Once upon a time, a warm fuzzy feeling made him think, 'I have to protect her!'" To the side there are several portraits of Cordelia, some full-body (one of which has a note about her braid being brought in front of her shoulder), and two that are labeled as "Bust portraits". One of the portraits shows Cordelia in a simple cloak with the fastener being labeled, "simple metal fastener." There's a top-down diagram of the metal she wears at her dress's neckline, labeled, "Decoration rough draft." On the second half of the page there is a portion labeled, "Working out the sister's hair ornament….." One version has a large flower on it. Next to it is a small portrait of Groma. A note reads, "Big flower, three strand braid. Doesn't she look like Grandma?" Another section is labeled, "Morality Facial Features and Morality's Sister WIP". There are several drawings of Cordelia's face, along with a full body rendition of an alternate design. She still wears the same sash as she does in canon, and nearby is the note, "For women. If they are wearing a dress, the sash should be wrapped like this." At the bottom of the page, there is another illustrator's note that reads, "She had this more child-like sort of look to her character during the drafting phase. But she ended up taking on a more serious role than I had originally expected, and the design was tweaked to fit. I recall she was a difficult character for us. (Yasuaki Arai)" /end id.]