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felassan · 3 years

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Zero To Play podcast episode: John Epler, Narrative Director at BioWare

In the most recent episode of Zero To Play podcast the guest was John Epler, Narrative Director on DA4. He talked about narrative games, how they fit inside an industry leaning towards games as a service, his experience being at BioWare for almost 14 years, and advice that he has for aspiring devs who want to create memorable, impactful and transformative moments in games.

The episode summary read as follows:

In this episode John brings his 13+ year experience being at BioWare and working on titles like Mass Effect & Dragon Age: Inquisition to explain how he believes storytelling will evolve and develop through the medium of games.

He shares some of his favorite moments and why he thinks games are the most powerful and interesting medium to be exploring in this generation.

It’s a good and interesting interview, so worth checking out if you can! You can listen to it here or on Spotify.

This post contains some notes on what was talked about in the episode, in case a text format is better for anyone (for example folks that can’t listen to it due to accessibility reasons). It’s under a cut due to length.

A bit of paraphrasing.

The average dev stays with a game company/studio for about 5 years. John joined BioWare right after the EA acquisition happened.

[on going into Trespasser] “Myself and the Lead Writer Patrick Weekes both knew that we needed to wrap up at least this part of the Inquisitor’s story, and set up where we want to go next with the franchise, with the IP. We learned a lot of lessons from DAI itself. DAI was a game with a lot of exploration and open-world content, and while we stand by that (I still think it was the right call for the game), one of the pieces of feedback we got from the fans was that they really wanted some more directed storytelling. Jaws of Hakkon was more of a continuation of open-world, more free-from exploration and free-form design. Trespasser was our opportunity to tell a story in a much more linear and focused way. [this way of telling stories] really does help to be able to create that sense of pacing and emotional escalation. It’s a lot harder to do that when you’re mixing up storybeats with big, wide open-worlds. Trespasser was a project where everyone was kind of in sync, we were all building [towards] the same thing.”

“There were [story]beats [in Trespasser] that I don't think we would have been able to get away with in basegame DAI, one of those being the - quite frankly - incredibly lengthy conversation you have with Solas at the end. Because by this point we knew that if someone is playing this DLC then they are in it - they’ve been in it for the last two DLCs, they’ve played through the entire game, they want something incredibly story-focused. And we were able to really dive deep into that, some of the deep lore, some of the narrative. This was one of the only conversations that I’d worked on which, due to limitations of the engine, we actually had to break into two different conversation styles because it was so massive. We also got opportunities to do some fun callbacks. One of my favorite ones was one Patrick suggested which was, ‘What if I [didn’t like Solas much and] spent the entire basegame telling Solas I didn't want to hear anything he had to say?’ So we had the option that if you never chose ‘Investigate’ or a dialogue option that implied that you wanted to hear him blather on, there was one dialogue option that you could pick which was basically ‘Solas, when have I ever wanted to hear any of the shit you have to say?’ And it just kind of wrapped up the conversation super quickly, and Solas looked exasperated. It was fun because it’s not the kind of thing you can necessarily do in the main game, but in a DLC which is entirely for those core fans, you have a lot more options as to what you can do.”

John has an understanding of games as an interactive medium.

“Choice of combat, choice of mechanics, all of that does have an impact on the storytelling and on the narrative that you’re trying to put through. A lot of storytelling in games is trying to make sure that the - there’s a phrase, ludonarrative dissonance - [for example, say] I’m making a game where I’m trying to make the player feel powerful. How do you [do that?] [...] In games, this is kind of the challenge. Interactivity is so key to it. [...] It’s a lot harder [compared to characters in film] to put the player in a situation that they are going to lose, because as soon as you take away that autonomy, you’re taking away some of that interactivity. [...] If as a player I'm making you feel strong and powerful, and then I pull you into a cutscene and suddenly you’re losing the fight, you’re losing what’s going. That is a much different sensation, that is something movies can get away with that games can’t.”

“What are [players/our audience] actually meaning when they say that they ‘want choice’? I think that in a lot of cases we conflate that with ‘Oh, they want to make a big decision that changes the world’. But in a lot of cases what players want is the game to react to what they’re doing and the choices that they’re making in a way that feels organic and natural. I think this is something CD Projekt Red and the Telltale games did really well - of making it clear when the game is actually going to pay attention to what you said or did, so that when you see it later you’re like ‘Oh right yeah, I made that choice, the game said it was going to remember it, and it remembered, this is cool’.

And it doesn't always mean completely changing the course of events. The Telltale writers, as they got on through the games, they realized that the better way to address choice - and something we’ve done too - is, if we make the game have three endings, four or five - like DAO had an absolute massive amount of ways that it could turn out. How do you pay that off if you want to do a sequel? There's basically two choices. One is that you make an incredibly short game because you have to account for these very different branches, OR you collapse them and say ‘Sorry, this is what we’re going with’. And I don't think either of those are necessarily satisfying. For me it’s about making the players feel like their time and the choices they made have been respected. More than anything else that's the key, it comes down to understanding your fanbase, what it is they’re looking for, what it is they’re asking for, because there is that desire for choice, reactivity, consequences. And it’s something that BioWare, that we’re especially sensitive to because it’s always been a big pillar of the games we make. It’s just about understanding what this actually means from a practical standpoint and how you execute on that in a way that makes your fans feel satisfied, while still not writing yourself an impossible check to cash, because, you know, you can react to anything, but if you have a game that ends in three separate ways, you have to go with one of those two options and neither of them is going to be intensely satisfying to the player.”

“A phrase I’ve been using is, what I'm describing as - the half life of quantum. ‘Quantum’ is what we say when it could be like, one of six different things. The half life of this is how long before you actually resolve that down to a single point. Like, provide the player with that reactivity, but collapse those into a way that you can proceed forward. This is 100% a lesson learned from Dragon Age, for all the games. ‘Ok, what do we do with this? Holy shit, that is huge, how are we actually going to pay that off?’ Reactivity, but without putting yourself in an impossible-to-win situation [from a story/writing standpoint].”

“More than anything else, the advice I would give [to aspiring devs] is, come up with some fundamental pillars of your story and of your design. There's a misunderstanding that we plan out the exact story for years in advance. We know what we want to get to, we kinda know how we’re going to get there, and a lot of it is just making sure that you have those pillars and those razors. So as you go through development and find, ‘Oh this piece is not working, this piece is clunking’, you’ll always have principles that you can go back to. What is important about this story? Does the piece that isn't working satisfy any of those things? If no, then we have to change it or get rid of it.”

[more advice] “Don’t be afraid to fail (I say fail here as a good thing). Don't be afraid to put something out there and have it absolutely torn to shreds. Feedback is your best friend, having people that you trust to provide that feedback. If I were building a big epic narrative, a big epic franchise, [I’d advise that you] start with your principles and the core of what you want to do, and then just start putting out ideas. ‘Here’s my idea for this story’. It’s easier for me, I'm inheriting a lot of work that's already been done, a lot of ground that's already laid - I have a Lead Writer that has been doing this longer than I have, PW is fantastic. But for myself, it’s just been a lot of like, okay, taking this stuff that's already been built, and making sure that I know what we want to do with whatever the next project is. It sounds overly reductive and overly simplistic, but it really is about just having a really strong sense of what is important to your franchise, what’s important to your brand. If you’re coming up with a new IP, it’s a little trickier. You need to spend some time thinking: what’s the tone, what’s the setting, what kind of story do we want to tell.”

[more advice] Don’t be afraid to heavily reference existing media [as actual razors, internally]. But that's not something you ever want to have go out to the public, because people go like ‘Oh, you’re just being derivative’. It’s like no, we’re just leaning on cultural touchstones that people know, so that when you’re communicating with people outside your discipline, or with people above you like executives, they can at least get a sense like, ‘Oh I kinda get what you’re doing, okay that makes sense’, versus ‘Let me first of all explain the entire history of the world’. My experience with executives is that they don't have time for that and justifiably so. But if I tell them we’re doing X but with Y and Z it’s like, ‘Ok cool, we get that’. [...] It’s a tiered approach. You have levels of detail that you provide to different people based on what they need to know. You yourself may need to know the history of these characters and how they relate to each other and the thousands of years of history for that, but the person building combat probably doesn't need all that detail and just needs to know ‘What am I working with, how do these characters fight.”

“A razor is a statement that you use to slice away what doesn't fit. The narrative razor for Trespasser was, I can’t remember exactly, we were basically trying to go for the Avengers meets Indiana Jones, Winter Soldier. Avengers meets Winter Soldier. [a razor is] a statement that you take all the content [by], ‘Okay, does this actually fit this statement? No? Okay, get rid of it’. It’s about focusing your game. Cutting away the ideas that don't really fit is how you avoid scope-loading and people crunching, and how you keep your project focused.

Trespasser was an intensely-focused DLC, in that it focused on basically two main core things, Solas and the fate of the Inquisition. Everything kind of wrapped into those two razors. As we were going through content, we had stuff like - I said this at a GDC presentation in 2016 - the Qunari are farming lyrium to make Qunari templars. And then we looked at it like, how does that apply to either razor? It doesn't, it doesn't fit either one of them. So we simplified it to, ‘Okay, what actually makes this work in the context of what we’re building?’. [a razor is] a statement that you use to slice off what doesn't fit into the game that you’re building. It can be painful, but having strong razors means that it never comes across as a personal thing.”

Narrative does not mean story.

Two of his least favorite mechanics in games [not including Stalker and DayZ] are weight limits and weapon degradation.

On games as a service:

Interviewer/host: “Talking about games as a service, it’s definitely something that is talked about a lot in gaming in terms of the most successful games. With Dragon Age, putting DLCs out is kind of maybe that same influence, but games that are launched and then iterated on and updated and pushed with content every month, like Fortnite, Riot Games, League of Legends, Valorant etc, that's kind of I feel where the trend of games are trying to go and make the most of those interactions between other people, to make replayability possible and easier. How do you see narrative, do you see it being forgotten with this increase of games as a service? [...] Do you see that as a positive part of narrative in games or do you think there’s still work to be done in that space?”

John: “[...] The place we start to see some confusion, a lot of people think it’s one or the other, but to me, it’s another way, another option for telling stories that by their nature have to be different. I think that's where you need to be, again, very cognizant of what you’re building and of the genre you’re working in, because a story that works for a more traditional box product is not necessarily the kind of story that would work for a games as a service product. [...] Games as a service, understanding what the cadence is that you’re planning to deliver to and what kinds of stories best fit that cadence - some games are better at it than others.

One game that did a pretty decent job of it is Destiny 2, through patches. Final Fantasy 14 is another example, they do a lot of their storytelling between the big expansion releases as part of their free patches. They always know that they have - I think, five big patches? - between each expansion, and they’ve structured their stories to fit into that very specific five-act structure. If they tried to do it weekly or bi-weekly it would be a very different experience. I think there’s always room for narrative. It’s about knowing that there are different lessons to learn and not being afraid to learn those lessons, as opposed to trying to fit the traditional box product square-peg narrative into a live service round hole. And that’s why you need to have a strong vision and why you need to have somebody at the Director level who understands and plays the kinds of games that you’re building, so they kind of understand what works and what doesn't - ‘This type of story worked really well for this game, and I'm not saying you should copy it, but you should at least be willing to learn those lessons and not reinvent the wheel every time.’

We’ve been making games for a long time now, there’s lots of lessons to learn, we should be trying to learn from them and not trying to like, change everything every single time.”

[on length of narrative] “In a lot of cases you know how long your game should be and the hardest part is sticking to that. [...] There is always a worry that fans are going to see a number and be like ‘That’s not big enough or that’s not long enough.’ I do think that there is sometimes a lack of confidence in what you're building, and a desire to make it shorter or longer, but I think at the core, the people building [a] game know how long it’s going to take to tell this story that they want to tell. I say this specifically for narrative, but even stuff like progression, you know how long you want it to take. For myself, I will always take a short but well-executed game over a long game that feels that it has a lot of [useless/boring] padding. It’s about identifying the kind of game you’re building. Open-world games are always going to be bigger and longer than more linear games. Being confident in that number and recognizing when you’re adding time and space for no other purpose than just to make that number on the back of the box longer [is important]. Fans don’t love that, they can see right through that.”

“It was nice to see the amount of hard work that went into DAI rewarded by the press [with the Game of the Year award]. There are definitely parts of it that didn't land that we wish we could have done differently, but it was a project that felt like we were all pulling in the same direction and when we started getting that positive feedback, it was definitely a sense of relief. Especially because a lot of us had been on DA2, and while we were proud of that project, it obviously didn't get the reception that we wanted at that time.

[when they were watching DAI’s release and tracking its reception] We’re keeping a running tally, like ‘Okay, this is really looking like we did something special here’. I’m proud of every project that I’ve worked on but DAI is definitely one that I’m especially proud of.”

“Part of the advantage to being at a company for as long as I have, I've worked with a lot of the other people [responsible for things in other departments like art, writing, audio etc], so while there is that anxiety like ‘I reeeally hope that this works out’, I know it’s going to, because I know that everyone who is doing these roles, like our Animation Director, our Audio Director, Levels, all those other people on the project know what they’re doing and they know their shit better than I could ever hope to. So I’m just kind of standing here like ‘Hey y’all this is what we need’, and it’s coming in. And when it does come in, when you see the pieces together - I think for myself, on DAI, the moment that I first finally started feeling like it was really all coming together was, one of our music designers, going into one of the moments at the end of Redcliffe, doing the music/audio pass, and me finally seeing this scene that I’d been staring at and banging my head against for months - turn into something that actually conveyed emotion, that actually was something that I was excited for our fans to get to see and get to experience. That’s always a special feeling.”

Cinematics is one of the last things to come in, which means that audio is always waiting for them to come in: “They always did an amazing job with very little time, I will never not praise our audio and music designers.”

“Patrick Weekes is the Lead Writer, which means ultimately PW is responsible for the writing side of the game. As Narrative Director, I’m there to offer, to basically take the vision of the project and interpret the part that focuses on narrative and then provide that to my team - because I work with writing, cinematics, level designers and everyone - I’m there to be like ‘Hey this is the narrative we want to achieve’, which sometimes involves getting involved in the story side of things. But a lot of that is PW’s job as Lead Writer, they’ve been doing it for a long time, they’ve been in the industry longer than I have. It’s a really good working relationship. We worked together when I was in cinematics and they were in writing, we worked together on the Iron Bull, then we were both leads on Trespasser, so we have a trust.

I think what’s been really helpful is that they know that if I tell them something’s not working, it’s not coming from ‘I wanna do it my way, you better just do it my way because I’m the boss’, it’s coming from ‘This is something I think we need to do for the project’. And vice versa, if they push back on me about something, I know it’s not coming from ‘Screw you I'm the Lead Writer, I make the decisions’, they’re saying it because this is an actual concern. I do writing, I’m a writer on the project too but I will fully admit PW is a way better writer than I am, so I'm comfortable leaning on them for that stuff, and then I’m the person who can provide that ‘Okay, we know that gameplay is providing this, we know levels is providing this, let’s shift the priorities'.

It’s also about knowing, being able to take that back from any one discipline and say ‘Okay, what is the right decision for the project as a whole’, and sometimes that means telling PW something that they may not think is their favorite thing to do, but they will listen because they trust me and I trust them. I don't know how it works at other studios, there are places where Narrative Director is also the Lead Writer, or where there is Narrative Director and Lead Writer is the highest authority on narrative that exists, but it’s worked for us again because we have that lengthy experience. It would be interesting to see how it would work if we didn’t know each other for a while before this. It’s largely a relationship of trusting each other to know our areas of expertise and also just understanding what’s important to the narrative vision of the project.”

When they did Tevinter Nights it was ‘extracurricular’ work: “It was fun, I got to do some writing, I got published, which was really fun”.

[source]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

#dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #video games #solas #long post #longpost

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ziracona · 3 years

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Pretty sure your sudden spike in Fate content is gonna be like the third time I check something out bc you started posting it (I know next to nothing about Fate. In fact, I think I now know less than before you started). I'm rly not sure what the best starting point to get into it is, though. Any recommendation? (also I got Moriarty on your quiz and now I want to know why he's so beloved)

Oh sick! Awesome! I hope you enjoy it!

Uhm, so, Fate notoriously swaps out like their whole creative team from work to work, so some of it is really good, and some is really bad, and some in the middle, because it’s made by very different people. The things I am most into are UBW, and Fate Go. Fate Go is a little gatcha phone game, that suffers from the fate of the whole fate franchise but as a single unit. They swap out writers from arc and event to arc and event, so sometimes you’re living and thriving, and sometimes you’re like *thousand yard glazed, pained stare* ‘why the fuck did I download this game?’ Very mixed bag. I enjoy it because I just kinda blow through any arc I don’t like and skim, and then go hella into the good ones, but it’s very much an individual matter of taste one. It’s very fun to collect spirits and get to know them though, and some of the arcs are fantastic. Also, they have made/are making some of the Fate Go arcs into shows, and I expect the ones that are of good game arcs are good? But I haven’t actually checked any out myself yet--I really need to watch E Pluribus Unum, because it was an easy top 3 arc for me in the game.

I’m big into Fate, but I actually have approximate knowledge of many things? And have not consumed as much media as you’d think. I tend to hear people really like Fate Zero, and very mixed reviews of Apocrypha, but I would wholeheartedly recommend the Fandom Classic(tm) and my personal fave as where to start, which is Unlimited Blade Works.

Sorry this is so long. Okay, so. Originally, Fate Stay/Night was a visual novel with three paths/routes: Fate, Unlimited Blade Works, and Heaven’s Feel. All of these are shows now. Unlimited Blade Works was made twice. Do not watch the early one; it’s bad. Watch the 2014 TV series--it’s on Netflix right now. Don’t watch the English dub--the VAs are...not great. 110% recommend watching it in Japanese/original dub, with subtitles. (This one)

My usual pitch is that if you’re a normal person, you’ll probably go “This was a little confusing, but I really got into it: 8.3/10″, and if you’re like me and you never really gave up on wanting to become a superhero and save the world some day, you’ll go: “It was fantastic, 18/10, but it also ripped out my soul and left me wounded but somehow in an okay way.” Either way very worth watching. Since it’s not the first route, there are some things they don’t explain about the world because they kind of assume the viewer will know, but that’s pretty minimal--it’s def coherent enough that the more confusing bits are more of a “Uh, okay. I think.” than a “W-What the fuck is going on?”

It’s really good. Two seasons, the most beautiful fighting in almost anything I’ve ever seen, phenomenal soundtrack, and one of the best show opens (Season 2′s) of any show I ever saw. All around a just big blanket rec from me. It’s a long-time fan favorite for a reason. It’s one of my fave shows ever :’-] It was. Very personal to me.

Uhhhh what else--okay so, on Netflix if you watch it there, and a lot of streaming sites, they list “Episode 0″ or “Prologue” as the first episode? This was originally bonus content, not the first episode. It’s basically the first episode from not the MC’s point of view, but a different major character. It’s got some really great character moments and insight into Rin and Archer, and it’s fun, but since it was originally bonus, the pacing is super weird? So I would recommend you start with actual episode 1/Winter Days, A Fateful Night instead? Unless you just want to. Like it won’t mess up the show, but it might give you a weird idea of what the pacing is. So you can watch it first if you want, or later whenever you’re curious about those two, just like, if you start on it, don’t get overwhelmed by the stuff they’re not explaining, or the weird pacing. It’s supposed to be bonus content haha.

Very happy you’re interested! I really love UBW so I hope you enjoy it! If there’s anything else you want to ask feel totally free! I just don’t want to ramble for eight years about my special interest and fall into a black hole unprompted haha. : D Very happy you’ve been intrigued by my weird spike of fate content WAIT YOU ASKED ABOUT CRIME GRANDPA HOW COULD I FORGET.

Woof this is gonna be a long ask answer. Uhhhh, so Moriarty is from Fate Grand Order/Fate Go, the phone game. The game has three major arc sets so far: Grand Order, Epic of Remnant, and Cosmos in the Lostbelts. He’s from Epic of Remnant, and he’s universally beloved because he’s amazing. The MC in Fate Go is like 16, but he or she (you get to pick) is constantly having to risk their life and be hurt and traumatized and watch people die to save the world because there’s no one else to do it, and usually people are...not super nice to them. Moriarty shows up in the first of the second set of arcs and is like ‘Haha that’s a wholeass human child tho. Guys. Guys, a-are you sure about this?’ and he’s really there to pull of a massive evil culmination-of-my-life’s-entire-work-and-value scheme, but this kid is nice to him, and has nobody who looks out for them, and Evil Has Standards, so (Arc End Spoilers for that one ahead) he ends up giving up basically at the last minute. He had a plan that was totally working and could have won, but can’t really pull the trigger, because winning would mean this kid who has been nice to him and is already a massive pile of trauma and pressure and mental illness would die, and he cares more about them than his life’s goal. In Go usually boss fights are progressively harder, but his is super easy because he throws it, and chooses to lose, and basically throws away his life’s work for this one kid because nobody else is taking care of them, and lets himself get killed. This is a pattern with him. Other high points include later being 5 seconds into a scheme when Frankenstein (the girl one, who in fgo is like 14) stops him to call him Papa and asks for help, so he adopts her on the spot and just is her dad forever after that. He’s very goofy and I love him; he’s evil, but I’d trust him with my life, because he’s more good than he is evil, even though he’s both. Basically he’s just a very interesting and well written villain, but he’s also like, the /best/ dad in the game at the same time, and his dialogue is amazing. Evil Has Standards team dad poster man. He’s like the only adult in Fate Go who actually is responsible, which is fuckin wild. I’ll try to find some good screenshots of his dialogue. Anyway he’s incredible and I’m so happy you got him; Crime Papa is life.

Here have some Moriarty junk: (Shinjuku arc you have 3 partners, and the other two are adults but harass the MC constantly, and this was the dynamic. Bless Moriarty)

And here’s some him roasting Sherlock memes and being good dad to the MC

#ask #tathracyn #fate #long post

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benperorsolo · 4 years

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I promise I am not sending this in bad faith but it kind of surprises me that so many intelligent and well-read people in the Reylo fandom did not see Ben’s death coming in a mainstream American piece of media aimed family audiences. Unfortunately, a (redeemed) murderous villain settling down with the heroine was never a realistic expectation to have from such a massive franchise. Especially not on screen. But I can see them bringing him back in a book with a niche readership.

Not meaning to be rude, but it 100% was a reasonable expectation to have. Star Wars is (was) very unique among American franchises. It already eschews many models of American storytelling.

The entire Force in the OT is based on your "feelings", a concept ridiculed by modern unsentimental storytelling and culture. Luke is told to "trust his feelings." Luke wins not because he physically overpowers Vader or Palpatine but because he throws away his weapon because violence will only turn him to darkness, declares that he won't fight Vader because he "is a Jedi, like his father before him", and is saved by Anakin coming to his senses and redeeming himself by protecting Luke after Luke shows true love and compassion for his father. The day is not won by punching a guy, as it usually is in American storytelling. The day is won because a son refused to fight and instead merely reminded his father that he loved him.

Star Wars is explicitly based on mythic storytelling as interpreted and given lens by Joseph Campbell. As in, Lucas was friends with Campbell and literally told Campbell so. Lucas intended, very clearly, to make a story in the fashion of old myth. And in the fashion of old myth, old men may die, but youth must live. Lucas even is quoted as saying, "I believe you are redeemed through your children." Ben, being young, being the child in this scenario and not the father, 110% should have lived under SW's original mythic logic.

I have explained why Ben needed to live here in this pre TROS post and I stand by the logic which TROS abandoned and which therefore breaks the integrity of the story. Anakin did not die as Vader because it was punishment. It was framed as a release for an old man who had suffered for twenty years in a broken body. Obi Wan, Luke, and Han dying also do not die to be punished because they are old men who lived their lives fully and now die with purpose. Ben is none of these things and his death is a cynical exception.

It is pandering to the lowest common denominator to act like SW was always this way. Original Star Wars was created explicitly to counter the cynical American storytelling you are talking about.

"Rather than do some angry, socially relevant film…I realized there was another relevance that is even more important — dreams and fantasies, getting children to believe there is more to life than garbage and killing…Once I got into STAR WARS, it struck me that we had lost all that — a whole generation was growing up without fairy tales. You just don’t get them anymore, and that’s the best stuff in the world — adventures in far-off lands. It’s fun.” (x)

"You can’t, and how do you explain a Wookiee to an audience, and how do you get the tone of the film right, so it’s not a silly child’s film, so it’s not playing down to people, but it is still an entertaining movie and doesn’t have a lot of violence and sex and hip new stuff? So it still has a vision to it, a sort of wholesome, honest vision about the way you want the world to be.” (x)

Anyway. I am trying not to be aggressive but I have answered so many asks on this topic in the past. Those of us who insisted that Ben needed to live did not do so with some blind spot in our literary vision. Star Wars, until TROS, was not a Marvel movie, was not an "American story", was very explicitly textually by its creator built on ancient myth and non-cynicism. Ben dying breaks the integrity of this ancient myth logic and it therefore breaks star wars. SW wasn't about, in George's words, "garbage and killing." That it has now betrayed itself isn't my problem or our fault for believing in the shape of George's vision, not sorry.

#asks #nonnie

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surveys-at-your-service · 3 years

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Survey #333

“imaginary chain / the one you never break / seething all alone”

Do you have any fears you would rarely admit to anyone? Nah, I'm pretty open about what I'm afraid of. What website do you spend most of your time on? YouTube. What class in high school did you struggle with the most? I honestly don't remember with certainty, but it was probably math or economics. At least, I think econ was my senior year. What could you talk about for hours? Mark, meerkats, a few game franchises... maybe a couple more topics. Who is your favorite character from Harry Potter? I wouldn't know. Do you salt your popcorn? Yes. Do you have a Steam account? Yeah, but I don't have many games on there and rarely touch the ones I do. Do you like gaming? I do, but not as much as I did for most of my life. I mostly just play WoW now, and even that I'm not that into anymore. Part of it though comes from not buying any new games that I'm interested in because 1.) no money and 2.) no proper console, and you can only replay games so many times before you're just... yeah, done. Do you like reading books? Some days. Do you like religion? All things considered? No. Do you like Grand Theft Auto V? Y'know, growing up, I actually liked watching my younger neighbor play one of those games, but I don't remember which. Though he never actually "played" it... just ran around wreaking havoc, lol. I do however think GTAV was the one that Jason and Jacob started playing together when we moved into the apartment, and I thought the story was okay; I don't think they ever got far into it, though. Definitely wasn't Jason's sort of game, and I don't think it was too much up Jacob's alley, either. Can you twerk? I haven't tried and you will never see me try either, lmao. Do you have a Spotify account? Yes, but I almost never use it. If the last person you kissed tried to kiss you again, would you start kissing them back? Yes. If your best friend of the opposite sex tried to kiss you, would you start kissing them back? No. Have you ever kissed someone who has previously kissed someone you hated? Yes, because of how badly she hurt him. I don't have any negative feelings towards her now, though. We're actually friends, haha. The irony. Are you an easy lay? What weird wording. But whatever, quite the polar opposite actually. When’s the last time you said you were sorry? A few days ago. Are there any songs you listen to everyday? No. Would you like living on the coast? As someone who lives in a state hit by hurricanes usually every year and has seen the incredible damage they usually bring to the coast, no. I don't like the smell or gritty feel of salty air, either. When’s the last time you were really late to something? No idea. That's usually not a problem with me. Why did you stop liking the last person you liked? The last person I actually stopped like-liking would be Girt, and that would be because I just came to the realization I saw him too much as my brother instead of boyfriend. It just always felt awkward. Do you still talk to that person? Yeah, we're good. No hard feelings or anything between us. Are you keeping a secret from someone who needs to know the truth? No. Do you trust easily? Fuck no. I'll be cautious, at least to some degree, about new people for a while. What is the last song to make you cry? Since I've actually behaved and not listened to any trigger songs, it's been a long while, but it was probably "Another Life" by Motionless In White. Last person you hung up on? I'm sure some automated message. I barely ever answer the phone to numbers I don't recognize, though. Where was your last car ride to and from? To Wal-Mart w/ Mom to pick up our order and then back home. Next big outing? *shrug* Do you find it difficult to stay invested in online relationships? Not really, no. Considering I'm by far my most authentic self online, I actually tend to appreciate virtual friends more, if I'm being honest. I try to keep up with those people. Are you the type of person who pays close attention to the release dates of movies, music, etc., and will, for example, go see a movie or buy an album on the date it is released? If so, when is the last time you did so? Not really, no. I think I saw Warcraft the day it came into theaters, though. Do movies often make you cry? What kind of films/scenes make you tear up most? Yep. Tragic romance tends to do it the most, I think. Do you use any apps to track your health or medications? I have one to track my menstrual cycle as well as another that tracks my daily caloric intake, but I'm bad at using it because it's tedious if I actually have to measure something. Whose opinions/recommendations do you value most? Ummm if you mean like, in general, probably my mom's. But this most certainly depends on the subject I'm taking feedback on. What is something society "expects" you to do that you don't want to do and/or don't plan on doing? Shaving my legs came to mind first. Granted, I will if there is almost any chance of someone seeing them, but otherwise, I just don't care. We respect women with body hair on this account and see them as no less feminine. Are you interested in architecture? Is there any particular style that you're drawn to? I think it's cool, yeah. I should have an answer for this, given architecture was a massive focus in Art History the last time I was in school... Roman architecture comes to my head first, if that says anything. What was one of your favorite things from the nineties? BOY OH BOY, SO MUCH!! I'm probably gonna say the toys. There was some dope shit, man. Do you collect things pertaining to an animal? ANYTHING and EVERYTHING featuring a meerkat!!!!! :''') Do you wish that people were kinder to spiders? Well, yes. I hope everyone in their heart wishes this, even if they're afraid of them. They're very important to our ecosystem, and none are out there to harm us; their existence does us a favor. Where do you normally order pizza from? Domino's (my favorite) or LIttle Caesar's for the price. Did your parents keep anything of yours from when you were a baby? Oh yes, loads of stuff that's stored away somewhere. Do you own one of those "____ For Dummies" books? No, but I feel like we had one at some point? What was the last VHS tape that you watched? Yikes, who knows. Did you watch Boy Meets World back in the day? I actually didn't, no. Our old neighbor though loved it so much that she named her daughter Tapanga (deliberately spelled that way). Who is your favorite Scooby Doo character? I never really had one. Maybe Thelma. If I were to give you a coloring book, what would you want its theme to be? Animals. Have you ever won a stuffed animal at a carnival? Possibly a small one. I can tell you I did however accidentally stab the guy who ran the dart-throwing booth though, lmfao. He was obviously fine, and it wasn't a bad wound. I felt SOOOOOO bad. Are you a fan of narwhals? I'm a fan of any animal. Narwhals are definitely fascinating creatures. Grape or orange soda? Orange. Grape-flavored soda ain't my thing. Have you ever wanted to vlog? Noooo. My life is so painstakingly boring and repetitive. Did you have a favorite Disney movie as a child? It was and still is The Lion King. Do you or have you ever owned a portable gaming console? Yeah, a GameBoy Advance and Nintendo DS. Is shyness cute? It definitely can be. Have you ever had alcohol poisoning before? No. Do you like to gossip, or do you prefer to keep your mouth shut? I'm not a gossip fan. Have you ever vandalized someone else’s property before? Most definitely not. Are your parents divorced? Yes. Have you ever been under suicide watch for 72 hours in a psychiatric ward? Yes; at least here, that's protocol when you're admitted for suicidal thoughts/tendencies. Have you ever gone through your significant other’s phone or social media accounts, or do you respect their privacy? Absolutely not. That shit pisses me off so badly. Do you wear any sort of clothing for religious reasons? No. What's something you worked extremely hard to get? My sanity back. Sounds so dramatic, but I'm literally not kidding. Have you ever been labeled negatively or otherwise been called something extremely derogatory? Not that I remember. How many kids do you want to have? I don't want kids, but to entertain the question, when I did, I wanted three. It's fuckin wild to imagine for even a second that I once wanted that. Do you believe that being gay is a sin? *eye roll* Are you any good at photography? If so, what’s your specialty? I mean it with modesty, but I think I'm pretty good. My favorite thing to photograph are animals, but I generally take most pictures of people by request or pay. Judging by my deviantART account, my nature pics definitely get the most attention. Have you ever been a member of a gang before? Fuckin yikes, no. An infamous gang tried breaking into my childhood home once, so you can probably gather that I would never take part in their "big bad guys" bullshit. Have you ever felt like you were neither male nor female? No, I'm comfortable as a cisgender female. Do you like oatmeal raisin cookies? NO. Anything with raisins = NO. Do you think you’re attractive? No. Has a teacher ever caught and read a note you were passing in class? No, not that I really passed notes to begin with. I'd be mortified, regardless of what it was about. Would you rather live in a tropical or arctic climate? Arctic. Do you have an older brother? Yes. He's technically my half-brother, but I don't see "half"s. Have either of your parents ever been to jail? No. Are your collarbones prominent? Bitch I wish so I could get the damn dermal piercings I've wanted for years. Have you ever in your life worn overalls? As a kid, yeah. So ugly. Do you love yourself? It's... weird. Therapy is making me realize that a part of me, maybe even the bigger one, doesn't, but at the exact same time, I know I have worth just like every other human. I just don't treat myself like I do. What TV shows do you keep up with? None, until Meerkat Manor returns this summer. :') When’s the last time it snowed where you live? A couple months ago we got a little bit of it. Is your belly button pierced? No, but it would be if I was actually skinny. Just in my personal opinion, I don't at all think that that piercing would look nice on someone as overweight as me. Even if my damn dreams come true and I lose all the weight I want, my stomach will never look "normal," even after I get the excess skin removal surgery that will be very high on my priority list for my own self-image that's been nothing but loathsome since 2016. What is your favourite dinosaur? Spinosaurus is the obvious answer. What do you remember the most about your childhood? Lots of imagination. Parents arguing. Playing with my little sister. What age did you get your first hair cut? I have no idea. Do you have a favourite toy from childhood still? No. I wish I hadn't gotten rid of it. Have you ever made bread? No. Would you ever consider shaving your head? Nah. Would you like to live in a realm where the zombie apocalypse is possible? Who says we don't now? Zombifying parasites already exist among insects and such, so like... it's not unimaginable to one day see one developed enough to infect humans. I sure as fuck hope not, but. What do you use to dry your clothes? (Tumble dryer, radiator, etc) We have a dryer. Do you ever play the built-in games on your computer? Which ones? Nah. What was the last spontaneous thing you did? I did this many, many months ago, but I guess watch an episode of The Witcher by my own volition. I don't really do spontaneous things with how routine I am, but I had a random urge to check it out one morning. How loud can you whistle? Not very loud at all. Does anything on your body hurt or itch right now? My knees really hurt. They're getting worse. When was the last time you built a sandcastle? There's noooo telling, it's been many years. Have you ever ridden a mechanical bull? No. Well, not a *real* one, anyway. Just the little ones for kids. If you had to appear on a game show, which one would you choose? Family Feud. What is your favorite hot beverage? Hot chocolate. Do you have an alter ego? Describe them: No. Food: Are you adventurous or do you stick to what you know? I absolutely stick to what I know. I am SO picky. Is there anything (out of the obvious) that makes you feel really ill? I'm not immediately sure, but there's probably something. Do you bump into things often? Yes. I've always had this weird habit of like... drifting when I walk, so I do this easily. I just kinda wander to the sides a bit without realizing it. What design is on your calendar this year? I don't have a current one. Did you enjoy playing Hop Scotch when you were younger? I did. Do you feel uncomfortable going to the movies by yourself? Nah, not really. I did that with Warcraft and it was actually pretty chill. When thinking about your dream home, what do you think would be your favorite thing to shop for? The ~g o t h i c~ decor. Do you ever listen to those lo-fi hip hop/study music playlists on YouTube/Spotify? No. Are you likelier to work harder if you’re being paid? If not, what drives you to give your best effort? I mean, yeah. I'd assume that's pretty normal. Does the fashion sense of a potential partner matter to you? No. Is there anything that you prefer to write down rather than type? I'm unsure. If you download/torrent things, do you remember the first thing you ever torrented? Oh, the Limewire days of music pirating... but no, I don't remember. What was the last thing you posted on Instagram? Something photography-related, but I don't feel like checking. What do you wish your hair looked like? I wish I could pull off pastel pink hair rn. It also desperately needs a trim. Do you still feel anything for the first person you fell in love with? I'm sure I always will, at least a little. Do you get any magazines in the mail? No. Have you ever paid for any kind of online membership? Uhhhhh have I? I don't think so. Who’d you last see in a tux? Probably the groom of the last wedding I shot. Do you record any TV shows and watch them later? No, but I used to do that big time because I loved "rewatching" stuff when I was on the computer. Out of everyone you know, who was the most heart? My mother, big time. Who’s the bravest person you know? Also my mother. Or Sara. What profession do you admire the most? Teachers might just win. The patience that must take, among so many other things. Have you ever made a fake profile, for any reason? No.

#survey #surveys #questions #lyrics: ''bornless'' by 3teeth

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recentanimenews · 4 years

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IN-DEPTH: Neon Godzilla Evangelion, The Horrors of Hideaki Anno

"Something broken or deficient comes more naturally to me. Sometimes that thing is the mind. Sometimes it is the body."

-Hideaki Anno, creator of Neon Genesis Evangelion

"Monsters are tragic beings; they are born too tall, too strong, too heavy, they are not evil by choice. That is their tragedy."

- Ishiro Honda, director of Godzilla

Image via Amazon Prime Video

Horror is born of trauma. The pop-culture monsters we fear and are fascinated by tend to reflect our very real anxieties. Frankenstein tells the story of scientific progress so explosive that it risks leaving humanity behind. It Follows creates a nightmare vision of looming intimacy and the potential for unknowable disease. Leatherface, hooting at the dinner table with his brothers in rural Texas, was the child of economic angst, the crimes of Ed Gein, and of President Nixon's threat of a "silent majority" forcing Americans to reconsider whether or not they really knew their neighbors.

And Godzilla? Well, Godzilla is a metaphor for a bomb. A bunch of bombs, actually. But more important than that, he represents loss — the loss of structure, of prosperity, of control. Godzilla is our own hubris returning to haunt us, the idea that in the end, we are helpless in the face of nature, disaster, and even our own mistakes. We, as a species, woke him up and now we have to deal with him, no matter how unprepared we are.

Hideaki Anno understands this.

In 1993, he began work on Neon Genesis Evangelion, a mecha series profound in not just its depiction of a science fiction world but in its treatment of depression and mental illness. It is a seminal work in the medium of anime, a "must-watch," and it would turn Anno into a legend, though his relationship to his magnum opus remains continuous and, at best, complicated. It is endlessly fascinating, often because Anno seems endlessly fascinated by it.

In 2017, he would win the Japanese Academy Film Prize for Director of the Year for Shin Godzilla, a film that also won Picture of the Year, scored five other awards, and landed 11 nominations in total. Shin Godzilla was the highest-grossing live-action Japanese film of 2016, scoring 8.25 billion yen and beating out big-name imports like Disney's Zootopia. In comparison, the previous Godzilla film, Final Wars, earned 1.26 billion. Shin Godzilla captured the public's attention in a way that most modern films in the franchise had not, returning the King of the Monsters to his terrifying (and culturally relevant roots).

So how did he do it? How did Anno, a titan of the anime industry famous for his extremely singular creations, take a monster that had practically become a ubiquitous mascot of Japanese pop culture and successfully reboot him for the masses? How did Godzilla and Neon Genesis Evangelion align in a way that now there are video games, attractions, and promotions that feature the two franchises cohabitating? The answer is a little more complex than, "Well, they're both pretty big, I guess."

To figure that out, we have to go back to two dates: 1954 and 1993. Though nearly 40 years apart, both find Japan on the tail end of disaster.

Part 1: 1954 and 1993

On August 6th and August 9th 1945, two atomic bombs were dropped on the cities of Hiroshima and Nagasaki, respectively. These would kill hundreds of thousands of people, serving as tragic codas to the massive air raids already inflicted on the island nation. Six days after the bombing of Nagasaki, Japan would surrender to the Allied forces and World War II would officially end. But the fear would not.

Within a year, the South Pacific would become home to many United States-conducted nuclear tests, just a few thousand miles from Japan. And though centered around the Marshall Islands, the chance of an accident was fairly high. And on March 1, 1954, one such accident happened, with the Lucky Dragon #5 fishing boat getting caught in the fallout from a hydrogen bomb test. The crew would suffer from radiation-related illnesses, and radioman Kuboyama Aikichi would die due to an infection during treatment. For many around the world, it was a small vessel in the wrong place at the wrong time. For Japan, it was a reminder that even a decade after their decimation from countless bombs, atomic terror still loomed far too close to home.

Godzilla emerged from this climate. Films about giant monsters had become popular, with The Beast from 20,000 Fathoms and a 1952 re-release of King Kong smashing their way through the box office, and producer Tomoyuki Tanaka wanted to combine aspects of these with something that would comment on anti-nuclear themes. Handed to former soldier and Toho Studios company man Ishiro Honda for direction and tokusatsu wizard Eiji Tsubaraya for special effects, Godzilla took form and would be released a mere eight months after the Lucky Dragon incident.

Image via Amazon Prime Video

It was a success, coming in eighth in the box office for the year and it would lead to dozens of sequels that would see Godzilla go from atomic nightmare to lizard superhero (and then back and forth a few times). America, sensing profits, bought the rights, edited it heavily, inserted Rear Window star Raymond Burr as an American audience surrogate, and released it as Godzilla: King of the Monsters! It was also very profitable, and for the next 20 years, every Japanese Godzilla film got a dubbed American version following soon in its wake.

Years went by. Japan would recover from World War II and the following Allied Occupation and become an economic powerhouse. But in the late '80s, troubling signs began to emerge. An asset price bubble, based on the current economy's success and optimism about the future, was growing. And despite the Bank of Japan's desperate attempts to buy themselves some time, the bubble burst and the stock market plummeted. In 1991, a lengthy, devastating recession now known as the "Lost Decade" started. And the resulting ennui was not just economic but cultural.

The suicide rate rose sharply. Young people, formerly on the cusp of what seemed to be promising careers as "salarymen," found themselves listless and without direction. Disillusionment set in, both with the government and society itself, something still found in Japan today. And though people refusing to engage with the norms of modern culture and instead retreating from it is nothing new in any nation, the demographic that we now know as "Hikikomori" appeared. And among these youths desperate to find something better amid the rubble of a once-booming economy was animator Hideaki Anno.

A co-founder of the anime production company Gainax, Anno was no stranger to depression, having grappled with it his entire life. Dealing with his own mental illness and haunted by the failure of important past projects, Anno made a deal that would allow for increased creative control, and in 1993, began work on Neon Genesis Evangelion. Combining aspects of the popular mech genre with a plot and themes that explored the psyche of a world and characters on the brink of ruin, NGE would become extremely popular, despite a less than smooth production.

The series would concern Shinji Ikari, a fourteen-year-old boy who suffers from depression and anxiety in a broken and terrifying world. Forced to pilot an EVA unit by his mysterious and domineering father, Shinji's story and his relationships with others are equal parts tragic and desperate, and the series provides little solace for its players. Anno would become more interested in psychology as the production of the series went on, and the last handful of episodes reflect this heavily.

Image via Netflix

After the original ending inspired derision and rage from fans, Anno and Gainax would follow it up with two sequel projects (Death & Rebirth and The End of Evangelion), and NGE's place in the pantheon of "classic" anime was set. Paste Magazine recently named it the third-best anime series of all time. IGN has it placed at #8 and the British Film Insititute included End of Evangelion on their list of 50 key anime films. The exciting, thoughtful, and heart-breaking story of Shinji Ikari, Asuka, Minato, and the rest has gone down in history as one of the best stories ever told.

So what would combine the two and bring Godzilla's massive presence under the influence of Anno's masterful hand? As is a miserable trend here, that particular film would also be spawned from catastrophe.

Part 2: 2011

"There was no storm to sail out of: The earth was spasming beneath our feet, and we were pretty much vulnerable as long as we were touching it," said Carin Nakanishi in an interview with The Guardian. The spasm she was referring to? The 2011 Tohoku earthquake, the most powerful earthquake in the history of Japan. Its after-effects would include a tsunami and the meltdown of three reactors at the Fukushima Daiichi Nuclear Power Plant. The death toll was in the tens of thousands. The property destruction seemed limitless. The environmental impact was shocking. Naoto Kan, the Japanese Prime Minister at the time, called it the worst crisis for Japan since World War II.

It took years to figure out the full extent of the damage. Four years after, in 2015, 229,000 people still remained displaced from their ruined homes. The radiation in the water was so severe that fisheries were forced to avoid it. The cultivation of local agriculture was driven to a halt, with farmland being abandoned for most of the decade. And though the direct effects of it varied depending on how far away you lived, one symptom remained consistent: The inability to trust those who'd been sworn in to help.

"No useful information was being offered by the government or the media," Nakanishi said. Many voiced a fear that the government had not done its decontamination job properly or would not continue to help them if they returned to their former homes near Fukushima. Some felt the people making decisions were far too distant to truly understand what was going on. Many thought that the government had underestimated the danger. In a survey taken after the Fukushima meltdown, "only 16 percent of respondents ... expressed trust in government institutions." In most of these stories, citizens stepped in to help, feeling as if they had no other choice. Eventually, his approval ratings dropped to only 10 percent and Naoto Kan stepped down from his role as Prime Minister.

And what of Godzilla and Anno at the time? Well, the former lay dormant, having been given a 10-year hiatus from the big screen by Toho after the release of 2004's Godzilla: Final Wars. And though he'd show up in a short sequence in Toho's 2007 film Always Zoku Sanchome no Yuhi, they kept good on their promise. But Godzilla fans did not have to worry about a drought of Godzilla news. American film production company Legendary Pictures was busy formulating their own take on him, having acquired the rights a year before.

Meanwhile, Anno's post Evangelion life consisted of ... a lot more Evangelion. Though he'd direct some live-action films, his most newsworthy project was a series of Rebuild of Evangelion titles, anime films built with different aims (and created with a different mindset) than the original series. Departing Gainax in 2007, these would be created under his newly founded studio, Studio Khara.

Image via Netflix

And while it's obvious from the contents of Evangelion that Anno is interested in giant monsters and giant beings in general (Evangelion is pretty chockful of them), this fascination would only become more open. In 2013, he'd curate a tokusatsu exhibit at the Museum of Contemporary Art in Tokyo, one that showcased miniatures from Mothra to Ultraman to Godzilla himself. About the exhibit, Anno would write:

"As children we grew up watching tokusatsu and anime programs. We were immediately riveted to the sci-fi images and worlds they portrayed. They put us in awe, and made us feel such suspense and excitement. (...) I think our hearts were deeply moved by the grown-ups' earnest efforts working at the sets that dwelled deep behind the images. (...) The emotions and sensations from those cherished moments have lead us to become who we are today."

For the presentation, he'd also produce a short film called A Giant Warrior Descends on Tokyo, with the monster based on a creature from Hayao Miyazaki's — his old boss and an inspiration to Anno, along with the man that Anno would accompany on a trip to the Iwata prefecture to show support for communities wrecked by the Tohoku earthquake — Nausicaa of the Valley of the Wind manga. It was directed by Shinji Higuchi, an old collaborator of Anno's at Gainax who had served as Special Effects Director for Shusuke Kaneko's stellar Gamera trilogy in the '90s.

And though Higuchi would shortly go on to direct two Attack on Titan live-action films, their partnership would continue. Because in 2015, Toho announced they would team up to co-direct Godzilla 2016.

Part 3: 2016

Hideaki Anno has often thought of the apocalypse.

In an interview with Yahoo! News in 2014, he'd tell the interviewer he "sincerely thought that the world would end in the 20th Century," and that his fear of a nuclear arms race and the Cold War had heavily influenced Evangelion. However, his creative process isn't just permeated by man-made threats. "Japan is a country where a lot of typhoons and earthquakes strike ... It's a country where merciless destruction happens naturally. It gives you a strong sense that God exists out there."

This focus on earthly intervention by a divine presence is definitely a theme in Evangelion, but it also applies to Godzilla, a borderline invincible behemoth that was created to remind man of its mistakes. It's this kind of provoking thoughtfulness (among other things) that might have alerted Toho Studios of Higuchi and Anno's potential proficiency in re-igniting the slumbering Godzilla franchise. "[W]e looked into Japanese creators who were the most knowledgeable and had the most passion for Godzilla ...Their drive to take on such new challenges was exactly what we all had been inspired by," Toho would say of the pair.

Image via Amazon Prime Video

It was a few years in the making, though. After the creation of Evangelion: 3.0 You Can (Not) Redo, Anno fell into depression, causing him to turn down Toho's 2013 offer of the Godzilla project. But thanks to the support of Toho and Higuchi, Anno decided to eventually take them up on it. However, he did not want to repeat how he felt past filmmakers had been "careless" with Godzilla, stating that Godzilla "exists in a world of science fiction, not only of dreams and hopes, but he's a caricature of reality, a satire, a mirror image." Higuchi was also passionate about the project, saying, "I give unending thanks to Fate for this opportunity; so next year, I'll give you the greatest, worst nightmare."

Rounding out the NGE reunion with Shin Godzilla would be Mahiro Maeda, a character designer who would provide the look of Godzilla, and Evangelion composer Shiro Sagisu. Sagisu's music often includes motifs from Evangelion and the work of Akira Ifukube — who scored many classic Godzilla films — and is a great match for the monster. It's powerful stuff.

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Anno's main concern was rivaling the first Godzilla, a film that remains effective to this day. So, in order to "come close even a little," he "would have to do the same thing." Thus, after over 60 years of monster adventures, Shin Godzilla became Godzilla's first real Japanese reboot, following a long line of films that were either direct sequels or had ignored the sequels to become direct sequels to the original. It would carry many of the same beats — monster arrives, people struggle to figure out how to stop it, they eventually do. The end. But unlike many Godzilla films, in which bureaucratic operations took a backseat to the scientists that would eventually figure out how to stop (or help) the Big G, they were front and center here.

And the depiction was often less than kind.

Instead of confident and sacrificial, the politicians found in Shin Godzilla are ludicrous in their archaic behavior, seemingly more concerned with what boardroom they're in than the unstoppable progress of the beast destroying their city. Most of their actions are played for comic relief, a tonal clash with the stark backdrop of the 400-foot-tall disaster walking just outside their offices. Multiple references are made to the Tohoku earthquake, the tsunami, and the Fukushima meltdown — including the waves that follow Godzilla as he comes ashore and the worry over the radiation Godzilla leaks into the land he travels across. One plot point even includes Japan grappling with the potential use of an atomic bomb on Godzilla from the United States, showing that over seventy years after the end of WWII, nuclear annihilation remains a terrifying prospect.

In the end, only a team organized by a young upstart that's mostly free from the processes of his slower, befuddled elders can save the day. That said, "save" isn't really the right word. Echoing Anno's statement that Japan is "a country where merciless destruction happens naturally," Godzilla is only frozen in place, standing still in the middle of the city, a monstrous question left to be solved. Whether it's Godzilla or a disaster like Godzilla, it is a problem that you must deal with, prepare for, and rebuild after. It will always be there.

That said, the film isn't just a parody of quivering government employees out of their depth in the face of a cataclysm (distrust in the goodwill of authority figures is a theme also omnipresent in Evangelion). It's also a really, really rad monster movie. Godzilla is a scarred, seemingly wounded creature, his skin ruptured and his limbs distorted. He is not action-figure ready, even as he evolves into forms more befitting of total annihilation. As the Japanese military increasingly throws weaponry at him, he transforms to defend himself, emitting purple atomic beams from his mouth, his back, and finally his tail. Higuchi and Anno's direction is often awe-inspiring, whether the camera is tilted up to capture Godzilla from a street-level view, or panning around a building to face him head-on. Godzilla feels huge.

Image via Amazon Prime Video

Its this combination of ideas and execution that would cause Shin Godzilla to sweep the Japanese Academy Awards in 2017, and, excuse my pun, absolutely crush it at the box office. But an incredible movie wouldn't be the end of it. In fact, while Shin Godzilla was a successful Anno creation, it hadn't yet gone to battle with Anno's other most successful creation.

Not yet anyway.

Part 4: 2018

A few months before Shin Godzilla's release, Toho announced a "maximum collaboration" between Godzilla and Neon Genesis Evangelion, a team-up that first manifested itself in art and crossover merchandise. Art with the logo for NERV (the anti-Angel organization from Evangelion), with the fig leaf replaced by Godzilla's trademark spines showed up on a subsite for the Shin Godzilla film.

Meanwhile, video game developers Granzella and publisher Bandai Namco worked on City Shrouded In Shadow, a game where you played as a human trying to survive attacks from various giant beings, including some from the Godzilla universe and some from Evangelion. And though this wasn't specifically tied to Shin Godzilla — Godzilla looks much more like his design in the '90s series of movies, a monster style that was the go-to branding look for years after — it did make the idea of the two franchises co-existing in similar spaces a little less alien.

The big one came in 2018 when Universal Studios Japan declared that the following summer, it would be home to a meeting of the two titans in "Godzilla vs Evangelion: The Real 4-D." This ride/theater experience would give audiences a firsthand look at a clash between the EVA units and Godzilla. However, just as the horror of the original Godzilla had been diluted through various sequels that saw him becoming Japan's protective older brother, and just as the crushing melancholy of Evangelion feels a little less sad when you see Rei posing on the side of a pachinko machine, this ride would also be a reframing experience.

Godzilla is a threat, at first, as the Evangelion units zip around, blast him, and try to drop-kick him. But then, out of space, Godzilla's old three-headed foe King Ghidorah emerges. The golden space dragon provides a common enemy for the group and they work together to eliminate it. Godzilla, seemingly forgetting why he showed up to the ride in the first place, trudges back into the sea. He is now a hero, his spot as Earth's Public Enemy #1 seemingly neutered.

To this day, news of theme park attractions that bear the Shin Godzilla design consistently pop up, including one ride where you can zip line into Godzilla's steaming open mouth! But Toho doesn't seem open to a live-action sequel that many see as the obvious next step (though they would produce a trilogy of anime films that take place in a different monster timeline). Instead, they opted for beginning a kind of Godzilla shared universe, like the extremely popular Marvel Cinematic Universe. And Anno and Higuchi have moved on to their next revitalizing effort: a reboot of Ultraman.

Wes Craven, the director of A Nightmare on Elm Street once said, "You don't enter the theater and pay your money to be afraid. You enter the theater and pay your money to have the fears that are already in you when you go into a theater dealt with and put into a narrative ... Stories and narratives are one of the most powerful things in humanity. They're devices for dealing with the chaotic danger of existence." The creators at Toho certainly gave people that with Godzilla, just as Anno did with Neon Genesis Evangelion.

Image via Amazon Prime Video

But horror films are also entertainment, and soon these monsters are sequel-ized and commodified, losing their edge to the point that new minds are brought in to reboot them and help them move forward. It's a process we've repeated since people began telling stories to one another thousands and thousands of years ago. They help us confront the worst aspects of ourselves and of our worlds. It's what makes them vital. We need them. Like the next evolution of monsters sprouting from Godzilla's tail in the final frame of Shin Godzilla, the horror genre reaches out, grasping for fears that we have and fears that will one day come.

For more Crunchyroll Deep Dives, check out Licensing of the Monsters: How Pokemon Ignited An Anime Arms Race and The Life And Death Of Dragonball Evolution.

Daniel Dockery is a Senior Staff Writer for Crunchyroll. Follow him on Twitter!

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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chudovyygirl · 6 years

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THE WWE'S GLASS CEILING IS JUST A FOOTNOTE FOR RENEE YOUNG She's the first female color commentator in the history of the company. But don't expect Young to list "trailblazer" on her IG anytime soon. She has a bigger mission—to become the greatest to ever put on a headset.

After three grueling hours of fulfilling her role as WWE’s first ever female color commentator on Monday Night Raw’s live broadcast each week, there’s a good chance Renee Youngis going to have to sneak away to the restroom when it’s all over. The enormity of breaking one of professional wrestling’s thickest glass ceilings doesn’t faze her. It’s the smaller things, like not getting a chance to discreetly escape to the lavatory from the announce team’s perch adjacent to WWE’s massive LED stage that, she says, will take some getting used to.“It was one of the things I was legit the most stressed out about doing commentary,” she reveals. “‘But when do I pee?!’ But I feel like I’ve overcome it.”

Young says that since taking over the third chair on Monday Night Raw from Jonathan Coachman, she’s begun to limit her liquid intake throughout the day. She doesn’t really have all that much time to sip coffee anyway, as her new role requires hours of pre-show preparation and research. In addition to a mandatory production meeting where on-screen talent is briefed on storylines, scripts and talking points, Young takes the initiative to chat with the wrestlers one-on-one, getting a sense of who they are, what’s going on in their real lives and where they see their characters going that week. She also scours social media for any interactions between wrestlers or any trending pop culture stories she can reference.

It’s this kind of work ethic, and an ability to make adjustments on the fly, that has helped Young do something no other female broadcaster has ever accomplished in the 66-year history of WWE: co-piloting the company’s flagship broadcast. To some, that makes Young a trailblazer, but she downplays that label with her trademark self-deprecating, cheery sense of humor. “I’m not going to put it in my Instagram headline: ‘Renee Young, trailblazer.’ I do feel the responsibility of it, but it’s also a responsibility I asked for.”

Renee Young, born Renee Jane Paquette in Toronto, Canada, took one of the more circuitous routes imaginable to get to WWE. She grew up in a show business household; her father was a concert promoter and her mother a bookkeeper. When she was 10, Young was encouraged by a client of her mother’s to try her hand at modeling. “I didn’t even know what that meant,” she recalls. “I was like, ‘Sure, it sounds great.’ I would go meet with different talent agencies and different modeling agencies.”

In addition to modeling, however, Young had a penchant for making people laugh. When her parents divorced, Young found that a well-placed joke could defuse the roiling tension of a divided home. “Kind of taking away that spotlight and the awkwardness of the things that were happening,” she says. “Once I realized that’s something that worked for me, I loved nothing more.” That need to be irreverent would manifest itself at school, too. “I was getting kicked out of class regularly,” she says. “I wasn’t a bad kid. I was just loud. Getting kicked out and still trying to make people laugh in the hallway. I was always in kind of a little bit of a situation. I didn’t know when to shut up. Shocker.”

When she was 16, while bouncing around the modeling world, Young was handed a small pamphlet for the Second City improv training center. She would keep it in her bedroom drawer for years as a reminder of who she truly wanted to be. Finally, when she graduated high school in 2003, she asked her father for the $250 necessary to register for her first improv class.

Improv was her passion, and she fully embraced her time at Second City, hoping to transition to a career as a comedic actress. After a brief spell in Los Angeles when she was 19, she came back to Toronto to work in music videos and commercials before settling on a career hosting on Canada’s The Score sports network in 2009. There, she began fronting a wrestling talk show called Right After Wrestling. (The show aired directly after Monday Night Raw in Canada.) That got the attention of WWE, who brought her in for an audition and eventually hired her to conduct backstage interviews with the wrestlers.

WWE offered Young her biggest platform ever, as well as a very strict set of guidelines about what to say and how to say it. Many of the interactions audiences see on Monday Night Raw and SmackDown Live are heavily scripted by a team of writers. The performers are asked to get as close to reciting the lines verbatim as they can for their backstage interviews, in-ring promo segments and pre-taped vignettes. Before most interviews, Young would have to preface the exchange with, “Please welcome my guest at this time”—a catchphrase that’s become fodder for jokes within online wrestling fandom.

Despite her early struggles with the tried-and-true WWE formula, Young quickly found allies to help her push forward. Former announcer, and current mouthpiece for Brock Lesnar, Paul Heyman was an early supporter of Young. He helped her ease into what can be an overwhelming, esoteric world of wrestling jargon, high pressure and unceasing travel. “He’s had my back from the get-go,” Young says. “He did not need to do that. For whatever reason, he and I have always been close when it comes to talking about being better and wanting to be the best.”

Before her debut as an analyst on Monday Night Raw, Young hunkered down in the stands of the empty arena, where Heyman found her to give his sage counsel. “He just kind of gave me advice on how to be a little more succinct, how to create those little punchlines,” she remembers. “You’ve gotta think about what this is going to sound like in a video package. Make sure you’re saying their name instead of he or she. Just little nuggets like that that you might forget. And I do forget. Sometimes, I might be out there and catch myself saying, ‘Oh, he just speared him’ instead of ‘Roman Reigns just speared Braun Strowman.’”

For the former class clown, it’s not always easy to color inside the rigid lines of WWE’s corporate universe. “Prior to working for WWE, I was always in control of my own material [at The Score].” The commentary role on Raw allows for more off-the-cuff banter for Young, play-by-play announcer Michael Cole and color commentator Corey Graves. “I’ve been here for six years, but until now, I haven’t had many opportunities to flex that [improv] muscle. I’m trying to get back into that mode.”

In her six years with WWE, Young has done pretty much all there is to do besides actually work a wrestling match. She’s worked segments on Raw and SmackDown. She’s hosted an intimate, almost Oprah-style interview show on the WWE Network streaming service called Unfiltered. She’s co-hosted the SmackDown aftershow Talking Smack with former WWE champion Daniel Bryan, and she’s helmed the pre-shows leading up to WWE pay-per-view events.

Perhaps the strangest detour in Young’s career was a brief, season-long stint on the E! network reality series Total Divas, a series that follows WWE female talent like Nikki and Brie Bella, Natalya, Naomi Paige, and Lana through their day-to-day lives. Total Divas is not all that different from other E! reality franchises like Keeping Up with the Kardashians, with its various mundane real-life dramas set against the backdrop of the glamour of the entertainment industry. One of the main storylines of the show was the question of whether or not John Cena would marry Nikki Bella. The particulars of their coupling and the eventual dissolution of that couple was all fodder for the cameras.

As helpful as the show was for her personal profile, Young departed Total Divas after completing work on Season 7. “I think the hardest part for me, for doing Total Divas, was having my relationship be on display,” she says with a sigh.

Her husband, Jonathan Good, also known as Dean Ambrose, is intensely private, according to those who know him—a shy, reserved, sensitive man who only opens up once you’ve made yourself worthy of his trust. “It’s always a compliment when John has a conversation with me,” says Natalya Neidhart, Total Divas cast member and one of Young’s closest friends on the WWE roster. “He doesn’t talk to that many people, so when he talks to me, I’m so flattered.” Young is the opposite that attracted, still that same young person always trying to make others laugh with a one-liner. “[Renee] didn’t need someone who was going to compete with her, in the sense of being bubbly and charismatic. She needed someone who complemented her, and John is just so quiet. He very rarely lets people in.” That dynamic might not have been ideal for reality TV.

“I think [our relationship] was not something we wanted to pull the curtain back on,” Young says. “That made me uncomfortable as well, because the whole time I’m just saying he’s crazy and how do I deal with this crazy person [for story purposes], which is really not our dynamic. That was really odd to navigate as we were doing it.”

Until 2015, the heightened reality of Total Divas was one, if not the only, path to success for WWE’s women. Women’s wrestling simply wasn’t a major attraction on WWE TV until Stephanie McMahon debuted highly touted prospects Sasha Banks, Charlotte Flair and Becky Lynch to usher in the “Women's Revolution” campaign that gave female performers more to do than just pose for the camera and smile. But Young is a part of a class of performers who have become bona fide stars without that platform. Though she’s never competed in a wrestling match (the closest she’s gotten is a brief feud where she and Ambrose traded insults with The Miz and his wife, Maryse), Young has amassed a social media following on par with former world champions like Bayley and Alexa Bliss. “Renee is going to be a superstar at this,” says Michael Cole, who, in addition to being her cohort on Raw’s announce team, is also the person who oversees every announcer in WWE.

“When all is said and done, Renee is going to go down as one of the great analysts that we’ve ever had, because you have to stand out in this business,” Cole says. “Renee will stand out because she’s offering something that’s never been done before. Forget the fact that she’s a woman. Put that aside. That’s become a footnote now. She’s different because never before have we had in the wrestling business what Renee offers to the announce booth. It’s that innate ability to talk to people, to be able to dig underneath the surface and find out what makes these superstars tick.”

Her personality and charisma shined even if her on-screen character is mostly just a slightly toned-down version of the real Renee. “I just have to be a little bit more PG when I’m on a live microphone,” she says. The Evolution pay-per-view is something of a culmination of everything Young has been striving for since she joined the wrestling world. “When I was told I was going to be doing it, I was floored,” she says. “I feel like I can open up a door for other women, show other women and girls different paths to go down.”

Young has done her research into other women who’ve made it into the sports commentary world. She’s especially a fan of ESPN NBA analyst Doris Burke, another supreme talent who has a similarly rabid online following. “One of the things I took away [from my research] is that everyone is used to older white men doing commentary and anything that’s not has been deemed wrong. It’s not [wrong]. It’s just trying to change what people are used to hearing.”

Eventually, audiences will get used to Renee Young’s voice on commentary, if they haven’t already. In addition to her weekly job on Raw and the spot on Evolution, she’ll be calling WrestleMania in April. While Raw is three hours and the average pay-per-view is around four, WrestleMania tops out at a whopping seven hours from start to finish. When will Renee get to go to the bathroom then? “If that’s the biggest of Renee’s worries, she has nothing to be concerned about,” Cole says.

“I am not ready for that yet. I don’t think my bladder is quite prepared,” Young says with a chuckle. “We don’t travel with port-a-potties up there.” For every arena, Young has devised a route to the restroom, just in case. It’s absurd that we keep coming back to the issue, but as Young puts it, “This is real life” and she’s not one to hold back on what’s going on in her own head. “She’s relatable because she’s not perfect,” Neidhart says. In that life, as it is in her journey to relieve herself, Young’s mantra is simple: “You gotta navigate your path.”

#renee young #wwe #mentions of:#deanee

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radramblog · 3 years

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Retro Games WTB

So for reference, this and the last two posts were written on the same night. We went from serious discussion about sensitive and graphic material in media, to silliness about shooty mans, to this. The thing is, I’m going away on a weekend camping trip (Melbourne got delayed again but at least getting to go on this is a silver lining?), and when this post goes up (assuming I figure out how to schedule it right) is the one day where I’m just never at home. The Saturday of a weekend trip. I don’t know if the place is going to have cell signal, and I’m not letting that of all things get in the way of me posting more bullshit.

It’s been a long night.

I was originally going to do, like, a tierlist thing, but staring at the list of these was just depressing. Motherfuckers put Homestuck in the Video Games section multiple times, and I had to stare at the fact that someone went out of their way to make a FNAF shipping tier list. And lots of people played it. Fuck, man.

I don’t know if me talking about a bunch of games I want to buy is actually more interesting, but I’ll be damned if I can’t do that easily and for a lot of words. Plus, it’ll force me to actually come up with a complete list.

(editors note this is ridiculously absurdly long and it has no images it’s just 2.5K words of jack shit and me tiredly trying to make jokes about old games you probably haven’t heard of you’ve been waaaarned)

N64

The prospect of collecting all the N64 games I want is somewhat daunting, especially considering my region-based issues. But I’ve made some solid progress since that one time I talked about my collection (and I cannot be fucked dragging that post up at the moment). I’ve acquired Banjo-Kazooie and a Kirby 64 cart that I sure didn’t know was coming in fucking box.

Anyway. I’d like to pick up Smash 64 at some point, if only for the novelty of it. I’ve played it, like, once? And that was a very long time ago, the first time I ever played an N64 (possibly the only time I even touched a controller before I bought my own), and I wasn’t as mediocre to functional at Smash as I am now. 64 is kind of a whole different animal, though- no competitively viable maps by modern standards and the engine is fucky- every character combos so well that they run 5-stock matches instead of 3.

(From this point on, I’m literally looking at a Wikipedia list of games and picking ones to comment on, so it’s alphabetical)

Banjo-Tooie would be nice, I suppose, but I’ve barely played the first one- let’s maybe do that before I start thinking sequels. I didn’t realise until I actually picked up the game that Kazooie is like, a massive asshole? Extremely rude? Apparently that’s their character trait and I just didn’t know. Banjo seems like such a cool bloke, why does he hang out with them?

Even though I’d never be able to play it, the Australian version of Beetle Adventure Racing actually replaces the titular cars with Holdens, which is fucking hilarious and I need to see it.

I’ve heard a lot about Conker’s Bad Fur Day, that it’s basically Banjo/DK but M rated. I…don’t imagine it’s aged particularly well. Man, remember when he showed up for Project Spark, though? Yeah, me neither.

Donkey Kong 64 is another classic, and I’m sure it’s really good. I have managed to pick up an Expansion Pak, so there’s half the cost of it gone, too. I’ve never actually finished any of the Country games, but I’m pretty sure it doesn’t play like one, so. I also never watched the HBomberguy charity marathon, so I am pure and unspoiled as to the grisly details of this jungle bash.

On the one hand, Goldeneye is arguably one of the most iconic FPS games of all time. On the other, it’s not aged particularly well, and I don’t have a cadre of people to hang around being nostalgic for it, because we’re all either younger than this game or barely out-age it. I hope someone reading this feels old now. (sorry)

Even as a Pokemon fanatic, I’m not buying Hey You, Pikachu. That game barely worked with people in the USA, imagine that shitty microphone trying to decipher my accent on fucking N64 hardware. Also it’s pretty lame even if you can get it to work, so.

Majora’s Mask is currently my White Whale, because I want nothing more than to play that game. I’ve heard so much, it sounds and looks so fucking incredible, and as I said I have the Expansion Pak now so I can actually run it. One day, man, one day. Once again I should probably finish Ocarina of Time first, but like, I know I’m going to play this one, so.

I guess Mario Kart 64 would be worth picking up, apparently it’s one of the better ones. I reckon if people showed up to play fucking Beetle Adventure Racing before knowing the game was actually really good, they’ll show up for Mario Kart. I’d rather buy 64 than 8, frankly.

I could barely get any interest in my bootleg-ass copy of Mario Party 3, I’m not going to spend stupid money on the other ones.

Oh, apparently Mega Man Legends came out on the 64 as well? I thought that was just on the Playstation. I mean, people really seem to like that sub-series, but then people also liked Star Force, so I don’t know if I can trust the Mega Man fandom on anything. (MMBN legacy collection when, Capcom)

Yo so there was a Neon Genesis Evangelion game for the N64, and apparently it’s a fighting game? Japan-only, of course, but my console can run those anyway. And like, that sounds funny and cool, I’ll punch Sachiel to death, why the fuck not? Who needs a progressive knife. Congratulations joke.

God Paper Mario is so fucking expensive god damnit

Perfect Dark rounds out the trio of “hey I have the expansion pak now”, but I know substantially less about it. So, maybe?

The Pokemon games I’m missing (and care about) are Snap, Puzzle League, and Stadium 2. I’ll consider Snap if I can find a cheap copy, as I know it’s pretty limited (and the new one just came out), Puzzle League is probably meh, and Stadium 2 sounds fun but I’d need to then buy a GSC cart to get the most out of it and they aren’t cheap. Unless I get a Japanese one, but apparently, they’re only compatible with Japanese Stadium 2 (er, Stadium GS), so I’d have to double down on illegibility.

Oh fuck, right, Star Fox. Man I thought I was going to get away with just talking about Star Wars here (I’ve already got the good ones), but I forgot about fuckin Star Fox 64, aka The Good One. Shit I gotta get that don’t I? Fuck me. At least searching for one will be slightly easier because the PAL version has a different name.

Oh, and Yoshi’s Story looks like a trip and I don’t know if that’s a good thing. Like, this just looks worse than Yoshi’s Island if I’m being honest.

GBA

I haven’t actually talked about by GBA collection on here have I? TL;DR- it’s a console I’m very nostalgic for, but my collection is lacking because all the carts in Malaysia were bootlegs.

Jesus there’s so many more GBA games than N64 ones. Like, in general, not just on this list.

Advance Wars is a solid maybe, because the carts are super fucking expensive, I’ve never played the series, and the remaster is coming soon. But apparently they’re good? Big shrug energy.

Wow, they made two whole Banjo games for the GBA. Both of these look like shit, though, so fuck it. No wonder I never hear anyone talk about them.

Boktai is an interesting series I’d like to maybe give a shot. It’s a JRPG made by fucking Hideo Kojima, where the cartridge had a light sensor in it to encourage you to play outside by buffing the main character. Which was an interesting choice on the notably not backlit GBA. It also has crossover stuff with something we’ll get into later.

I’ve played Castlevania: Dawn of Sorrow to death, and as a result I’d love to pick up a copy of it’s GBA prequel, Aria of Sorrow- it’s apparently almost just as good. I’ve not heard much about the other two GBA Castlevanias, but they’re apparently similarly excellent- a stark comparison to the mediocre to bad N64 ones.

If someone buys me a cartridge of Crazy Frog Racer I will play it and that is a fucking promise.

There are like three whole Fire Emblem games on the GBA, though only two came out in English. I actually have a bootleg of one of them. It’s another one of those ones that are unreasonably expensive because it didn’t sell well and they didn’t make that many as a result, though. So probably not worth getting a real one unless I fall super head over heels for the series- I don’t see that happening soon.

Oh right, Golden Sun. Another JRPG franchise for the GBA. There were a lot of those, huh? Anyway there’s like no way this guy is getting into Smash, don’t get your hopes up.

Harvest Moon is basically Stardew Valley, but older. Two games of it came out on the GBA, and I’m probably not about to commit to buying one of those rather than Stardew. And that game has yet to successfully appeal to me, soooooooo

I have a bootleg of Kirby and the Amazing Mirror, and that’s one of the ones where it probably doesn’t matter at all that it’s a bootleg, so I’m satisfied with it. Don’t have Nightmare in Dream Land, which I’ve played before on emulator and wouldn’t mind retrying, so maybe. I’ve never been massive on remakes if the original is viable, but I don’t have an NES so I’m sure not buying Kirby’s Adventure.

There are two Zelda games on GBA- a port of A Link to the Past which I have, and Minish Cap which I don’t. Minish Cap is very expensive!!! Aah!!!

Yo they ported The Lost Vikings to GBA? Wack. I guess Blizzard gets a shoe in this console’s door, then.

Yeah okay so there are like a million Mario games here, huh. Superstar Saga was the first Mario and Luigi game, and the one of those I’ve played (Partners in Time) was good enough that I’d bite for the original. Or I’d just go buy Bowser’s Inside Story. Mario Kart and Golf on the GBA don’t appeal super hard, and I’ve played Mario Pinball Land (long before that Alpharad Deluxe series), to the point where I don’t feel the need to actually buy it.

Speaking of Alpharad, I played Mario Party Advance on one of my Malaysian Bootlegs long, long before he made that video reminding people it existed. That game actually kind of fucks, for what it’s worth, and since my copy can’t save, I’d consider buying a real one. Assuming that Alpha’s video didn’t lead to a mass buyout or price spike.

Okay, so Mega Man Battle Network is kind of the big one on this list- definitely the White Whale so far, since to my understanding the series had extremely limited release in Australia. I do have a Japanese copy of 4 (Blue Moon) that I picked up because it was like 5 bucks, but A. 4 is godawful relative to the others and B. it’s a JRPG and I can’t read Japanese. But I would Do Things to get copies of 2, 3, or 6. Not so much 1 (because it’s not great), or 5 because I’ve nearly 100%’d the DS version on my flashcart.

Seriously, I’ve considered writing multiple blog posts on this series, I think it’s a super underrated gem. It’s an eSport on GBA for fucks sake! It’s also the series that crossed over with Boktai from earlier- apparently Kojima’s kid was a huge fan, so he got in touch to get some cross-promo content going. Funny how that works.

It’s not like they’re ever going to release Mother 3 anyway. Y’all aren’t even going to let me pay for this game, so you can’t complain if I buy a Chinese bootleg with the fan translation on it. I paid five whole bucks, and if they released it in English for real, I’d easily drop more on it. It’s a 10/10 game.

Oh alright, there’s Pokemon. I’m actually 4/7 on the GBA Pokemon games, which is pretty good considering the price just keeps going up and up. I’ve actually considered making a Living Dex solely in Gen 3- however that would either require all the ones I don’t have (save Pinball) a Gamecube with Colosseum/XD (which I have thought about), or maybe both. A long-term project, for sure, but one I’d enjoy doing.

Apparently the Sonic GBA games are pretty good, save for the infamous remake of the first Sonic game- Sonic Genesis. That is, however, the only one of them I’ve actually played. And for a long time was the only Sonic game I’d ever played. Great first impression, huh? The Marble Zone OST unironically slaps, though.

Yeah okay so there’s like over a hundred games still on this list and I care about, like, none of them. Except maybe some of the Wario games and Yu-Gi-Oh games- and I know some of the latter are complete and utter garbage. Like, I’ve played The Sacred Cards, and that game is genuine shite. I’ve still only played one Yu-Gi-Oh game I’ve liked.

I guess I can close off this wall of text by saying I want to get a GBA flashcart so I can run romhacks on console, but there’s a bunch of different types and it doesn’t seem like anyone can agree on which one is the best, so I guess I’m in limbo a bit on that one. Still, it’s worth a look at some point- I’ve gotten so much mileage out of my DS one after all.

And that’s a full-ass list. Perhaps a little daunting, but something like this is a long-term project, and there’s plenty of time to adjust, or make trades rather than buy, et cetera. I don’t ever expect to like, complete a collection, but I’m happy getting things bit by bit.

Anyway it’s like 2AM now I need to be up in 5 hours oops if I’m late then sorry james lmao except you won’t possibly be able to read this until Saturday and it’ll be too late then ha HA

#ramble #retro games #gba #n64 #collecting

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hopeshauntedmyghosts · 6 years

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I loved Devilman Crybaby because nothing was the way I expected

I’m not sorry for my obsession with Devilman Crybaby lately.

I tried to write down my thoughts about why I liked it so much :) Just to get it out of my head since it’s so hard to describe in person, and also since I’m reblogging so many cute and silly things that I thought I’d try to put a little more depth into it. Maybe people will agree, maybe not, maybe some others have said similar things already; but I want to express this with my own words. Naturally, spoilers for the entirety of the series. Also I guess people that really, really hate Ryokira should not read (I want to say I stayed neutral and treated it as a matter of fact, but I don’t want to ruin anyone’s day if they think I failed at doing so). Also also, I haven’t seen/read any other adaption of the Devilman franchise except for one OVA.

Before I continue I want to say that I think there’s a massive difference in how you experience the story whether you watch for the first or any other time – yeah obviously, since it’s full of plottwists so that’s a given, but I think that these are special in Devilman Crybaby, since they don’t only create tension, but instead change the series entirely. So, to get everyone on the same term, I will first re-tell the story the way I now experience it after having watched it for god knows how many times already - namely, from Ryo/Satan’s point of view:

Satan plans to destroy God and humanity so that his kind, the demons, can finally live there in peace. He’s reborn as Ryo, gets to know Akira, and falls in love. Years later, when he’s got the authorities to make a difference in society (a famous scientist that people trust and is broadcasted regularly), so he knows his plan could finally succeed, that’s when and why he tricks Akira into becoming a demon – so he’ll live with him, both as demons, in the demon-only world he wants to create. So Akira becomes this half-demon, however, stays loyal to his human side; wants to protect mankind, loves his families and Miki, wants to unite the other half-demons etc. So Ryo (unaware) tries to separate him from the humans by taking things away from him step by step – first his biological parents, then his caretakers, then everyone’s trust (by revealing his identity on TV), and finally Miki; just so that Akira loses his ties to the human side and has no choice but to embrace his demon one. Of course Akira doesn’t accept this, and even then, Satan refuses to fight him, to hurt him; but in the heat of the battle, out of both self-defense and some kind of blood lust, he kills Akira – not realizing it at first, that’s when he confesses his love, and only then realizes he killed the only person he ever loved, that ever loved (cared about) him, and now has to live with that fact for eternity, and his regret is the message he and the viewer learned.

What fascinates me about this story, and you can already guess by the way I wrote it (making Ryo/Satan the subject): All this time throughout this series, you think you’re watching Akira’s story, about how he became this antihero and has to fight injustice done to him by someone he trusted. But the entire time, it’s Ryo’s story instead, about how his love turned into hatred and made him lose everything in the end. He has this goal, to destroy humanity, set long before the series begins, and his motivation, to turn Akira into a demon, is what gets the plot running. Everything that happens to Akira in the meantime (losing everyone he cares about) doesn’t actually matter for the story. Plot, yeah, of course; otherwise the series would be two episodes long and not have the same psychological/emotional effect. But that’s not the story; that’s not how it started, and that’s not how it ends. And this is completely unrecognizable from watching the series for the first time.

Same for the relationship of Akira and Ryo; you get that Ryo is the antagonist from the very beginning (trying to shoot innocent people, lying to Akira about his intentions at the Sabbath party), so what is his goal behind trying to get close to the protagonist? Even someone like me, who likes a lot of gay* romance in media, totally thought he was using him for something. Trying to make Akira trust only him; obviously to have the naïve boy become his marionette and help him achieve his goal, right? That’s how stories in this heteronormative world of ours work, right?? Nah dude, not here: it’s simply because he wants just that, out of actual romantic feelings. His tender physical intimacy with Akira, or his helping/protecting him whilst fighting demons, is no cunning strategy, but -in those moments at least- as genuine, innocent and loving as it looks. It’s the same: you get tricked into believing it’s Akira’s story about being used by Ryo (for the plot), when instead it’s Ryo’s story about his romantic obsession with Akira – the motivation behind all events, unspoken until the last episode.

While you’re undoubtedly watching from Akira’s point of view, him being the typical shounen/seinen protagonist, silly but sincere, eating meat like a beast, fucking/wanting all these women (relatable/idealistic character for these viewer groups), contrast-character Ryo has this omnipresence over the series, since he’s all that: the one that starts the story, the one that ends it, the one whose character development leads the way. But by watching for the first time, you don’t know that he does ANY of that, and that’s how they use Akira’s POV as an insanely clever method of tricking you into believing the story is going an entirely different path, which leads to the big shocker at the end, and an entirely different atmosphere when watching for the second or third time.

So…?

I know Crybaby put more focus on Ryo than many (or all?) of the other Devilman adaptions including the original manga, but this is still technically the original story. From. The. 70s!!! Never in my life have I seen such a complex way of storytelling from that many years ago, and with gay romance** no less – in Japan, in the 70’s, from a male author; practically a death wish!

Now notice how I’ve said “with” gay romance instead of “about” – since Crybaby is a story about said romance, as I’ve explained, while other adaptions probably aren’t; I know in some Ryo doesn’t even exist, so I’m aware Crybaby is an entirely different take on this story from the 70’s, for some maybe a whole different story altogether. But I personally still see it as the idea being there in the original manga (where Satan admits to loving Akira as well), and Crybaby decided to focus on it in an original way, and that’s what makes it different and unique. Akira and Ryo’s relationship alone has a start, middle, climax, and ending; it’s bittersweet yet haunting. If the idea of all this was incredible for the 70s, Crybaby still managed to make it incredible even for 2018.

*Keep in mind that here I’m talking about the first time watching, when you can’t know about Satan yet and Ryo is very clearly presented as male. I’m aware about the problem with Satan’s gender, being a hermaphrodite and all, and I have an opinion it, but it’s not what I mean here.

**Satan is a hermaphrodite, “he” does not have a gender, doesn’t need one, obviously doesn’t care. But Ryo is clearly presented as male, in any adaption he’s in and including Crybaby, where he canonically falls in love with Akira as Ryo, in his human form. It’s gay in my book, and I doubt the story, being from that time at that place, would have risked showing a *potential* gay love if that wasn’t even intended in the first place.

Please do keep in mind this is simply my opinion tho, :) I’m sorry if I offended anyone with anything I said. I’m not saying that nothing else in Crybaby besides Akira’s and Ryo’s relationship was good. This is simply where I see the story at. I bawled my eyes out at Miki² or the rapper boys, but as much as I love them too, I interpret them as (great!) plot-elements that help develop the bigger picture of the story – making Akira distrust Ryo as backfire to the plan the latter had laid out for them.

Finally, and unrelated, but isn’t it amazing how in Devilman no Uta, which is the opening on a kids-targeted take on the franchise in which Ryo doesn’t exist (?), there exists the line

The man awoken by the kindness of the first human love he knew

Which is 100% Ryo’s story in Crybaby?? Makes this shit even more haunting than it was before. I fucking love this show.

#devilman crybaby #crybaby spoilers #dmcb #dmcb spoilers

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thegreatmercutio · 7 years

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Shadowhunters Drama-O-Rama...(a long rant and reflection)

First…the Malec Kiss was adorable…can’t wait to see the FULL Content…there better be a FULL content!!

…and now let’s rant about the drama. There’s two 10 seconds teasers…2 teasers…which means…it’s just a tease, not a full trailer…That’s all we’re getting at the moment…a tease. And yes, there’s more “seconds” of contents on some characters vs. others…and yet somehow a war began!!!…and old wounds are open again…and to be truthful the contents are not a surprise at all. (Jace is not Clary’s brother, Simon and Clary are dating…Malec relationship is expanding…Izzy is pushing Raphael away…Luke is standing intensively…nothing was really new, just random clips, don’t get me wrong as a Malec shipper, the kiss was sweet).

I am going to say this…because I feel like I need to put another side out there…agree or not, it’s doesn’t really matter to me at the end of the day…so here it’s goes…this show is not about JUST Clary…and her name might go first in the credits but it’s called “Shadowhunters”…not something like “Buffy the Vampire Slayers”…and even in Buffy, there were episodes that focused on the other characters and their development. It’s not, Clary the Shadowhunter…she is NOT the only main character and yes it’s not the Malec Show…but it’s NOT the Clace show either. True, the relationships are important and the characters are essential. But, this show does have a bigger theme. In general, it’s a supernatural show, about good vs evil…, etc. One of the plots coming up is the Downworlders going to be treated with restrictions…like today’s reflections on the immigration laws that we are currently living in.

This is not the books. It’s “based” off the books. I understand this might piss off a lot of the loyalists of the books, but they did attempt to do a movie franchise…but they failed. Even the movie took some “artistic license” and change things. It had the potential to be the next Twilight or Hunger Games…but it didn’t make the cut. Even with the failure of the movie, it’s still holds some potential to be something. So, When a series of books get pick up as a show, it opens more doors, meaning things are going to change even more. It’s also means there’s more room for more characters development and more storylines.

The books centered on mostly Clary…Jace, and Simon perspectives with Izzy, Magnus, Alec, Luke…etc…as the supporting characters. That’s the author’s choices. That was the books, this is not the books. The show will take parts and influences of the books, but it’s going to shine more light in other perspectives that wasn’t explored in the books…that’s a given. The creators, showrunners, writers, producers, directors…are going to make choices that will and “has” made many people either happy or really fucking pissed. That’s a given. Even the author called the show, “a fanfiction.” She knows what she sign her rights off to. Like Marvel, Star Wars…Disney owns them now. She has to know that, things will change. And her loyalists should know that too.

A lot of key aspects made it into the show…it’s not like the show abandon everything…like the main ships are there…they are in development. Climon did happen in the books before Clace. Clary is discovering and exploring her rune creating skills…Jace has Daddy’s issues…Alec is out and openly gay…Magnus and Camille trouble relationships…the Shadowhunters discrimination against the Downworlders…it’s not like it’s not there, it’s just delivered with different tones and directions.

So, yes it’s Clary’s perspectives and Clace is THE relationship in the books…but yet every popular polls, awards, and marketing has centered on the two LGBT characters. There’s a reason why and it’s very clear, very…VERY clear reason why…they are the most popular characters on the show, some people don’t have to like it but it’s fact. They are what most people want to see. Even non-fans, are aware of them. They are getting noticed, competing with big ships like Olicity and Stydia…basically…THEY ARE BEING CELEBRATED just like those other ships. And they should be.

So, if the Malec fandom is making some of you mad, that’s you’re prerogative. Most of the “negativity” comes from years and years of hurt. I know it’s just a show and it’s for entertainment, but you must understand that a picture say a thousands of words. When you were little and all those heroes and characters that you grew up reading about in school, watch on TV…in the movies,…on stage…they were always in the characteristics of the “default.” White and Straight…but you look at them and you look at you…sure you might relate to their morals, their journey…their struggles…but no matter what, you still never be their equal. You’re different and people won’t treat your story, the same as them. When will someone that looks like you get to be the hero, the main character? And when you see a guy like Magnus and a guy like Alec…as individuals and as a couple, it’s something special and the reactions to them, is heart warming and welcoming.

Do you know in 1989…when they created a new Robin for the Batman comics after the death of Jason Todd, Tim Drake…the creators wanted him to be Asian, but were told that the public won’t respond to him…won’t relate to him. So, he’s not. You heard about it before, we can’t get this person, they won’t sell tickets..that’s why in 2017, Scarlett Jo can play Japanese..and guess what? Her movie flopped and they lost $60 millions dollars in profit. And one of the executives of paramount even had admitted that their failure was due to the Whitewashing controversy and blamed the audience for spreading “the truth”. I am sure it was really hard for them to admit to that.

Now, currently the new Robin is Damian Wayne, Bruce Wayne’s blood related son…he is canonically…Caucasian, Arabic, and Chinese…yet I have seen fan dream casting him…as White. That’s how some people respond…to years of being told that this is what the people want to see…but recently with the talks about the bat-family being created for the DCEU movies…and a possible Tim Drake being casted…fans are positively rooting for Ryan Potter…who is Japanese and White. See, people are speaking and demanding for change…just how people wanted Donald Glover to be the next Spider-Man…yet it didn’t happen but the people wanted him to be. It was massively trending. And he got a lot hate too, but there was a louder and positive support for him.

Alright, back to the program…

This isn’t new, there’s multiple fandoms with that one ship that’s stands out. This one ship is a big deal because, it’s an LGBT and an interracial relationship…and true, there’s other LGBT and interracial couples out there in the media, but are they getting the press, the mass acknowledgement, winning awards,…do they have a big fandom like this? A fandom that would trend them on multiple social media outlets. Name another couple with this representations with this massive love?…And they have been popular since the books, but they were never this popular until Malec were given flesh and pulses.

The most important thing is perspectives…telling people and reminding people that this show is about this person or that person, is meaningless and stressful. Because people are individuals with their own perspectives and they going to support what they want. If you’re there for Clary and Clace, you will get them…season 1 was very Clace focused…and Clary focused and if you’re there for Malec and want more Malec, you will get Malec…how much of it (we will see) and there are people who is still very angry with the choices that was made with Malec in 2a and some are not.

For me, I watch the show, I saw too much Clace…but another person will tell me…this is becoming the Malec Show. That’s what they saw vs what I saw. I saw 1 minute of Malec interaction scene in 1 episode and I was pissed. There was literally an episode where Harry had one scene…he called Alec for drinks…and that’s it. The rest was centered on Alec, Clary, and Simon interacting. And Luke…literally do I need to remind you about the treatment there. So, if you’re going to compare this and that. If you’re going to get Mad, because Clary isn’t getting the fair treatment because it’s apparently the Clary’s show, you jumping to privilege thinking and that’s a dark place to go…trust me, there’s plenty of Clary and Jace in the show…but the fame light is on Malec. It’s because the people, the fans that shined...that light on them.

So, I can be mad if I choose to be, when I did see less of this character and of this relationship…and yes, you also tell me that this is the Clary’s show and the Clace’s show…and that’s your perspective. That’s you. Be you. But also be open minded, Shadowhunters is a diverse shows…it’s aiming was to be open. It’s still has its flaws, but I hope it’s a show that’s listens to the fans. That’s a whole bag of another drama.

You can choose to be mad or passive, you can avoid the negativity, just scroll on by or follow people that think like you. It’s your choice. But why not be open minded…you are watching a diverse show. Why not understand that their aim is bigger now?

I wanted more Malec, to be honest…I had a good serving of Clace while reading the books. I like them, I ship them…and I care about them…and they will be there as much as the other characters are, but I want more characters to shine now. And there is room for more development for the other characters. It’s ambitious, but why the hell not!

When Leonard told Sheldon…don’t go thinking outside the box, but then go rub your ass against the side of the box…that Isn’t progress.

(This is nothing against the actors of the show, they really are sweet people and have been openly supportive of the representations…and my aim wasn’t to anti- this person or this ship…I just wanted to say this…if you don’t agree…scroll on by, might be a long scroll though).

#malec #shadowhunters #magnus bane #alec lightwood #clary fairchild #jace wayland #clace #the mortal instruments #media representation #diversity #more diversity

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bigskydreaming · 7 years

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princeescaluswords replied to your post: Yessssss….my hate for Hal Jordan is showing others...

I’ve never been into Green Lantern much – from where does the hate arise?

Hoo boy. So. It’s partly because of things Hal has done in the comics, but the other larger part is because of how his character has been handled and ‘redeemed’ and how the writers’ preference for him over the past 12 years has led to an erasure of my fave Kyle Rayner on a massive scale. (Like, look at how I am about Scott erasure in Teen Wolf fandom and the show, and magnify that by 100....because Scott and Kyle are largely the same character for me and their treatment is very comparable too).

Story Time!

So Hal’s character has always been a pretty bland, generic hyper-masculine dude whose notable attributes are that he’s fearless and a test pilot for his day job and blah blah. At least in my opinion. Not really that objectionable, plenty of characters fit that bill, but I never saw the appeal.

But then in the early 90s they decided to shake up the Green Lantern franchise in a major way. Not sure how much you know about the franchise, but essentially its a Corps of space cops, 3600 in number, and for decades in the comics Hal was considered ‘the best of them’, even by his fellow Green Lanterns.

Then the Death of Superman storyline happened, and Hal’s home Coast City was destroyed. And Hal went full dark side. It was honestly one of the best and most tragic ‘fall from grace’ storylines I’ve ever read or seen it mainstream media. It was what Anakin Skywalker’s story had the potential to be but was never quite realized, IMO. See, Green Lanterns can do just about anything with the right amount of power fueling them....and Hal became obsessed with resurrecting Coast City and everyone who’d died. Undoing the event, rewinding time. He was convinced he could do it with the right amount of power, but that his ring alone wouldn’t do it. So he went to Oa, the home base of the Green Lanterns and where the Central Battery that fueled all their rings was located. He asked the Guardians (the aliens who had created the rings and the Corps in the first place) to give him the power he needed, and they told him no, that time was not to be messed with in the ways he was picturing.

So Hal killed the Guardians. Killed the Green Lanterns who tried to get in his way, including some of his closest friends and allies. And then he drained the Central Battery, absorbing all its power into himself - and in the process draining the rings of all 3600 Corps members. Resulting in most of them dying, because they were off on official business, in life or death situations of their own when their rings suddenly stopped working, or many of them were in the void of space, flying between planets when they were just stranded their as their rings drained of juice.

But in Hal’s mind, all of this was just temporary. He was regretful as he did it all, but kept saying that none of this mattered, that it was all going to be undone anyway as soon as he had the power he needed to fix it all. He became the villain Parallax, even willingly calling himself a villain, because he had no illusions about how what he was doing looked, it was just he was fixated on the ends justifying the means, and that it would all be worth it in the end. He convinced himself there were no consequences to anything he did, because he intended it to just be temporary.

This was when I started reading comics, with this storyline (Emerald Twilight it was called). And so my very first superhero was Kyle Rayner, for a generation of readers, we watched his origin story unfold. One of the Guardians, Ganthet, had survived Hal’s attack, and he was able to keep one last ring intact. And he went to Earth and gave it to Kyle Rayner as he was leaving a concert one night. All the other Lanterns previously had been chosen for their great willpower or their ability to feel no fear or whatever, but Kyle was just this random guy who was in the right place at the right time (or wrong place at the wrong time, depending on your perspective). So from the start, Kyle was the everyman hero in a way Hal and other GLs had never been....this normal guy, a college dropout who suddenly had this enormous burden placed on him, the responsibility of being the Last Green Lantern, the only one left to do what an entire Corps had been tasked with before Hal’s fall. And being a hero didn’t come naturally to him, he didn’t just show up and save the day, he struggled with trying to figure out the right way to do things and if he were even the right person for the job. There were a number of times when he wanted to just give up the ring entirely, but then he found out it wouldn’t work for anyone else. If there was going to be a Green Lantern it was either going to be him or no one.

And Hal was like, his big villain from day one. For years his archnemesis was his own predecessor, who had become this symbol for how power can corrupt. His own personal bogeyman because Hal was what he could become if he let the power get to his head. Like, Hal would pop up all the time to tempt him, trying to convince him to give up the power he never really wanted to have in the first place. That with it, Hal could finally fix things, and he could even fix things for Kyle (like bring back his girlfriend, who died in one of his earliest stories). And he didn’t get along well with most other heroes because they had been Hal’s friends and allies and to them Kyle was just a reminder of everything that had happened. And all the aliens Kyle was supposed to help on his space adventures, since his responsibilities as a GL extended beyond just earth....none of them trusted him because they looked at a GL now and thought of Hal and everything he’d done.

So basically, for a decade, pretty much every one of Kyle’s actions and choices as a hero revolved around trying to repair the damage Hal had done, as well as try and protect everyone the GLs had been responsible for before Emerald Twilight, only do it all by himself, because it was because of Hal there was no one to help shoulder the work.

Hal eventually sacrificed himself to save the day from a galaxy-wide threat (largely thanks to Kyle’s influence). Even without him though, his influence was still a driving force for Kyle’s stories. At one point, finally, Kyle absorbed a huge amount of power that turned him into a god, basically, and it was because he didn’t trust himself with it and feared he’d end up like Hal that he gave it all away, and instead used it to restart the Central Battery and in the process he kinda recreated the Guardians - it wasn’t like what Hal had wanted to do, undoing everything, these new Guardians weren’t as they’d been previously, they were children who needed someone to guide them and help them grow into people who would in turn guide a new GL Corps, and that was basically Kyle and Ganthet who did that.

ANYWAY, so here’s why I really hate Hal. Because Geoff Johns took over the GL franchise then, and Hal was his all time favorite character. So his priority was ‘redeeming’ Hal so he could be a hero again and take center stage at the GL franchise. And to do that, Johns basically said....none of it was ever Hal’s fault. He resurrected Hal and then introduced the idea that Parallax was actually an alien entity, the embodiment of fear, and that he’d possessed Hal and was the real reason Hal had done everything he’d done. So Hal defeated Parallax, locked him away, and became a GL again and took his ‘rightful place’ as the greatest GL ever, despite umm, the fact that he was the one who’d destroyed the Corps in the first place.

And in the process, Kyle was inevitably shuffled off stage. He’s appeared in a number of stories since then, because he’s a huge part of the GL franchise and has a ton of fans, but despite the fact that he WAS the entire franchise for 15 years, he takes a backseat to Hal and most of the other GLs wheneevr he shows up. There’s a lot of talk and references to how Kyle’s such a great GL and he did such a good job of representing the Corps by himself while he was the only one, but its all very round about and vague, just kinda a ‘oh yeah, he’s important’ without ever really specifying why he’s important or specifically what he did (like restart the Corps by himself).

Thing is though....there’s literally no way around this, not if you’re going to choose to prioritize Hal over Kyle. Because while Johns wrote a story saying that nothing Hal did was really his fault, that still only works if you quickly move past the specifics of what Hal did and don’t make readers focus on it too much. Narratively, to pull off that kind of twist, you need to put distance between the character and the events, and you have to ‘unlink’ the two in readers’ minds. The more people associate Hal with the fall of the Corps, the harder it is to say ‘but remember, it just looked and sounded like Hal, it wasn’t him really.’

And Kyle, by his very existence, makes it hard to forget what Hal’s character was responsible for in the past. Because Kyle’s character and his existence in the franchise is entirely rooted in what Hal did in the past, while his character certainly exists independent of Hal and doesn’t need him to be a great character, his HISTORY is inextricably linked with the part of Hal’s that Johns wanted people to move past. You can’t craft a story about how important Kyle is to the mythos as the Torchbearer, the guy who restored the Battery and brought back the Guardians, without highlighting the reminder that Hal was the one who destroyed them in the first place.

So the writers have done various things with Kyle over the past decade, he’s mastered all the other colors of the emotional spectrum and he became the White Lantern and at other times he was the host for the avatar or embodiment of the energy the GLs draw from - always big, important stuff, but the kind of stuff that means he only shows up in the final stories of an arc or for big important events, and when he does show up the focus is always on what he’s doing right now rather than his actual character. For the most part, he’s kept out of sight, out of mind or specifically written in such a way as to just be here to play support staff to whatever Hal has to do....because they don’t know how to write Kyle taking center stage again without reminding people that Kyle is only the hero he is because of the fifteen years he spent being the only Green Lantern and trying to make up for Hal’s legacy.

Sooooo....yeah. He’s been sidelined hard, and with definite intent, all because Johns wanted his personal fave redeemed. And he always will be, as long as Hal is considered the ‘heart’ of the franchise. And so I am forever bitter, because Kyle is my favorite hero ever and deserves better, and I don’t want to read Green Lantern stories, I want to read Kyle Rayner stories and the best I’ve gotten for the past twelve years are Kyle Rayner appearances in Hal Jordan stories, lol. Booooo.

And the fact that Hal is SO BORING and generic doesn’t really help at all because I mostly just flail my arms around a lot and wildly shout THIS GUY? THIS IS THE GUY YOU UNDID ONE OF YOUR GREATEST STORIES AND SIDELINED ONE OF YOUR GREATEST HEROES FOR? THIS GUYYYYYYYYYYYYYYYYYYYYYYY?

LOL. Anyway. That’s the story. That’s why I can’t stand Hal Jordan.

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mctvcker · 5 years

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Links plus technical SEO are the biggest pieces of the pie, yet multimedia efforts such as video clip, photos, and podcasts will become the game changer and differentiator in many competitive markets. Occasional, and I actually do more occasional and not really frequent, usage of keywords plus keyword phrases in these hyperlinks may also help very somewhat in your SEO processes. Excelling at SEARCH ENGINE OPTIMIZATION means serving your visitors—not simply search engines. Here arrives the idea of SEO or even search engine optimization. The particular fact remains that SEO providers assure clients that even in case the site will not position among the top search motors like google, the money can not be a waste owing to the refund. Upon the subject of speed, with the beginning of 2017 right now there was still much resistance in order to AMP in the SEO neighborhood overall, but as we mind toward 2018 that feels in order to be dissipating now somewhat along with a reluctant acceptance that AMPLIFIER looks as though it's not really going away sooner. The biggest way that individuals misuse SEO is assuming that will it's a game or that will it's about outsmarting or deceiving the search engines. Both are crucial to the particular success of an SEO strategy, but they're on completely different edges of the fence when this comes to improving your search motor rankings. Greater than 50% of mobile phone customers started using voice search correct from 2015, and so we all can expect that in 2019 and after that not much less than 50% of searches will certainly be in the form associated with voice search. Within the past, getting a great SEO was only about making use of keywords. Just remember Blog9T that , SEO will be about targeting real people, not really only search engines. When you do these on-page plus off-page elements of SEO with least along with your rivals, you can achieve higher research engine ranking positions in the particular organic section of search motor results pages and have the quality website capable of sustaining your revenue goals. In my opinion that 2018 is going to be the particular year where voice search changes how users search and SEOs need to optimize. SEO or Search engine marketing is a term coined jointly to describe the techniques that will the website should use in order to boost its rankings on the search engine. Investing in high quality tactics which do take more time but endure and are usually the ones which generate important traffic is the best method to spend your time upon SEO. Some SEARCH ENGINE OPTIMIZATION specialists and bloggers say that will short URLs ranks better within Google. This technique will be sometimes known as SEO content” or SEO copywriting”. But you need to not ignore the most substantial part of the website developing process, i. e. SEO (Search Engine Optimisation). Whilst businesses can choose to perform their own SEO, hiring the SEO agency that has encountered search engine optimizers will simply no doubt, help businesses reap RETURN ON INVESTMENT in the long run. Within fact if you look carefully you will find that content material marketing and SEO go hands in hand. On the some other hand, Black Hat SEO contains efforts like redirecting internet lookup engine "spiders" to different web pages than human visitors see, mass-posting "spam" comments (on blogs, community forums, articles), or putting lists associated with keywords in late each web page in very small fonts. Since we've seen, one of the particular major advantages of SEO will get more traffic because of much better search engine ranking. If you are severe about improving search traffic plus are unfamiliar with SEO, we all recommend reading this guide front-to-back. A few of these SEO strategies attempt to deceive users into going to sites about subjects they no longer have any fascination with, which places them at odds with the particular purpose of search engines. Also companies considering about getting Search engine optimisation services should go through these types of magazines to familiarize themselves making use of the latest trends within the particular SEO and web-based marketing sector to allow them to evaluate the assistance offered for all of them from the selected SEO companies. Mobile SEARCH ENGINE OPTIMIZATION in 2018 will likely be all regarding Progressive Web Apps (PWAs). The term SEARCH ENGINE OPTIMIZATION also describes the making internet pages easier for internet research engine indexing software, known because "crawlers, " to find, check, and index your web site. I feel that technical SEARCH ENGINE OPTIMIZATION mistakes that affect crawl spending budget - and also pollute Search engines with non-SEO-friendly content such because social landing pages, WordPress mass media archives, offer pages and cloned e-commerce product pages - will certainly have an even more detrimental effect upon sites moving forward. Effective SEO lets you enhance your website to demonstrate up within search engines. All of us will get into how to be able to pick the best keywords intended for your business later in this kind of SEO guide, but it perfect you to know how in order to use them, as they will be referenced throughout this section. Despite the fact that meta descriptions are not the ranking factor for search machines, they do hold value with regard to your website and are component of your SEO presence. Let us speak a bit as to exactly what SEO is before we enter into the SEO article writing recommendations for people who may end up being new or do not very understand it. SEO stands intended for Seo. The much better you get at SEO, the particular more traffic - and even more leads - you're likely in order to attract over time. To find away more read our 2019 developments in SEO marketing report. Are voice searches plus it's expected that by 2019, 67 million voice-assisted devices is definitely going to be in make use of in the U. S. These types of kinds of changes and provide on your website shouldn't end up being a problem logistically — the particular overall practice among the greatest web companies nowadays is making sure that websites are flexible sufficient, especially for SEO purposes. Whether you are usually a marketer, webmaster or organization owner, it is very essential invest in voice SEO marketing to reap benefits in 2019. We said earlier that sociable media isn't a direct SEARCH ENGINE OPTIMIZATION ranking factor, so you're most likely wondering why we're even bringing up it. The particular effects of Black hat SEARCH ENGINE OPTIMIZATION are temporary, keep in mind that take the particular search engine long before this spots these illegal strategies plus then penalizes you; the lookup engine may spam your hyperlinks and if you continue making use of these malpractices the search motor will altogether block your web site and links. Algorithmic chasers, technical SEOs, plus Google Doodle followers should develop their technical skills to concentrate on emerging voice search systems and AI applications. Single Grain is a electronic marketing agency in order in order to companies like Uber, Amazon plus Salesforce grow their revenues on-line using SEO and paid marketing. This free marketing device is really a long-term technique and can be time rigorous but it will worth this. 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This is certainly not a idea that can be used simply by the average web designer or even webmaster to improve their lookup engine listings, and it is definitely not what many people, which includes myself, has written it in order to be. Nevertheless, first some history. This particular video walks you through the particular specific steps you have to get increased rankings in 2018, including launching speed, technical SEO, content, hyperlinks, and more. Due to the fact it is, all across this year agencies specializing in SEO were active recovering and finding new procedures to optimize the search motor even better than what their particular competitors were doing. With internet customers who use their mobiles in order to search on the increase, because an SEO consultant it can make sense to get a look at the particular effects SEO marketing is putting on search engine optimization. The sole purpose of SEARCH ENGINE OPTIMIZATION Services is to improve your own search engine ranking. Guarantee redirected domains redirect through the canonical redirect and this too provides any chains minimised, although Help to make sure to audit the backlink user profile for any redirects you stage at a page just such as reward comes punishment if these backlinks are toxic (another kind of Google opening up the particular war which is technical seo on a front it's not really, and in fact is speak, to building backlinks to your own site). In order to smoothen out the software plan interface problem, the web developing team as well as the particular SEO specialist work together in order to build the major search motors friendly programs and code that could be easily integrated into the user's website. They will have got to find SEO expert internet sites, who will help the company owner's site have many clients in internet marketing. This is since they are not SEO pleasant and can affect your positioning significantly. These SEO crawler programs are similar to Google's own crawlers and will provide you an overview showing exactly how your page will perform within SEO rankings. Google is making certain it takes longer to observe results from black and white hat SEARCH ENGINE OPTIMIZATION, and intent on ensuring the flux in its SERPs structured largely on where the searcher is in the world during the particular time of the search, plus where the business is situated near to that searcher. In 2018, SEO is content and articles is SEO, content is electronic and digital is content. Before starting a good SEO project, site owners ought to carefully read through the site owner guidelines that every search motors provides and follow recommended greatest practices. This is clear that when website owners hire a search engine optimisation SEO expert, they stand the better chance of maximizing their own SEO services. Search motors cannot understand this type associated with content, so it's vital that you design and style video pages in an SEARCH ENGINE OPTIMIZATION oriented manner. Subscribe to our weekly SEARCH ENGINE OPTIMIZATION and daily SearchCap newsletters for a summarize of all the latest SEARCH ENGINE OPTIMIZATION related news, tips and strategies from Internet search engine Property and other sources all more than the Web. When you aren't logged in, go to SEARCH ENGINE OPTIMIZATION Toolkit » Keyword Research » Keyword Overview. For almost any SEO technique to operate successfully you require content and that will can come in any type like keywords, articles or sites. From 2019, AI can be utilized by the businesses to acquire higher rankings upon search engines. For that reason, it can be a great idea to incorporate expenses intended for professional SEO content in your own quarterly marketing budget. Google will see right via sneaky, black hat SEO techniques like creating duplicate pages, producing pages with thin content simply for the sake of obtaining more pages and buying inbound links. One thing is definitely crystal clear: if you would like people to discover your function, you need search engine marketing (SEO). This almost all means when you're thinking regarding your SEO strategy, you require to think about how your own social networking strategy fits into the particular puzzle, too. As your visitors slowly increases, ensure that you include additional SEO strategies (like adding exterior and internal links, guest publishing, etc) to engage more customers and keep your metrics higher. Google has still left a very narrow band associated with opportunity when it comes in order to SEO - and punishments are made to take you out associated with the game for some period while you cleanup the infractions. Head of Marketing, Shiny Edstrom, at BioClarity, a San Diego based health-science company, thinks that SEO is going in order to see a decreased importance within 2019, and SEOs should begin ensuring they're competent in SEARCH ENGINE MARKETING. The best rank that you could see the profile with contact information and maps on right hands side of search result web page is achieved after long treatment for using SEO tactics. Numerous search engine optimisation. Search Engine Optimization (SEO) is the technique of customizing a website for search motor discovery and indexing. SEO is actually a technique which search motors require that sites must improve properly, so that they show up high in search results. The European Search Honours is an international competition that will shines the spotlight for the best SEO and Content Marketing organizations in Europe.

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loucassavvidesalevelmedia · 7 years

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Research-Textual Analysis-Alien (1979)

https://www.youtube.com/watch?v=7wsmc0n8JcY

https://www.youtube.com/watch?v=AdBu6VAESeI (backup link)

The film ‘Alien’ has championed the horror genre ever since its creation. The Xenomorph creature itself has become a pop culture icon, and the film promptly gained sequels, spinoffs and all sorts of other media-with the most recent film in the franchise being ‘Alien: Covenant’. The film’s tag line of ‘In space, Nobody Can Hear Your Scream’ is perhaps one of the most well-known tag lines on the globe.

The most infamous of all the scenes in the film is the ‘Chestburster scene’ where the baby Xenomorph ‘hatches’ from the chest of the character Kane (portrayed by the late John Hurt). The scene isn’t popular for no good reason; on a technical level it is fantastic-blending suspense with great acting on behalf of John Hurt and the entire cast; in addition the special effects were brilliant for their time, and the mise en scene is set up in a very detailed and deliberate way to amplify the horror of the scene. In this textual analysis, I will deconstruct the scene and explain why exactly it’s so good.

Overview of the scene: The very first shot is a long shot, showing all the members of the crew sitting around a table aboard the Nostromo (the spaceship that the film takes place on), with the diegetic sounds of the crew talking and cutlery being moved about as they eat. The scene then cuts to Kane and Parker (played by Yaphet Kotto) and then cuts again to Ash (Ian Holm) who makes a remark about the food. The scene lingers on Ash’s face for a split second longer than it needs to, showing his expression change-he becomes much more serious and glares at Kane-the camera cuts back to Kane eating, and pans and zooms onto Kane, talking about ‘getting some decent food’ when he gets home. This camera encodes the scene with tension; the audience will be able to put two and two together and understand that something bad is about to happen-especially considering Kane’s encounter with the Facehugger creature earlier in the film.

The camera cuts between Parker and Ripley (Sigourney Weaver) as they talk; there is some dramatic irony in this scene as they talk about ‘knowing that the food’s made of’, the dialogue is ironic since, unbeknown to them, Kane is currently serving as ‘food’ for the baby Xenomorph. As some of the crew laughs about the statement, Kane begins to choke. At first, he seems to be just choking, with Parker asking him what the matter is-the camera then cuts to Ash’s face, once again serious, which is another signifier that something bad is going to happen to Kane. The camera cuts to show Kane from behind, and Parker’s expression is a lot more serious-a sharp contrast to how he was just seconds ago. Other crew members being trying to help Kane-except for Ash, who sits and waits-the camera cuts to show Ash still sitting and eating normally, unlike all the other crew members; he is the last to get up and try to help.

Kane’s choking and cries of pain become louder and harsher, and he is placed on the table on his back by the crew members. The shot changes to a mid shot of several crew members attempting to assist Kane before he chokes to death, and continues to alternate quickly between Kane writhing on the table and the crew members trying to save him. The diegetic sound of Kane’s screams and the crew yelling instructions at each other creates a sense of panic and confusion-the shaky camera shots and strange angles add to this, creating a disorientating atmosphere for the audience. This is a massive contrast to how the scene starts, where everything is organised and quiet, showing how quickly the chaos has escalated. This continues until blood sprays out of Kane’s chest, causing the scene to go entirely silent (except for Kane’s gurgles and Ripley’s scream) for a split second before Kane starts writing again. The looks of horror on Dallas (Tom Skerritt) and Parker’s faces probably reflect that of the audience, and are clear signifiers that this is foreign territory for them-beyond a crew member choking, they no longer have a protocol to follow, so blood spurting out of a crew member’s chest is certainly going to terrify them.

The scene cuts quickly between crew members to show their faces and reactions to Kane’s seizures (with his cries of pain being the only diegetic sound), until the baby Xenomorph bursts out of Kane’s chest. The only diegetic sounds then are the two screams-the Xenomorph and Ripley’s-and the entire crew steps away in horror (followed by quick jump cuts of them getting sprayed with blood). The scene the cuts to a close up shot of the Xenomorph rising out of Kane’s chest-the mise en scene of this strange alien creature covered in blood, looking around as it climbs out of a still-twitching Kane’s chest is a horrifying scene to audiences, especially since the only alien before that had a been an odd spider-like creature (the Facehugger) that simply attached itself to Kane’s face-the audience would be aware that Kane was going to die, but not like this. Parker goes to attack the creature with a knife, representing him as one of the most proactive crew members as he is ready to take action (which may also represent him as headstrong), but Ash orders him not to attack with the diegetic line “Don’t touch it!”

(Spoiler alert!) This dialogue is foreshadowing; this may seem to be him simply looking out for the crew members, but later in the film he is revealed to be an android tasked with bringing back the Xenomorph alive by the company the Nostromo and its crew belong to and work for. This creates a subtle feeling of mistrust between the characters, as they have no idea if anyone else could have an alien inside them (although none of the others have been attacked by a Facehugger), and can longer fully trust each other. The camera cuts between Parker and Ash, showing their different reactions to the creature, with Parker keeping his knife raised and his eyes on the creature, and Ash slowly starts making his way towards it. The Xenomorph lets out a high-pitched squeal and dashes away across the table. There is a reaction shot of Ash’s face as the Xenomorph runs away from him. The scene ends here.

How is this scene made effective? The scene is effective due to its creation-and subsequent handling-of fear and panic throughout. The sudden escalation of events in the scene (food to alien menace) sends the message that ‘nobody is safe’ to the audience, and now that the alien is loose aboard the ship ‘nowhere is safe’, either. This instills feelings of dread in the audience, as the alien could be anywhere aboard the ship, so with every scene change comes the potential for a character to get killed. The scene also shows how binary opposites are invoked with Parker and Ash, due to their different reactions to the Xenomorph’s emergence; Parker acts much more brash and ready to attack, whereas Ash is more cautious and wants to observe the creature before taking further action. This contrast between the two characters remains throughout the remainder of the film.

The lack of non-diegetic music adds to the eerie ‘realism’ of the film; as there is no music in the background the reactions and diegetic dialogue of the characters are key to the atmosphere, which is pulled off spectacularly-each cry of pain from Kane and murmur or yell from a crew member to do this or that puts the audience in the shoes of the crew and allows them to sympathise with them; on the first viewing of the film from the audience they will be just as clueless as the crew as to what is going on, causing reactions of scared confusion-mirroring the character’s reactions in the film-as the scene unfolds. The release of tension as the Xenomorph appears replaces that confusion with sheer terror.

The scene is also effective as part of the narrative-the audience may be under the impression that the Facehugger from earlier was the alien, and thus may be a bit disappointed-it is only small and latches onto people’s faces and that’s it. The first time they watch (without prior knowledge that modern audiences have), this new alien appearing would be a complete surprise, and is basically explaining to the audience ‘THIS is the alien that the film was named after’. This amplifies the horror of the scene, because the crew had managed to study the Facehugger and understand it on a basic level-this new alien runs off before they can catch it, so they have no idea what it can and can’t do-leaving all of the crew hopeless and stranded within the walls of their own spaceship.

This makes the once warm and safe environment of the ship much more menacing and unwelcoming; as the film progresses more of the ship is shown to the audience and it is much more ‘cold’ and barren than what is shown within the first few scenes. This represents how xenophobic the ship has become to the crew, as they are potentially unsafe in any room that they go to-a point that is illustrated multiple times throughout the film as the crew is killed off one by one.

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anautisticdragon-blog · 7 years

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Humanity's Love Affair with the Sociopath

Sigh. This one's been a long time coming, I've been putting it off because it's such a big topic, but I need to talk about it eventually because it's at the core of everything I've ever talked about. It's my problem with the Zeitgeist, and with contemporary society today. It's my beef, it grins my gears, and it's something you've never asked yourself.

Why do you love sociopaths?

The media is partly to blame, it always is. We've seen an evolution of character types across the decades, from the friendly person with the heart of gold from the idealistic '80s doing all it can to avoid the inherent, inborn corruption of humanity, to the more earnest depiction of an abrasive, incredibly cynical person with a heart of gold from the '90s. From Ninja Turtles to John Constantine, they all had something in common.

They had a heart. They all had compassion, empathy, and no matter how cynical some of those '90s characters could get, underneath it all there was still a basic belief in humanity. A compassion that drove them to always do the right thing despite their bitterness at an uncaring world, an untainted moral compass that never swerved away from wanting what was best. For everyone, with no one left out. An end to the suffering people unjustly endured at the hands of those without a soul.

At some point, we started cheering on the villain. The abyssal creature without a soul, the demonic presence that had no heart to speak of, never you mind one of stone. It became so 'kewl' to be the con man, robbing old ladies for all their worth, spitting on the heroic figures who'd heretofore showed children the consequences of such actions.

It all comes down to the rise of extraversion and how it's tainted to its very core. It might sound like a horrible way to think, but there's just too much evidence to support it and there's going to be a lot of that in this post. I've learned that it isn't 'Humanity are Bastards,' as the trope goes, but rather 'Extraverts are Bloody Psychopaths,' just within varying degrees.

Why do you think the Nigerian scam mails worked? Affiliative extraverts thought themselves clever, they'd 'play' the poor prince, get him to open up and trust them so that they could get that big, juicy slice of money. And then? They'd not give it back! 10 per cent! Why have such a meagre pittance when you could take this 'innocent prince' for all he's worth? What a lark, take that silly sod to the cleaners for trusting you!

Didn't work out that way, eh extraverts?

As good as extraverts think they are at 'playing the game,' sociopaths are a billion times better. And affiliative extraverts seem almost wired to fall for it. It might be a survival instinct to obey the strongest, and thus be seeen as such by proxy, so sociopathic behaviour is desirable because it exudes airs of 'strength.' Even when that 'strength' gets your bank account cleaned out because you thought you were being bloody clever.

Instead of falling arse over tit for a stupid, stupid con.

It's why we have cults of personality... right? Just the affiliatives trying to emulate the 'strong,' trying to be 'strong' by proxy. All looking to the 'strong' for guidance, for will, to do what they bloody can't. Trying to behave like them in order to gain favour. Whether it's Steve Jobs, Donald Trump, or any charismatic sack of ichorous waste, whatever the Wastrel of the Day is, if they're manipulative enough, the affiliatives will follow.

It happens on all kinds of scales. All kinds. You'd have to be the world's shiniest example of a Joe bloody Soap to not see it, and people don't. These cults of personality pop up everywhere. And I have to pick out an obscure favourite of mine so that people won't be too invested in it, if you're seeing this from an outside perspective, you might actually catch on. So, what manner of dirtbag is going to serve as my example?

I'm going to use one that was never of criminal intent, though a generally scummy person nonetheless. Chris Avellone. In video game circles you might have heard of him, most do I'd think, and they worship him without even really knowing why. Why? Well, he's a sociopath, isn't he? Anyone with the brass clackers enough to lead a cult of personality always is.

Nature of the beast.

What'd he do? Let's see. He wrote a Fallout Bible and claimed to have absolute creative veto over the IP, for one thing. If a designer or writer had anything contradictory to say on the matter? He'd passive-aggressively mock them in his 'Bible.' That he called it a bible is more than a bit telling, don't you think? That's not indicative of off the charts narcissistic arrogance at all. Oh no, not even a little bit. No, no...

So let's look at the characters he's proud of including in video games, shall we? Kreia, from Knights of the Old Republic: A soapbox for Avellone's seedy, unbalanced views and a sociopath. Ulyssess, from New Vegas: See Kreia. Weeping Mother, from Pillars of Eternity: See Kreia. Sensing a pattern, yet? Ulysses wanted to nuke everyone back into a fresh apocalyptic state, it's what humanity deserved, he just wanted to watch them burn.

Avellone has often said that that's what he'd wish for the Fallout franchise. That's not worrying at all, right? Okay, how about how in a recent interview, with all of the cocksure arrogance of a sociopath, he told an interviewer that he prefers 'smart evil?' He'd prefer to 'talk two people into killing one another' rather than actually save anyone. Or Tyranny, which was Avellone's brainchild? That was a world of villainy and evil, lead by sociopaths... Cor, have to wonder if you're sensing a pattern yet. I am.

Oh, and he took an ending out of a game that allowed a group of sapient creatures a future, and a chance at happiness. Why? They weren't human, he believed that their purpose in the story was to die and suffer. Oh yes, did I mention that Avellone is a bit of a crackpot?

And yet people love him.

So, let's move onto a fictional example. Rocket Raccoon was originally an abrasive character with a heart of gold, much like John Constantine. I adored him. That's when he was written by Dan Abnett and Andy Lanning. Did you know that Rocket had a different origin than the dreary rot the films put him through? He was originally a fluffy artificial life form created to help the mentally disabled and disturbed. In DnA's run on Guardians of the Galaxy, Rocket was a really nice fellah, reliable, and a genius. Definitely a bit rough around the edges, to be sure, but a stand up bloke nonetheless.

So, Rocket Raccoon is handed over to Bendis. Brian Michael Bendis...

Brian "Misogyny'n snuff porn is my bag, yo!" Bendis. Brian "I think it's super funny when Elektra gets kicked hard in the vagina by a guy, especially when the onomatopoeia is FOOM!" Bendis. Brian "If a woman didn't get shot in the head in this issue, I didn't write it!" Bendis. Brian "I hate Grant Morrison and Alan Moore just because they're British and that scares me!" Bendis. Brian "It's so funny whenever Tigra gets humiliated, stripped down, forced to do naughty things on camera, and then gets brutally raped by white villains. 'Cause I hate her and that makes it funny! Hehe!" Bendis. Brian "When I write Doctor Doom, he gets to call a woman a 'fat cow whore' and it's totally in character!" Michael God Damn Fucking Bendis.

So, yes, Bendis is also a sociopath. We won't talk about that, here, though. I think I've already covered my grievances above well enough. Suffice it to say though that this man has a history of being shitty to women in comics. And you can probably guess what happens to Rocket, right? Rocket is now a misogynistic sociopath. Hooray. He's a massive arsehole. And not the kind that has a heart of gold, of course. Oh no, not even slightly. He's just a humongous pile of shit.

Cheers, Bendis. You desperate, oversexed and sexually frustrated tosspot. I don't want to be around for the next character you drag over hot coals. That, loves, is why I no longer 'Make Mine Marvel.' More like, 'Take Thine Garble... and shove it where the sun don't shine!' I'm sorry, I have to be facetious, I can't make it through this any other way.

The world is just obsessed with sociopathy.

Take a running kick at a cat's skull to post up on Youtube? Haha, it's funny! Grab a dolphin out of its water, toss it around and abuse it on camera for the purpose of selfies? It's fiiine! When did we start excusing this kind of shit? When did we begin to turn a blind eye? When did it become okay for some charismatic, inbred pigfucker to ruin Britain for everyo--Okay, now I'm getting too specific, aren't I?

That's the truth of it, though. All it takes is charisma and a Machiavellian mind and you can get away with anything! You can be the world's biggest dickhole and people will just cheer you on, no matter what you do! It doesn't matter who gets hurt in the process, does it? And that's where this pus-filled bubo on the face of humanity I 'affectionately' call the Alt-Blight rose from. This is the kind of hell we're living in where somone can have people genuinely think they're hot shit and the greatest new thing since sliced bloody bread for driving a car into a crowd of peaceful protestors!

HOW IS THIS HAPPENING TO THE WORLD???

I come back to Rocket Raccoon in my head. A fluffy critter made to help out the mentally infirm and troubled, reinvented in this cool, hip new age of rabid sociopathy to be a psychopathic, crazy cyborg killer. Why?

Why any of this?

Extraverts.

It's the conclusion I keep coming to and the one I can never get away from. It's what I pointed out when I linked that video from Mike Rowlands just a li'l bit back where he was pointing out how an Alt-Blight arsehat was being a filthy, pathological liar. In one shot, putting on a sob story about how his ilk are just 'peaceful,' not at all violent like the left, and so unfairly 'persecuted for having wrong opinions,' boo-hoo; In another shot, shown counting and bragging about his many, many, many guns.

Extraverts are enablers. They're a hoard, a hive, a buzzing little collective of workers that empower sociopaths by being taken in by them, granting these nutcases power beyond reckoning through their sheer numbers. This is how Trump happened, becasue affiliative extraverts are so easily brainwashed, conditioned, and tricked. All you have to do is convince them they're being clever, that they're in the 'in crowd,' that their chosen social tribe is the most hip, happenin', 'kewl' one out there? And they will, each and every one, collectively swear a holy blood oath to a known murderer.

And thanks to that, we're in a position where it's 'cool' to be a sociopath, psychopath, or other kind of crazy. it's 'seductive,' it's 'hot,' it's 'alluring,' it's 'pull your heads out of your fucking arses.' This isn't Twilight. It's 'strong,' it's 'powerful,' it's 'money,' it's 'stop being so damn deluded while the world dies around you.' With readily denied real issues rotting the world we live on, like global warming and overpopulation, this earth's not going to be around much longer. So why?

Why?

Do you just not care about your children? At all? Or your grand kids?

You bunch of bloody soggy-brained lunatics. That's all I can really say on the matter, isn't it? Singing and dancing while the world burns around you. You bloody lunatics.

I'm just going to talk a liittle about something personal that means a bit to me before I wrap this up. It's even managed to invade the furry community, to worrying degrees. When the Internet was younger, when there were few extraverts (because the Internet was wickedly complicated and they'd not the salted noodles enough to figure it out), the furry fandom was such a genuinely lovely place. It was. You should've seen Furcadia at its height, it was lovely. There were these little communities hosted on servers called MUCKS where fantastically brilliant, singular people got together to dream and imagine things only the brightest furry minds would.

It's why there were a lot of furries involved in video game development in the '90s and early '00s, you know? True story. Look into it. Dr. Cat is but one example. Anyway, it was good. And now? The Alt-Blight have invaded these MUCKs, chased all of the light and wonder away, so these are now tainted, festering hellholes of hatred. It's bizarre to walk through them again and, crestfallen, see how that cancer has made them sick with bile.

Even furries now have to deal with the Alt-Blight. I'm sure a lot of furries might think it's cool. That's the friggernaffin' Zeitgeist, isn't it? Sociopathy is so cool, hot, powerful, and sexy, and a giant taintfest of hatred, let's please never forget that part. It's a very important part, I think.

So it's everywhere. I feel like it's overtaking everything that ever meant something to me. So this is a fight. It has to be. In its own way, this is a war. This is the most abstract war anyone's ever fought. It's a war fought by abstracts against abstracts. It's a war fought against hatred, by compassion; It's a war fought against intolerance, by acceptance; It's a war fought against arrogance, by knowledge; It's a war fought against propaganda, by independent thought; It's a war fought against collectivism, by creativity; It's a war fought against the worst of us, by the best of us.

So, you know. I might be an abrasive buttface, and that's fine, because my heart's always in the right place. I'm not a misogynist, I don't abuse animals, I'm hardly about to run a car into a crowd of people... I think this defines the very opposite of who I am. I've chosen my side. I think that's something we all have to do, now, because it's necessary. Because this is happening and we're not going to be able to hide our heads in the sand any longer.

I get to choose to be 'a poncy, SJW, politically correct sissboy' or... well, a monster. An actual monster. Which is what they are. It might be evangelical, but it's how we have to look at the world, now. So I'm proud to be an SJW, I've said it in the past. I couldn't be more proud, I couldn't be happier! I derive great personal worth from this, because I'm not a monster.

Monsters of yore might have had scales or fur, they might've been fifty stories tall or come in flying saucers. The monster of today has white skin, they're not that tall, either, and they certainly didn't arrive in flying saucers. No, these monsters are home-grown. They're our monsters. And we have to recognise them as such.

If you see a Nazi, say Nazi. That's what every sociopath, psychopath, and associated nutjob out there is going to be. The Alt-Blight, what have you? Nazi. Even ex-neo Nazis will tell you that the Alt-Blight are Nazis.

So can we stop glorifying and empowering monsters now, please?

This is a dark time in history, one of those things where the younger generations will look back and shake their heads in such terrible shame. So let's come out swinging and put this Nazi blight to rest. Once and for all.

Citations

Abused Cat Abused Dolphin Avellone Prefers Sociopathy Example of Bendis's Sociopathy Alt-Blight Furry Troubles Alt-Blight MUCK Taint Alt-Blight Brainwashing

#alt-right #sociopathy #hatred #sjw #what's wrong with the world

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