#but yes...2/5 done | Explore Tumblr Posts and Blogs

nevertheless-moving · 27 days

Text

Hesina Willshaper AU

Step one canon divergence: Amaram's army doesn't do the kind thing. Kaladin's listed next of kin are sent a letter stiffly informing them that their son is a deserter and, thanks to the highmarshall's mercy, has been sold into slavery.

Step two canon divergence: a light spren has started following Hesina around.

The letter reaches hearthstone.

Hesina cries the bones of the first ideal through labor pangs. Their wretched diamond lamp grows slightly dimmer during childbirth.

Hesina and Lirin discuss if there's anyway they could possibly find their son and pay his slave debt. They're not optimistic.

Hesina talks with her lightspren.

Lirin and Hesina talk again about trying to find their son, now that Oroden is starting to be weaned.

Hesina appears to have grown taller. No one but the two of them seem to be aware but they're worried other future changes might be more noticeable.

Hesina and Lirin realize that she can mold rock as if it was clay with stormlight. A spark of hope for freeing their son emerges.

The two leave town.

They find a slave market in the nearest city. They see other parent's sons, but not their own.

Hesina swears to free those in bondage. Stormlight starts coming easier.

They make a tunnel. Rebellion follows. Lirin is horrified by the violence (the violence is not actually that bad all things considered. a couple guards dead. some bystanders frightened. Fair amount of property damage as they rob the military barracks food supply, steal every sphere that's not nailed down. and also steal the spheres that are nailed down. (Lirin won't admit it but the stealing from lamps part is kindof fun.)).

Many of those they freed flee. Some return to slavery willingly, scared of retribution. Many decide to follow the Radiant woman who has vowed to see others like them freed.

The group proceed to the next town. They find another slave market. They make a tunnel. There is more resistance than last time, clearly they were warned something might happened. Hesina kills a man.

Lirin is terrified by what his wife is becoming.

Hesina swears to shelter those without homes. The lightspren forms an unbreakable hammer, perfect for knocking crem free from buildings. And for knocking down men.

A now larger motley group seeks shelter in a mountain town razed in one of Alethkar's many skirmishes over the last decades. Hesina builds homes. Lirin begs her to stay here, to stop fighting before she goes to far down this path, not to go to war. The slaves they've freed are split, many wanting to stay, hide, some wanting to fight and free more, with a radiant at their head, there's a real chance to change things. Hesina lingers, practicing, spends some time falling in and out of shadesmar.

Lirin and Hesina separate.

Lirin stays with Oroden and the noncombatants. Hesina leads those who want to fight to another city, still trying to find their son, still trying to free everyone's children.

The town settles into a routine. Hesina and Lirin miss one another. This is the first time they've gone longer than two days without seeing each other in the last 25 years, and the two days was only when Lirin had to travel to where someone had overturned a cart on the road nearby and Hesina had to stay and watch the children, too young to travel. besides that, it had been every day. they keep turning to talk to each other.

While the army is gone, the free town is attacked by those trying to reclaim her property.

Hesina swims deliberately through shadesmar for the first time. reaches lirin just in time.

Lirin accepts that not fighting won't stop the violence. (It breaks him just a little bit)

Hesina shouts that one person's freedom ends where another's begins. She vows to fight against powers which would rather see their people in cages then homes. A thousand light spren rise up to grant her strength.

(yes I know she's moving fast through the oaths. but she's always been a thoughtful woman and she raised two children who asked difficult questions and now shes mother to another several hundred. honestly she had already worked through some of these concepts before they became actionable on such a grand scale.)

Lirin vows to support his wife through whatever trials the Almighty seems inclined to put her through.

The lightspren, who has started to get some memories back, remembers Oathgate Spren not terribly far from here by physical realm measurements, guarding a hidden human city

the stone remembers the way the radiants once traveled.

The path to a kingdom in the sky is slow — there are many cages to break on the way.

Kaladin doesn't know it right away, because people weren't exactly telling slaves about the freedom riots, but slave wagons start having harder and harder times reaching the shattered planes after him.

Someone mocks Lirin for having a wife so determined to pursue the masculine art of war. Lirin gets pissy and decides to show them by learning to read and write to help support the administrative side of his wife's kingdom wide asskicking.

The highprinces lead a fairly successful misinformation campaign about the slave riots, lots of accusations of rampant violence, the dregs of society lashing out, you can probably imagine

The ongoing rebellion is large enough that word trickles to the bridge crews, encouraging bridge four's hope for escaping, while also making it substantially more daunting, as the crews are even better guarded than canon.

Rumors of a female radiant swirl around. Most people assume it's a woman in shardplate with some sort of tunneling fabrial, which is still pretty crazy, but several major players Take Note

A very large and tired huddled mass of people reach Urithiru. there's just enough squires, and two new willshapers with their own oaths, to make tunnels through the shattered planes and reach the oathgate without being seen by the alethi armies

the parshendi army is another story, but some are willing to take a chance listening to the neshua kadal, and come with them.

The political implications of Dalinar freeing 1000 slaves is slightly more complex, especially considering the rebellions have been impacting Sadeas the hardest

About a week after being freed, Kaladin hires a spanreed intermediary to write home and find out if his hometown is alright (again, a lot of misinformation and rumors about the violence of the riots)

Is informed by Laral that his family left town looking for him shortly before the riots started, were presumed dead

Kaladin is under the impression that 1) his parents are dead because of him 2) the Rebellion is not the righteous fallback plan that he and the men were hoping it was.

Hesina has many reasons to go to the shattered planes. Nearest part of the trade network for food and necessary goods. Many slaves to be freed from there, and a part of her still hopes to find her son, even thought its been so long. Home of Alethkar's political leaders, the source of Alethkar's slavery.

I have spent. A LOT of time imagining many possible reunions between kaladin and his mom in my highly specific high oath hesenia au. She has a couple faces she could wear when visiting the planes. Brightlady. Radiant. Cagebreaker. Queen of Urithiru (not her real title, they're tentatively trying the Listener council model, but they know what the Alethi will understand). Even darkeyed mother, if she and Lirin approach slowly from a different direction. Honestly, pleased as I am with all of the above, a lot is flexible, the key here is kaladin going "MOM??" In some fashion

Thank you @sorchasolas for conversation and the urithiru ideas and for leading me to actually write all this down <3

#stormlight archive #my au #stormlight au no 2 #hesina cagebreaker #the stormlight archive #stormlight au #Hesina willshaper au #ok for the growing taller thing: hear me out!#like she's a tall woman #she can reach the crem on most rooftops with her crempick #like 95 percent of the rooftops #and that 5 percent of rooftops that she can't quite reach she always forgets to bring a stepstool #so she's a tall woman. but her Identity is that of an even taller woman.#do you see my vision #Lirin leaves to bring her the little stepstool because she always forgets when she's hired to clear the baker's building.#but she doesn't need it #he had noticed...but he had honestly just assumed he had gotten shorter. musculoskeletal atrophy happens to men of a certain age.#he's on the younger side but the heralds know it's been a difficult few years. he didn't bring it up but neither did his wife #now he's looking at his wife and is:#Lirin: I am certain you needed a ladder to reach this roof before #Hesina: I did? Are you sure?#Lirin: yes I'm sure you always—Hesina!#Hesina: what?#Lirin: i am. CONFIDENT. that for the last 20 years my eyes have been level with your chin.#Lirin: not your...#Hesina: not my...?#Lirin:#Hesina:#and then they go bone #ok i'm done thank you for listening <3

79 notes · View notes

skrunksthatwunk · 4 months

Text

yakuza: dead souls - american vibes, bigass guns, and why zombies are super weird to have in ryu ga gotoku thematically/ideologically speaking

so i've been playing dead souls recently (hell yeah hell yeah hell yeah) and although i'm having the time of my life with it, there was something about it that kinda felt off to me, and i think i've figured out what it was, but i'm gonna have to walk you through a bit of my thought process to get there.

my first instinct was that it felt... american? and upon further examination i think that boils down to a couple of things:

everyone suddenly has lots of guns and also way way bigger guns

high emphasis on individual heroism (this itself is quite typical for rgg, but it manifests differently here; more on that in a bit)

military/government incompetence, which must be solved by the right individuals having the biggest and bestest guns

[for the sake of transparency i will note that my experience with zombie media is pretty limited and skews american (and i myself am american), so that may create bias. however, the 'this feels american to me' instinct is a rare one for me even in genres where i have seen little/no non-american media, so i think the fact that it did occur to me is notable. what about dead souls triggered that response when little else has? that's why i examined it and, truthfully, i think there's merit in the idea itself.]

the first point is pretty self-explanatory. america's got more guns than it does people, and its gun worship is infamous. japan's ban on guns (aided by its being an island state) means there's far fewer guns in the country, as well as far fewer people with guns (and likely far fewer guns per gun owner, excepting arms dealers/smugglers) than somewhere without such a ban. obviously, there are guns anyway. due to their illegality they are clustered within the criminal population, which explains their presence within organized crime within the series. very few guns will be sitting around in the homes of otherwise law-abiding citizens.

and yet, when the zombie outbreak hits kamurocho, plenty of civilians suddenly have access to quite an arsenal. everyone has the knowledge they need to aim, fire, and reload smoothly and quickly; ammo is infinite for certain guns. characters we've never seen using firearms before suddenly have shotguns under their couches (looking at you, majima). it's not only very different from reality, it's very different from guns' place within the series up until this point, when they were limited weapons used primarily by the enemy.

and they're making a zombie shooter, so of course they would have to do this. it has to be unrealistic to be simultaneously in this setting and in this genre, in the same way that yakuza solving their problems with bareback fistfights instead of guns is itself both unrealistic and necessary to being the kinds of games rgg are.

my point is that this is a kind of focus on and valorization of gun ownership and competency unusual for the series and setting. further, it serves as an argument for why an armed, competent populace is crucial typical in american media.

which brings us to the third point (we'll get to 2 in a minute). guns are often marketed as self-defense weapons. the implication is that the government's defense of the individual (via law enforcement or the military, but particularly the former), are insufficient. this is objectively true. if someone pulls a gun on you at the gas station, will a cop manifest out of thin air to intercede? no. that's impossible. but if you have a gun, or if some bystander has a gun, you or they may be able to do something with that gun to stop the armed person. thus, there is an undeniable gap in the effective immediacy of such responses.

many gun advocates also point to the incompetence or insufficiency of law enforcement, even when they are present to stop an armed aggressor. the fact that law enforcement do not have a 100% success rate in protecting the citizenry is also objectively true.

so, when you are in danger, arming yourself increases your chances of being able to put down (or at least take armed action against) a present or potential threat. whether it is viewed it as a supplement to or a replacement for law enforcement, it is meant to make up for the shortcomings of the government's ability to completely protect all its citizens. it's a safety net for state failure.

back to dead souls. rgg has always centered political corruption in its stories, including politicians, the police, and sometimes even the military, though usually the former two. sometimes this is treated sympathetically (i.e. tanimura, a dirty cop, whose dirty-cop-ness allows him to work outside/against the law to help disadvantaged people, not unlike how kiryu views being a yakuza), and other times it's simply a matter of greed or lust for power (i.e. jingu).

however, something that's almost never touched on so clearly is government incompetence. when the government fails to help people or hurts them or does corrupt things, it's usually due to a competent, malicious bad apple who is removed from power by the end of the game. this implies holes in the system because it keeps happening all the time, but that's on a series-wide scale, a pattern ignored by the series in favor of the individual game solution of "this guy's gone now :) yay".

but in dead souls, the SDF's barracades fall, their men are killed, they are unable to help protect the people outside or inside the quarantine zone. they are weak in a way the government usually isn't in these games. and who is stronger than them? our individual good guys with guns. so we need to be armed because the government is weak and can't protect us. boom. america.

returning to point 2, i'd like to say that dead souls is not particularly more individualistic than any of the other games in the series (other than, perhaps, y7). rgg is an incredibly individualistic series, actually. its protagonists are usually men who defy, oppose, and skirt around the law as a way of helping others and doing what is truly right (with a few exceptions, like shinada and haruka). the romanticized view of the yakuza as a force for helping the community in the face of government incompetence is a real one, and one that tends to manifest itself most in kiryu and how the series treats him. it shows us yakuza who aren't willing to kill, yakuza who cry about honor and justice and humanity and brotherhood, yakuza who never dip their hands into less palatable crimes, or only do with intense regret (and only ever as part of their backstory). the beat-em-up style emphasizes this as well. i mean, what's more individualistic than a one-man army?

put more clearly, this series is about men defying legal and social laws and expectations to live in a way that feels right to them, and about making themselves strong enough to combat those who would get in their way. the individual is placed before the society in importance, (though generally in a way that benefits the community, because they are good guys who want to use that agency and power for good).

all of this is true in dead souls as well, technically. those who live on the outskirts of society are the ones who actually save the day, and the ones who go in there and save people rather than just walling them off and pretending like they don't exist. they have the guns, which are illegal and mark them as criminals, but this broken law is what gives them the power to save themselves when the government will not, and to save their community if they so choose.

where dead souls differs is in the nature of that strength.

rgg places a lot of emphasis on self-improvement, both of one's body and of one's character. do both of these, and you will be strong enough to back up your ambitions. what allows someone to carve their own path in life is the ability to put down ideological and physical resistance by having resolve and the ability to tiger drop whoever won't be swayed by your impassioned speeches. you make yourself a weapon. you make yourself strong. in dead souls, that strength comes from an external, material possession. strength is something you buy (or that you take from someone else). who is able to survive the apocalypse comes not from the heart, nor from rigorous training, but from who has the most, the biggest, and the most bestest guns. it's an intersection of capitalism, militarization, and individualism. simply, deeply american.

[when i was talking myself through this a few days ago, i spent a lot more time on the capitalism + individualism stuff, but i think i'll keep this moving. consider this aside the intermission]

dead souls also differs for a few other interlocking reasons. it can be described with this equation:

zombification of enemies + lethality of guns = loss of emphasis on redemption

if your best friend turned into a zombie, could you shoot them? or your child? or your lover? it's a common trope, but it's a damn good one. watching your family, your neighbors, your town, everyone turn into a husk of themselves, something that looks like them but cannot be reached, is deeply tragic. it's even more tragic when these husks are trying to kill you. unable to be reasoned with and unable to be cured, you must incapacitate them before someone innocent is hurt--or hurt, then themselves made dangerous; each loss adds to the number of threats surrounding you. your life is seen as more valuable than that of your zombified friend, not only because the zombie is attacking you and it's self defense, but because they are no longer a person to you. to be a zombie is to no longer be human; zombification is dehumanization.

and so in a series so focused on connection with one's community, on saving innocent civilians, often on saving kamurocho specifically, one would expect similar tropes to occur. even if one's friends aren't turned, perhaps the cashier at poppo you chat with sometimes is. it's the destruction of that community and of the members one has tertiary relationships with that i expect would occur most within a kamurocho zombie story, since they are likely unwilling to axe anyone more important than that, even if dead souls isn't canon. i'd especially expect to see that in the beginning, before the need to kill zombies rather than contain or redeem them becomes apparent.

this does not happen.

i cannot speak for the entire game, but i can speak of gameplay choices that affect this, and ones i think will not be subverted throughout, even if they are somewhat contradicted by plot events i am presently unaware of.

kamurocho is not a community to protect, nor is it filled with your fellows. it is a playground filled with infinitely respawning, infinitely mow-downable, infinitely disposable zombies. you are meant and encouraged to kill them by the thousands, and never to hesitate or consider whether they may be cured or who may be mourning them. who may be unable to identify their loved one because you were trying to reach a headshot goal from hasegawa. you are not meant to consider them as human, nor beings that were once human, nor beings that could be human again, in the eyes of the zombie shooter. they are merely bodies, targets, and obstacles.

the zombies are contrasted with the true humans, those barricading themselves within the quarantine zone or those living in ignorance outside it. humans are meant to be saved, zombies are meant to be killed. the player character is the only one who can truly help with either of these goals, because the other humans are cowardly, ignorant, or unarmed/helpless. you must be their savior. to be a savior is to eliminate zombies, who are less than human.

the black and white nature of this is also emphasized by another gameplay characteristic: the lack of street encounters. when you traverse the peaceful parts of kamurocho, you are never attacked. you are also never directly attacked by the humans within the quarantine zone. kamurocho feels very different without its muggers and hooligans, but it's because this is a zombie shooter, not a beat-em-up. in a normal rgg title, you'd subdue threats by punching, kicking, and throwing them. you'd use your body in (supposedly) nonlethal ways. dead souls does not have a combat system meant for civilians. you have your guns. you subdue threats by shooting them, preferably lethally. the game doesn't want you to do that to humans, so you never fight humans. this furthers the black and white divide between the salvation-worthy, noble humans and the death-worthy, worthless zombies. combat is only lethal, and only used against the inherent other.

this leads me to the part of dead souls i find most conflicting with the ethos of rgg broadly, and perhaps its greatest ideological/thematic failing.

because the enemy are incurable, dangerous, and inhuman, you must kill them to protect yourself and others, others who are still human. humanity is something that is lost or preserved, but never regained. once someone's gone, they're gone, and you not only must kill them, it is your duty and your right to kill them. you should kill them.

in dead souls, there is no redeeming the enemy.

and that's a big problem.

rgg is about a lot of things, but a key one is the ability of people to change for the better. its most memorable, beloved villains are those who see the light by the end and change their wicked ways (usually through some form of redemptive suicide, though that's another essay in itself). its pantheon of characters is full of those who come from questionable backgrounds struggling to be the best people they can be, to live as themselves authentically and compassionately. it's about the good and the love you can find in the moral and legal gray zones of life/society, and the potential/capacity for good all of us have, no matter how far we may have fallen. it is a hopeful series. it is a merciful series.

this is something bolstered by its gameplay. countless substories are resolved by punching a lesson into someone until they improve their behavior, either out of fear or genuine remorse/development. the games don't just discourage killing your enemies, they don't allow you to (yes, we've all seen the "kiryu hasn't killed anybody? umm. look at this heat action" stuff before, and while they've got a point, i believe it's the narrative's intent that none of this is actually lethal, based on how laxly it treats certain plot injuries (cough cough. y7 bartender) and the actual concept of taking a life, the gravity it is given by the text, particularly when it comes to characters crossing that threshold into someone who has killed. explicit killing is not an option open to you, even when you're being attacked by dozens and dozens of armed men. conflicts are resolved by simply beating up enough guys in this nonlethal manner.

but dead souls is a shooter. to avoid conflict with the series' moral qualms about letting its characters kill, the enemies cannot be human. furthermore, the zombie shooter genre can only fit within the series if its zombies are completely inhuman. this means their pasts as humans cannot be acknowledged, nor the possibility of a cure, nor the characters' own potential conflicts about killing them; or, at least, not in a way that impedes their or the player's ability to gun them down afterwards.

if you can't kill humans in your series, then it cannot be possible to save (in this case, rehumanize) zombies. this is especially true in a game where you are unable to fight humans, and thus human lives are universally more valuable than zombie lives. because if you kill a zombie that can be cured, you are, in a way, killing a human.

and so, in a series where you should always assume your enemies (and everyone, for that matter) are capable of reason, compassion, change, and redemption, and where they are always worth that effort, even if they reject it in the end, dead souls' enemies are irredeemable and only worth swift, stylish slaughter. there are only good guys and bad guys. good guys must be protected, lest they be turned irreversibly into bad guys. good guys are only protected by killing bad guys, and the only way to save good guys is to kill every last one of the bad guys. do not spare them, and do not ask whether or not it's right. only kill.

i love dead souls. it's a silly game. i like seeing daigo in decoy-drag and majima gleefully cartwheeling his way through zombies and ryuji with his giant gun arm prosthetic. it's fun. but when i was trying to figure out what felt off about it to me, one of the words that came to mind (besides american) was indulgent. that, too, felt odd, because i love indulgent media. i am not one to scorn decadent, hedonistic, beautiful high-calorie slop type media. if dead souls was just fan servicey, that wouldn't really bother me. i am a fan and boy do i feel serviced. it rocks. but i think my problem is in what dead souls is indulging.

i think dead souls indulges in the desire to cut loose, and to see these characters cut loose. thing is, they're cutting loose all over kamurocho, and all over the bodies of people they used to (at least in concept) care for. with lethal weapons. it is catharsis via bloodbath, not by pushing your body and mind to the limit in man to man combat, but by pulling a trigger before the other guy can hurt you, or even think about hurting you, for the crime of existing as the wrong kind of thing.

and i just don't think that's in line with rgg's beliefs.

yes, it's probably fair for dead souls' characters to kill zombies. i'm not against that. i'm also not against games letting you do purposeless violence. i spent a good amount of my elementary school years killing oblivion npcs for shits, like. that's not what bothers me about dead souls.

rgg as a series has always taken a hard stance in both its game design and narrative choices against killing and for the potential for redemption in its enemies. and i think the lengths to which it goes to promote that despite the probably-lethal moves you do and the improbability of a harmless do-gooder yakuza is one of the most endearing things about the games. so for this one entry to disregard that key theme for the sake of a genre shift that flopped super hard, well? i dunno. it feels weird i guess. it's out of place not just because it's a dramatic shift in gameplay and style and also zombies are only a thing here (and the supernatural/fantastical are thus only prominent here), but because of what those shifts imply.

so, uh. yeah. my pre-dead-souls thoughts that dead souls wasn't that out of pocket bc rgg's just kinda weird? turns out it was actually super weird to have a zombie shooter in there, but for way way deeper reasons than anyone gives it credit for.

(footnotes in tags)

#1) i deemphasized the physicality of shooting to emphasize my points about the viscerality and personal nature of rgg #brawls and the colder more detached nature of gun use relative to that but i do NOT mean that shooting has no physical component to it #obviously it takes a lot of skill to shoot quickly and accurately and lugging a bigass gun around kamurocho would tucker me out for sure #2) no i don't think all those things i said were american were usa-exclusive. it's a big world out there. i'm just saying those things #combined feel like a particularly american flavor of thing to me #3) there's probably more to be said about the connection between wanton killing and american styling or anti-immigration theming in zombie #stories or dead souls But i figured that was a bit too disconnected to the funny zombie game. this shit was a lot anyway y'know?#4) also i don't think most of this was intentional on the part of rgg studios. i genuinely think they just wanted to make a fun zombie #shooter and didnt really think about it all that hard. whenever you make smth there's gonna be implications you never considered. it happen #5) is it ballsy to write a giant essay on a game i'm like 1/4 the way through? yes. i've done smarter things. i'll revisit it when im done #if i'm wrong then i'll figure it out probably. but like. i don't think they'd set up the hasegawa objective stuff or have akiyama just #unflinchingly start shooting zombies and then later challenge that. we'll see but my hopes aren't high y'know? i know rgg #6) i should also clarify that violent catharsis is a) a part of all rgg games and b) cool as hell. it's the lethal bit that doesn't fit with #the series y'know?#rgg #ryu ga gotoku #yakuza #like a dragon #yakuza dead souls #dead souls #classic skrunk 4 hr middle of the night impulse essay hooorayy

15 notes · View notes