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mountain-man-cumeth · 3 years

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What Went Wrong: An In-Depth Analysis of Muriel's Route

*Youtuber voice*

Below are the opinions of an uneducated individual on what could’ve left the majority of The Arcana audience dissatisfied. I will explore the plot, tropes, themes and morals of the Muriel route and try to explain what may have gone wrong. I will be treating the game as a novel since it's advertised as one.

1. Consistency. If you are unfamiliar with the chekhov's gun; it's a story writing principle that dictates each element you introduce should come into play (foreshadowing). Now let's start with a few story beats that were later abandoned or concluded in an underwhelming manner:

Muriel's blanket

Muriel's magic mark (on his back)

Forest spirit (spirits in general)

Lucio's upbringing

Circumstances of MC's death

Figurines/whittling/charms

Muriel's blanket is teased to be a tapestry, which would tie in with his later fascination with them later on, as it had been the only thing he had left from his past. MC neither sees nor comments on the blanket, we only know it exists thanks to other playthroughs and short stories.

Magic marks are an important point in the game. Every main route emphasises on how it affects the chosen LI. It's reveal is important in a way that it serves as a passage to a new act where the reader explores magic and Arcana pantheon as they are a monumental part of the overall worldbuilding. This exact point applies to the Heart of the Forest and how spirits interact with the world around them as well.

Whittling and Charm making are the only hobbies we get from Muriel's isolated life, their introduction helps the reader humanise the character by giving us a crumb of his everyday life. It's never mentioned again after the scene where MC asks him what he does. He doesn't idly whittle during their journey and charms only come to play in an offhanded reference during reversed ending.

The other two are also ignored but I will touch on Lucio later on.

Why do these matter? A few abandoned plot points don't make or break the story but on a grander level it hinders the audience investment. When we read, we like to think the details we notice will come to play eventually, we like recognizing references that were introduced earlier. I'm sure I don't need to give examples on this one, I don't think anyone will disagree.

2. Themes. Thematic influences this story utilized are all over the place, and it seems to me like it stems from the improper application of certain tropes;

The Hero's Journey

Home Sweet Home

Shell-Shocked Vet

Last of His Kind

etc.

Some of these tropes tackle themes such as;

Slavery

PTSD

Survivor's Guilt

Genocide

I'm not going to try to explain How to Write any of these topics. I'm not remotely qualified. I think it's better if I just give examples from popular media because whether you know how to write it or not, you can still understand when it's written well;

AtLA deals with genocide and survivor's guilt. It's in the name; The Last Airbender. Aang is the sole survivor of a culture he'd only had an opportunity to engage in for a handful of years. He left them with a childish tantrum and now they're gone forever. I can't think of another mainstream series that shows the gruesome reality of war and genocide better than this one.

When Muriel realizes his true heritage and loses Khamgalai is the point of the story where Luke sees his family's farm burned down, Aang goes back to the air temple, Treebeard walks in on the demolished part of the forest. (The inciting incident)

(Could also have been forest spirit’s death but it was too early in the story so I don’t consider it a missed opportunity.)

Up until this point the hero has their doubts, they're going through the motions but they are either underestimating the enemy or they're a passive protagonist. Either way, this is the point where the hero has to take the reins of the story. What purpose does this serve in Muriel's route instead? It simply validates Muriel's beliefs. He's useless, he isn't strong enough. We as the reader need a point to see where the hero takes a step to drive the story forward or whoever takes that step will steal the spotlight, it will be their story. As it is, this is the point where it ceases to be Muriel’s story.

PTSD got the worst end of the deal. Since Dragon Age fandom has a huge overlap with the Arcana I will use Fenris as an example; for those who are unfamiliar with the character, Fenris is an escaped slave. After the sex scene he vividly describes an experience that most people can easily identify as a flashback. The game never tells us that he was abused, it doesn’t show us him having a panic attack but it shows us that whatever transpired between him and the player character clearly triggered an unpleasant memory.

Arcana tries and initially succeeds to do something similar. We see that the character is untrustworthy, sensitive to touch, easily agitated, can’t sleep outside of his perceived safe environment… It introduces us the cause later on and the story has two options, each will drastically change the moral of the story:

Remember these as they will be important later on

Portray Muriel fighting as a bad thing; You can’t fight violence with violence angle or the fact that the villain’s forcing him into a situation where he’ll have to fight again makes the villain all the more intimidating.

Portray Muriel fighting as a good thing; He has the means to defeat the villain and he just needs encouragement. With great power comes great responsibility. By not fighting he willingly condemns everyone to an awful fate and that he is selfish.

I’d like to take a second to explore the 1. Option, I feel like the game may have intended to implement that idea but failed because of the implementation of Morga and choices presented for the player character: Morga is an Old-Soldier, these characters are often push the hero out of their comfort zone in an aggressive way towards complacency, they are a narrative foil to the mentor. For the first option to work the story had to show Khamgalai acting as a mentor and having the protagonists challenge Morga’s teachings(see Ozai-Iroh). As it is, Morga’s actions are never put under scrutiny (narratively) and her death feels hollow as a result. She didn’t sacrifice herself for the heroes due to her guilt, she died because she felt a moment of sympathy for her son which wasn’t explored before, she showed no intention to change nor any doubt.

It is clear the game choose 2. Option, it is a controversial choice given Muriel’s mental condition and the game is acutely aware of this, which is likely why Muriel’s PTSD will get carefully scraped from the story from here on out. (I won’t address other instances where his trauma wasn’t taken into account, I feel like this explanation should cover them as well.)

3. Morals. Every story, whether the author intends it or not, has a moral. The Villain most often acts against that moral and in turn can change the hero's perspective. Morals are not ideals; the morality of Killmonger isn’t that marginalised people should fight for their rights, it is that vengeance is just. Whether it’s right or wrong can be debated but what makes an ideal the moral of the story is in the portrayal. How the narrator depicts the events, how people around the heroes react... all are a part of portrayal.

The story choosing “Muriel fighting is a good thing” earlier puts in the foundation of a moral. The story tells us Muriel has to fight, it’s the right thing to do. He has to be brave for the people he loves.

This choice affects how his past actions will be perceived; now, him escaping the arena to save himself is cowardly, abandoning Morga is cowardly.

The story tells us it wasn’t, but shows us that it was. This is the end of the midpoint of the story, at this point we need to have a good grasp on what we should perceive as wrong or right for us to feel invested. If we zig-zag between the morals we won’t know which actions we should root for. But more than that, the conclusion will not feel cathartic as it will inevitably demonstrate the opposing ideals clashing at its climax.

Villain doesn't necessarily have to be sympathetic and Muriel's route makes no effort to make him as such, but they need to be understandable. What danger does Lucio pose to the status quo, what makes him a compelling villain? Whether he conquers Vesuvia or not doesn’t drastically affect Muriel’s way of life, he’s been in hiding for years. He doesn’t threaten to steal MC’s body, Muriel is not compelled to pick up arms to save his beloved. He wants to protect the people from going through what he’s been through, right? That is what the story wants us to think. But what has he been through? Fighting was his choice, Lucio tricked him into it. Lucio later tricked Morga, his own mother, to save his own hide. This tells us that Lucio is a manipulator, but he doesn’t manipulate his way into Vesuvia, he barges in with deus ex machina monsters. He doesn’t demonstrate his skills as a tactician by making deals with neighbouring kingdoms to get their armies. We don’t know his strengths therefore we don’t know his weaknesses. If he seems to be losing he can just conjure a giant dragon to burn everything down, we just can’t know. That is why the application of deus ex machina is highly taboo, the victories don’t feel earned and defeats feel unfair.

4. Tone. Playing with the genre is not uncommon and a game such as Arcana has many opportunities to do so. It is a romance story, everything else is the back-drop. The tone works best when its overall consistent but tonal changes act as shock for the audience to keep them engaged and keeping one tone indefinitely gets us desensitized. We can’t feel constant misery if we are not made to feel tinges of hope in between. Good examples of dramatic tonal change (that I can think of): Mulan - arriving at the decimated village, La Vita e Bella - the father’s death, M*A*S*H - death of Hawkeye’s friend. Two of these examples are mostly comedy which is why this tonal shift affects us so, it was all fun and games until we are slapped in the face with the war going on. There are no one liners in those scenes, the story takes a moment to show appropriate respect to the dead, it gives its characters time to digest and come to terms with loss. Bad examples are the majority of Marvel movies.

In Muriel’s route there’s never such a thing, Muriel has a panic attack and MC kisses him. This unintentionally tells us, the genre being romance, that the panic attack only served to further MC’s advances. It tells us that he’s never had the control of his life and it’s yet again stripped from him by the decisions of player character. This is not the only instance this happens. The story shoe-horns in multiple cuddle sessions between important plot beats. And it does the exact opposite during a moment where he is having a heart-to-heart with the person he loves by having the ghost of Morga appear to give an ominous warning/advice.

When he runs off during masquerade it’s built up to be an important plot point. Muriel will finally face his past, he’s been running away from it all along, and he will have an opportunity to be accepted back in. MC is supportive but ultimately, it’s meant to be Muriel's moment. But as I mentioned above this is not his story anymore so he’s not given any time to address his problems, instead a ghost appears to tell him what he needs to do, again. Because we need to wrap the story up, we don’t have time.

Remember how I said the 2 Options will be important later on, well here we are at the very end. Upright and reversed.

“Portray Muriel fighting as a bad thing”

This suggests that the triumph of Muriel won’t be through violence. Maybe he will outsmart Lucio in a different way, he won’t play his games anymore. This option suggests that Lucio will not be beaten by his own terms.

“Portray Muriel fighting as a good thing”

This option concludes with Muriel finally overcoming his reservations on violence and doing what's right to save the people he loves. And bringing justice to people who Lucio hurt.

If you are wondering why the upright ending feels random, this is likely why. The ending plays out as if the story was building on the 1st option while we spent chapters upon chapters playing out the 2nd one. It is unearned.

(The reversed ending, being reversed, also uses Option 1 path but in which Muriel can’t achieve his narrative conclusion)

The Coliseum is filled with people who are on their side against Lucio’s shadow goons. Because we can’t have people being on Lucio’s side without addressing the duality of human nature, even though it’s an important part of Muriel’s story. The people who watched and enjoyed Lucio’s bloodsport are no more, they are all new and enlightened offscreen. We completely skipped the part where Vesuvia comes to terms with its own complacency and Muriel simply feels at ease because the crowd is cheering on him now. This is what happens when you give the character a chance to challenge those who have been complicit in his abuse (masquerade scene) and completely skip it to move the story along.

Muriel doesn't get justice, ever. The people only love him now because he's fighting for them instead of his own survival. Morga or her clan doesn't answer for the massacre of Kokhuri, Vesuvia doesn't answer for the sick entertainment they indulged in and Lucio doesn't answer for Muriel's enslavement. It is not even acknowledged, nowhere in the story (except the very end of reversed ending, and even then it almost gets him killed so its clearly the wrong thing to do on his part) is a choice presented where Muriel has an opportunity to get any sort of compensation where he instead chooses to move on.

I don’t intend to straw man anyone but this is a sentiment I’ve seen a lot; “It’s a short story, a dating-sim, what do you expect?”

I expect nothing, I’m simply explaining why some people feel how they feel. It is a short dating-sim but it seems to me like it was aiming to be something more by borrowing elements that were clearly far above their weight range to tease something more and under deliver. It is okay to feel content with the story, and it’s okay to feel let down. If we had a unanimous decision on literature we would never be inclined to write our own stories.

#personal #muriel #muriel spoilers #tw: PTSD #tw: trauma #tw: slavery #tw: genocide #karayan

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about-faces · 4 years

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The director Joel Schumacher has passed away, and everyone's reactions have boiled down to two topics: 1.) "He was the guy who made the bad Batman films," and 2.) "Hey, he did lots of great films besides the bad Batman films!"

Thing is... I get it. I remember being a teenage comic fan in the 90's. Not just any comics: especially Batman! But ESPECIALLY Bart especially Two-Face. I remember how "Joel Schumacher" was a name that could invoke white-hot rage in myself and everyone in the fandom. He was our modern equivalent of Dr. Fredrick Wertham, the boogyman who had (far as we were concerned) single-handedly destroyed the mainstream credibility of superheroes.

Look at that picture, and try to imagine that this was the face so loathed and mocked by Batman fanboys in the 90′s.

Never mind that Schumacher didn't WRITE the Batman films. The main credit for that goes to Akiva Goldsman, who has gone on to win an Oscar and continues to find A-list success despite ruining other geek properties like Jonah Hex and Dark Tower. Never mind that Schumacher was at the mercy of producers who wanted the movies to be nothing more than merchandise machines and toy commercials. No, Schumacher was the only name associated with the films, and he was cast at the villain.

The fact that he was openly gay played no small part in making him an easy target.

One year after the disastrous release of the infamous Batman & Robin, the beloved fan-favorite cartoon Batman: The Animated Series (then rebranded as The New Batman Adventures on the WB network) produced an episode that featured a pointed jab at Schumacher. The episode was titled "Legends of the Dark Knight," a reworking of a classic 70's Batman tale where a group of kids share their own ideas of what the mysterious Batman is really like.

Halfway through the episode, the kids are overheard by another kid, who shares his own ideas about Batman. The kid, whose name is Joel, has long dirty-blond hair, and works in front of a store which bear the sign "Shoemaker," despite clearly being a department store. He waxes dreamily about the reasons he loves Batman: "All those muscles, the tight rubber armor and that flashy car. I heard it can drive up walls!"

This last line--a reference to a silly bit in Batman Forever--he says as he flamboyantly tosses a pink fur stole around his neck. To drive home the joke, one of the kids dismisses, "Yeah, sure, Joel."

At the time, it seemed like a cathartic joke for us REAL Batman fans. Now, it's clearly just cheap and gross. Instead of any actual criticism about the films, Joel Schumacher was just seen--even if just subconsciously--as the fruit who ruined Batman.

Over time, the hatred for Schumacher lessened. Starting with Blade, X-Men, and Spider-Man, on through to Batman Begins, Iron Man, and onward, superhero movies became huge mainstream successes, with greater fidelity to the source material than most adaptations we saw up to the time that Schumacher "killed" the superhero movie. There was no point in hating him anymore, if there ever was (again, Goldsman more deserves that ire, if you're gonna be angry about anyone. Why does he still get work?! WHY IS HE NOW WRITING FOR STAR TREK?!?!).

But even still, especially among Millennial and Gen-X fans, Schumacher is still--at best--considered a low point for fandom. Even though the same generations have come to appreciate and love some of his other films, such as The Lost Boys, Phone Booth, and the chillingly-prescient Falling Down, there's still this need for people to dismiss the Batman films as embarrassments that are best forgotten in favor of Schumacher's better films. And if they're to be remembered at all, it's to trash them all over again in a tone suggesting that the films are objectively, irredeemably bad.

Except they're not. Oh sure, if you go in looking for a grim and gritty capital-M "Mature" take on Batman, of course you'll hate them, just like you probably also hate the Adam West Batman show. Remember, that show also used to be hated by decades of Batman fans because of how it didn't take the comics seriously.

... except it did. The show was VERY faithful to the Batman comics of the 50's, which often out-weirded and out-sillied its TV counterpart. If anything, the show made some of those stories even more entertaining with camp value and jokes that added different levels of enjoyment to the adults watching. Comic fans resented how Batman became a pop culture joke, and increasingly fought against anything that was colorful and campy (which makes me wonder if this might also be related to latent homophobia). Whether or not they admitted/realized it, the Batman fans of the 70's and 80's carried a chip on their shoulder about a show that DARED to make Batman FUN.

And really... how is that any different than Schumacher's two films?

You don't have to agree, but I think Schumacher's films are fun. I think Batman Forever is highly entertaining, that Tommy Lee Jones and Jim Carrey are bringing their hammy A-games as much respected actors like Burgess Meredith and Caesar Romero brought to their roles. Same goes for Arnold and especially Uma in Batman and Robin. They KNOW what movies they're in, and they're all having a blast.

(How many of us remember the exact line Eddie says at this moment? I bet you probably do too, which should tell you something about how memorable this movie is)

Now, BF and particularly B&A are by no means GOOD movies, but you can't tell me that you couldn't have a blast putting the latter on at a party and riffing it with friends. It's not a pretentious, ponderous, self-serious slog like, say, the shit Zack Snyder cranked out (apologies to the one or two cool Snyder fans here, I just find his films interminable). Even besides the many things I could say to defend Schumacher's Batman films (that's a whole other essay), you can't say they were boring. They were entertaining, even if on a level of making fun of the film, and that is NOT as easy as it looks.

Let me put it to you this way: Batman Forever has, objectively, one of the worst takes on Two-Face I've ever seen. He's one-note, he's kind of a rehash of Nicholson's Joker, he gets completely overshadowed by the Riddler, he gets killed by Batman in a way that completely betrays the whole “DON’T KILL HARVEY” arc with Robin, and worst of all, he CHEATS on the coin toss. That alone would be enough for me to condemn this depiction in any other Two-Face story.

And yet, even I--the most passionate, opinionated, and picky Two-Face fan you will EVER know--still have a soft spot for Tommy Lee Jones' take on ol' Harv. He’s just too fun, too flamboyant, too damn extra not to love. If only all bad takes on Two-Face could be this fun!

But that’s the thing: it’s not because the script was good. Oh god no. I've read the script, and if it were put on the page like a comic, I would have hated it just like any other bad Two-Face comic. I have to imagine that, as director, Joel Schumacher deserves the bulk of the credit for pushing the restrained and laconic Tommy Lee Jones into that oversized performance, and making it a delight to watch despite everything it does wrong.

I'm rare for my generation to have learned how to stop worrying and love Schumacher's Batman. But the younger generation, the up-and-coming Gen-Zs getting into Batman, don't share the same grudges we did. There's a genuine, shame-free enjoyment of those films among The Kids, many of whom are LGBTQA+, who love the jokes, the silliness, the camp, the Freeze puns, the swag of Uma Thurman, and the homoerotic subtext between Two-Face and the Riddler. Maybe it's just a reaction to so much GRIM, SERIOUS shit that DC and their fanboys are trying desperately to push even today.

But comics--especially Batman--have a long history of colorful, stupid, fun shit. Schumacher's films carried on in that tradition, and they should be appreciated on their own merits by those of us who aren't limited by narrow ideas of what Batman "should" be, and who still remember how to have fun.

Schumacher's Batman films should no longer be seen as embarrassments. They didn't ruin superheroes. They didn't ruin Batman. They didn't even ruin Two-Face. Nor should they be disregarded in favor of Falling Down, like losers in a respectability competition. They're fun. They're entertaining. And they didn't pretend to be anything else.

And if you still think they're bad... I mean, objectively, you're not wrong! But be mindful of the reasons WHY you think they're bad, because on another subjective level, you may not be right either. And it's certainly not worth holding a geek-grudge over after twenty-five years.

#batman forever #batman ampersand robin #long post #homophobia #slur

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twenty-one-froggy-pilots · 3 years

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Yeah I'm honestly a bit surprised by how passionate and vocal people are about hating twenty one pilots? It's kinda upsetting that when I try to interact with content about them I'm always a bit worried in the back of my mind because I'm a pretty sensitive person and it's hard not to let stuff get to me.

I don’t know why it’s always felt like twenty one pilots has gotten a ton of hate for no reason? I’ve been into them since 2013-2014 so pure unadulterated vessel era, I’m a very old fan of them and their music, like one of the oldest picture in my phone is this

(This picture isn’t important I just love it, plus something fun to look at with a not so fun subject material)

(Long history as a fan rant incoming lol)

I’ve been an emo kid for a really long time, back when all of the emo bands were big, when seeing another kid wearing a panic! shirt always meant you talked to them in the mall, I still remember when I would wear the one twenty one pilots shirt I could afford outside, that anyone who knew who they were would come up and start a conversation with me

And it’s like through the years the hate has changed to be... somehow worse

Back in the early days tøp used to get called not a true emo band because they didn’t have anyone playing the guitar so everyone hated them because they weren’t emo Enough

Plus there was the whole ‘emo trinity’ ‘emo quartet’ infighting nonsense but that’s so long past idk if anyone even remembers it lol

Then blurryface rolls around and fans are being made fun of for dressing funky and going through that one fandom phase where everyone was calling the boys smol beans it was great and cute, we were all really close, we called each other frens, told each other to stay street it was great! So what people made fun of us or whatever we were absolutely vibing

Twenty one pilots felt like the coolest secret gang of fans, we were absolutely huge, more so than most people would think, and man it was awesome!! If you saw a tøp fan you knew that you were cool with that person and that person would be cool with you!! It was amazing!! Sometimes I do miss this vibe!!

But then Stressed Out ended up on the radio...

I feel like it really all changed here, all of the sudden the old fandom things were cringy, the boys were sell outs, and every family member you knew was suddenly the biggest fan despite only knowing stressed out

I remember being upset around this time because of strangers invading my space, this was my group, filled with people who understood what the lyrics meant and knew and understood how much they meant to all of us, and suddenly it was filled with people who didn’t belong

I didn’t blame the pilot boys, obviously they can’t control what’s on the radio, I’m fact, there’s plenty of pilot songs that mention never being played on the radio because of one reason or another, so my problem was never with the boys, it was with the influx of new people, and by new people I don’t mean new fans, I mean news outlets and tv show host, and with that influx came the people who didn’t get it, you know? That were rude and outright nasty and refused to understand anything about the genre and effort put into the story and why it mattered to us

(Tw for suicide mention, and uncomfortable themes involving people making fun of themes involving it, tw for mentions of school shootings)

All of the sudden we were the fans of Tyler Joseph the man who ‘Glorifies Suicide’ and actively is supposedly encouraging that behavior

We were the cringy fans everyone knew in high school and hated who were described as being ‘JuSt So QuIrkY 🤪’, instead of the mentally ill kids we all were, by people who hated us

We were the fans of those ‘white boys who look like school shooters’ (this one honestly rocked me to my core, it still hurts to even see??? Like idk why but it almost makes me want to cry)

At the same time a lot of the old fans were turning their back on the pilots, they didn’t want to be involved anymore, they hated ALL of the new fans whether they were respectful or not

It was a REALLY hard time to be a new fan, very few people were open to having them involved in anything, I think this is when a lot of hatred happened in the fandom not only fan-fan fighting/hatred but also fan-band sentiments weren’t great either

The more songs that ended up on the radio the more the hatred grew, in fact this got so bad Tyler did this

youtube

Here’s a transcript in case it’s hard to hear

Like... this was the state of our fan group.... it was suddenly cool to hate all the songs that ended up on the radio so much it affected every part of our music journey

There was a lot of infighting, it was an awful time to be a fan, new or old

Then came silence era, in which every tøp blog I followed except like 2, became kpop blogs and I’m not sure any of them ever came back lol, I actually really disliked kpop because of this for a bit in like a jokey kind of way in my own head lol (ahh how the turn tables have turned... kpop and tøp are the only things I listen to now haha, actually because of all my tøp mutuals becoming kpop blogs I vowed to myself to not change this blog to another group so I have two music blogs now, which makes me laugh but also shows how important music is to me so it makes me happy anyways you know?)

It was kind of a sad way to have the fandom disappear, everything was strangled, the boys were gone, and no one kept up with the fandom, it felt really lonely

When Trench era clues started back people started coming back, the mood was different, we had something to do and it was fun to work on something with others, we had the Clancy letters, and all the clues, and the tower of silence and the vultures!! It was great! It started to feel like we had rebuilt something from the rubble of what we had been

The fandom started calling Tyler stinky and he called us b*stards it was great, sometimes people were a bit meaner than I think they thought they were being, but it worked you know?

When the album released we had more people come back and things slowly started fitting back ok again, more songs ended up on the radio and a lot of older fans said the same things they’re saying now, but it wasn’t that bad, it was mostly very positive

And then we got to the over the summer drama, which........... is a sensitive subject, but I legitimately do not understand how it was Tyler’s fault that people assumed he was talking about something when he wasn’t talking about it at all... especially when people have been begging him for years to talk more about mental health, he wanted to introduce whatever he was going to do with a joke, I personally never though he was talking about the big issue at the time of the incident, but it blew up like wildfire and the next thing you know he’s canceled because Other People Assumed Something

So now it’s ‘Morally Justifiable’ to hate Tyler because he’s r*cist or something, despite it never being his intention and because people assumed something

It’s literally not even with good reason that people are doing this, but because it blew up when it did and about what it did, no one knows what really happened and people just wanted a morally justified reason to hate them because you can’t just dislike something anymore without it being justifiable I guess? I feel like with all of the years I’ve spent on the internet everything has only become more hateful...

All this to say.... yes, it hurts when people hate the things that you do, I get really sensitive about it as well, especially with how long and how many arguments I’ve seen, and I am extremely sensitive to discourse and hatred, it’s why I don’t engage with much of it online, in fact I was about to delete the post complaining about everyone hating on them before I saw it was really resonating with you guys

I guess my best advice to you anon, would to try to understand where it’s coming from, that’s what’s helped me, I know a lot of people dislike the pilots because of the fact that they became ‘mainstream’ during blurryface era, and people are really upset by that, so understanding that, even when it hurts, I can acknowledge that they feel that way and that it’s ok that I feel differently

It’s easy to take that point and test it against your own morals, ‘do I think twenty one pilots became mainstream, or only makes songs to get on the radio?’ If your answer is no, then you can both say ‘I don’t agree with them but they’re allowed to have their own opinion’ and kind of give yourself a wall and barrier against what they say

I know this isn’t perfect advice, but it’s helped me a lot

I know there are two big arguments against this album, that it’s mainstream and made to have radio singles (the underlying argument here I guess being Tyler and Josh are money hungry and no longer care about the music)

And that it’s no longer lyrically meaningful, but I think this has to do a lot with how involved people are in the Dema lore, if you’re not a fan of lore I would imagine this album being propaganda and supposed to be fake and bright to prove a point would really bug you if you didn’t really get it

To best thing to do is digest an argument (only if you can handle it emotionally of course 🖤) and know it’s ok that think differently than other people, and that the chances of someone being mad at you are very slim

A lot of things I’ve enjoyed have been stolen by the fear of getting hated on for something - while in actuality, the very few times I’ve gotten real hate over something barely affected me

I admit the fear of getting hate bothers me a lot more than actually getting it, but I just want to encourage you to stay strong in the face of it, it will pass, as it all does, but if nothing else in this post resonates with you, PLEASE HOLD ONTO YOUR JOY FOR AS LONG AS YOU CAN! And don’t let ANYONE take it from YOU!!

If twenty one pilots makes you happy, just remember that the only person who can take that true joy away from you is yourself, remove the people who make you feel sad out of your life, I apologize if this is a physical person in your life as this makes it a lot harder, and sometimes impossible depending on the situation, but on the internet unfollow anyone, block anyone, don’t engage and leave them alone, it’s not with your energy or effort, and they’ll never change their minds but they can change yours you know?

Being sensitive in a time when everything is hateful is hard, especially when everyone tells you you’re a bad person if you aren’t engaged, but you really don’t have to be, you get to choose your own destiny you know? Don’t let other people choose it for you

#I’m am so sorry this post is so long and I still don’t know how to put readmores on mobile anymore #ajsjjams #I get told I ramble on about to much and that my stories are never concise and take forever to get to the point which might be true.........#I’m sorry #I kinda just rambled on forever but I feel like I finally aired out all my laundry I’ve kept to myself forever haha #it did have a point though! just trying to say like it’s always been a bit difficult but for the things that we love it can be #I’ve had a much better experience this era with the people I follow which has helped a lot #but to get to new content I’m digging in the tags which is where I’m #seeing all the hate so there’s kind of no avoiding it but I understood that going in you know?#anyways I think I’ve rambled on long enough! I hope this helped you out in same way?!?!#I’m not sure any of this is really helpful lol wjsks but one can hope haha #nic writes #tw suicide #tw suicide mention #tw school shooting #tw school shooting mention #tw racism mention

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daturanerium · 4 years

Text

okay. i’m seeing a lot of misinformation being spread about the whole “veth is homophobic” thing and as someone who’s active on that side of the fandom i’d like to clear up some stuff because this has been blown way out of proportion.

1. “veth is homophobic” has always been a joke shared among this subsection of fandom. it’s been around for months and has about the same energy as me calling something homophobic when it inconveniences me (ie, no energy; not at all serious). very few, if any of us actually believe veth (or sam) is homophobic. as far as i/we are aware, homophobia doesn’t exist in exandria! we’d like to keep it that way.

2. a lot of us in this little subsection used to be huge nott/veth fans, including me. i was a whole nott stan for like a year and a half! we’re confused, sad, and disappointed with veth’s current characterization. her sudden change in....just about everything feels very uncomfortable and forced to a lot of us. characters are allowed to have flaws, we’re not denying that! it’s just that, to us, a lot of veth’s many flaws don’t make sense or fit with her character and situation. and that makes us sad, because veth was a character we really used to like.

3. re: veth and beau’s relationship issues. veth has always been a little antagonistic towards beau, unfortunately. it seems like their rift has only grown within the last few episodes. now, again, character relationships shouldn’t be perfect and conflict in games is interesting! i think the main issues lies in not having any known basis; veth’s negative words and actions towards beau seem to be coming from nowhere. it’s disappointing to watch. if veth had a reason to act negatively toward’s beau we would be a lot more content with the situation. but, as things currently stand, we are unaware of any reason why veth is acting this way.

4. re: “shipping discourse”, which is a term that shouldn’t be used for this situation. the problem that a lot of fans are having with veth isn’t about beaujester or beauyasha or beau-whatever. it’s about veth knowing about beau’s crush, saying “i’ll do some work!”, and then actively trying to push fjord and jester into a relationship. whether or not you think jester still has feelings for fjord doesn’t matter; it’s clearly making jester uncomfortable and annoyed, and her “work” has almost seemed to turn into an obsession. veth has done a lot of odd/uncomfortable stuff around relationships and romance (her pushing f/j despite neither fjord nor jester having asked her to, her constantly making sex jokes out of the blue, her writing a letter to astrid without caleb’s permission and later making jokes about him reuniting and having sex with her, etc.). on their own, these instances look pretty harmless. but when you put them together, we start to notice a trend of veth being inconsiderate towards other people’s relationships in favor of herself. now, what i said before still stands: character flaws are important in fleshing out a character and allowing them to grow. the problem is that we really haven’t seen veth grow in this sense at all. she’s been (to a certain degree) inserting herself into relationships for a while now. so, when beau confessed her feelings for jester to veth, we assumed that it would go the same way--veth would see an opportunity to play matchmaker and snatch it up, since this is a trend we’ve been witnessing happen to other potential relationships in the group. but instead, veth essentially forgets about it, instead pushing f/j even more. last episode we even saw her pretend to be the traveler and write suggestive things about fjord in jester’s sketchbook. the question quickly became: what’s different about beau’s crush on jester? why did veth latch onto jester’s crush on fjord and caleb’s past relationship with astrid but completely ignore beau’s crush on jester? i’ve seen a lot of people say “beau didn’t want her to interfere!” and that’s true, but the thing we’re noticing is that someone not wanting veth to interfere hasn’t stopped her before. why is it stopping her now? so, tl;dr: our problem isn’t with “our ship not being canon”. it’s about a lesbian being treated differently than m/f relationships in-game. that’s where the hurt and suspicion comes from--the implications and context make the situation a little more noticeable, and to some upsetting. (it would be nice if sapphics, especially lesbians, could voice our opinions and criticisms without them being reduced to “shipping discourse”. unfortunately, i don’t think that will be stopping anytime soon).

5) re: “death threats”. i haven’t personally seen any directed at sam but if they’re out there i would like to sincerely apologize for them. we do not stand for anything of the sort. i have also seen some threats directed at my friends who are a part of the side of cr twitter that is currently in focus since the “discourse” has gone mainstream. it’s frightening to see, but thankfully it hasn’t happened a whole lot. some of us have tagged sam in various threads/tweets about our concerns with veth (with varying levels of passion and professionalism). we do not condone death threats in any way shape or form, and anyone who sends death threats does not represent us.

so, tl;dr: current cr discourse actually revolves around veth’s current inconsistencies in her characterizations and actions. this “discourse” has been around for a lot longer than most people realize, and most of it comes from a point of love for veth’s character and potential. and, of course, we don’t condone death threats.

if anyone wants clarification, examples, etc, feel free to reply and/or message me. i wanted to keep this post fairly short but i can go into more detail if you’d like!

sincerely,

emmy, @acefjords (a former veth/nott stan)

#critical role #cr discourse #there's a whole other post i could do about s*m but that's discourse for another time #please feel free to hmu with any questions!

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duhragonball · 3 years

Video

youtube

I’m posting this video as a reminder to myself to sit down and watch it when I’ve got an hour and forty-five minutes to spare. My understanding is that it explains the “pro vs. anti” thing that I’ve seen people talk about, but never in enough detail that I could figure out what the thing was that people were supposed to be for or against.

I’ve been a huge nerd for over thirty years now, and it always feels like I’m just close enough to some big argument that I hear about it, but I’m never close enough to actually know what the hell it’s about. I will hear people say, “Oh, the fandom is so toxic”, and I have no idea what they’re talking about, because it’s usually a bunch of stuff that went down where I never would have been able to see it. I don’t know if that makes me smart for staying out of these controversies, or clueless for being so unaware of them.

This has always been my approach: if I like a thing enough, I might devote some of my internet presence to that thing. I don’t really see myself as part of the “Dragon Ball fandom” any more than I’m a part of the “wrestling fandom” or the “chemistry fandom.” If I ever started a Star Wars blog, that would only mean I was bored enough to do it. It would not mean that I had entered the “Star Wars fandom,” something I presumably did in 1980.

The “wrestling fandom” has this shibboleth called “the IWC”. I think it dates back to the 90s, when fans using the internet could talk about backstage politics and openly acknowledge that the matches were fake. This led to terms like “internet wrestling community”, to distinguish these kinds of fans from the mainstream. It’s 2021, and everyone and their mother is on the internet now, but for some reason people still talk about “the IWC”, and blaming “them” for everything that’s wrong and toxic in professional wrestling. If only those keyboard warriors would go outside and touch some grass, and let the real wrestling fans enjoy the product.

I think there’s a similar phenomenon in other "fandoms” , where the public perception of it is shaped by vocal minorities: the most toxic fans, the most well-known fans, or the most communal fans, the ones who make an active effort to band together under a common banner, for better or worse. They just don’t have a name for their boogeyman, like “the IWC”, a name that falls apart under scrutiny. If everyone’s using the internet, then it’s silly to blame an “internet community” for making things worse.

So maybe the term “fandom” has reached a similar obsolescence. In theory, it should only mean “people who like (x)”, but in practice it seems to mean “people who make it their business to be part of the fandom.” But it seems like the only way to be that big a contributor is to be really popular, or tribalist, or toxic, or some combination of the three.

I remember writing a thing about Dashcon after it happened, and I was mostly like “What the hell was that supposed to be?” I don’t think I even knew about Dashcon until it happened, and I was like “Oh, I could have gone to this,” and then I realized I had no idea what it was trying to be. I always thought of my online presence as a way to share hobbies, talk about favorite TV shows, that sort of thing. The Dashcon crowd seemed to think they were making “Tumblr University” a real thing, like they were trying to start a cult and not enough people showed up. Not everyone who watches Xena is qualified or inclined to organize XenaCon ‘97.

Maybe I should have just started watching Sarah Z’s video in the time it’s taken me to write this, but I’m kind of in the groove so I’m going to keep going. I want to follow this line of thought. “Popular, toxic, and tribalist” seems to work well as three categories of fandom problems, as I’ve seen them.

1) A “big name fan” goes too far, or gets too big for their britches, and people turn on them en masse. Think Logan Paul filming a dead body in Japan. There’s smaller versions of that all the time.

2) Entitled assholes harass someone over one thing or another. Twitter has really opened my eyes regarding the sheer gall of some people when it comes to art theft, reposting without credit, etc. They will not only double down on their perceived right to screw over content creators, but they will then turn on the same creators for daring to stand up for themselves. This also extends to professionals as well, like when Vic Mignogna’s fanbase decided to turn into his personal army against Funimation and the voice actors listed in his ill-advised defamation lawsuit.

3) Us versus them mentality. I think “pro vs. anti” has something to do with shipping characters below a certain age range. I got that impression once, but something tells me it’s kind of an amorphous argument, and I’ve seen people expand “age of consent” into all sorts of things. Is it okay to “age up” a character? What about two adults with a big age-gap? What if a character just “looks” younger than they are? What if some people? Write creepy shit? To cope? I’m pretty sure a lot of this is just trying to find a hill to die on, a hill popular enough and noble enough to make it worth their while.

Loyalty has been on my mind for a while. This idea that if you support someone hard enough, long enough, they will reciprocate that support when you need it. But it doesn’t always work that way. You can put all this time and energy into a relationship and then it turns out the other person was taking you for granted the whole time. For you, it might be a big deal, but they can take it or leave it. It’s an imbalance, and it’s not a healthy one.

And all three of the above are examples of that imbalance. These toxic movements always seem to center around some cult-of-personality, like an artist or a voice actor. They might be a good person, and a group of people try to take them down out of spite, or for sport. Or they might be a jerk, and they throw their weight around and people will defend them out of social inertia, or a misplaced sense of loyalty. Or there might not be a BNF involved at all, and it’s just groups of people rallying around whatever flags they’ve made up for themselves. They each try to demonize the other side to make themselves feel noble, a mutual admiration society. But I think it always comes down to loyalty, this idea that if I just stick with this person or cause long enough, it’ll pay off later. That’s why so many of those Capitol rioters thought Trump would pardon them, even though he didn’t even know their names.

That’s not a “fandom” issue. That’s a human issue, and I’m not sure there’s a fix for that. I’ll see people lament how terrible a particular fandom is, and I always think “I never hear about the good ones.” I think that’s because there are no good or bad fandoms, only good or bad experiences.

In any event, I think I’ve reached the conclusion that loyalty isn’t something to be given lightly, since it isn’t always returned. The hill you’re dying on can’t love you back, and sometimes the people dying on it with you aren’t that into you either.

#to do

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bettsfic · 4 years

Note

do you know anything about like, the development of the purity rhetoric that now seems to be ubiquitous in fandom and how it got there? i used to be on tumblr in like, 2014 and only recently came back to fandom and i remember everyone being generally kind of cool with things like incest ships and morally grey characters (speaking specifically re the frozen fandom and elsa/anna here lmao) whereas now it seems like the conversation about those things has drastically shifted and i am..puzzled by it

this is what i imagine that experience was like for you:

according to fanlore, purity culture started in the homestuck fandom which. based on what i know of homestuck, that tracks. however i’ve never been in homestuck so i’m not sure what that transformation was like. all i know is my personal experience with the disk horse. afaik there’s no cohesive timeline of events across fandom, and i lack the time and resources to be able to make one myself. if anyone knows of one, or wants to make one, please let me know.

i do know that purity culture is a movement started by very young teenagers, who were maybe 13-15 in 2014 and are now 18-20. they were 8-10 when ao3 was founded, and therefore seem to have a limited knowledge of fan history, censorship, and critical thinking. i’m hoping that since they’re now entering college, they’ll get some insight and broader social awareness, and this movement will finally die out in the next few years.

on any other platform, at any other time, their toxic rhetoric would not have gained traction. but here and now, on tunglr dot com where anyone can gain a platform, where mob mentality thrives and inciting an anonymous dogpile is as easy as hitting Post, where the brokenness of this place makes it difficult to control the content you’re exposed to -- it’s the perfect storm. we live in an age of hopelessness. young people grow up with social media as an extension of their identities, tethered to devices that hold all the information in the world. i think it’s fair for them to be afraid of their futures, and i can understand the desire to control the online spaces where they have the most agency, where their voices are the loudest.

that may explain why, but not how. as in, where did they pick up this mentality at all? @freedom-of-fanfic (whose work is a necessity in understanding the disk horse) connected anti-shipping to TERF rhetoric. i’ve linked the fanlore page because it has all of the links and some of the responses. i honestly do believe that the language surrounding purity culture has its ugly roots in TERFdom. at its core, purity culture -- the policing of female and queer sexuality -- is misogyny.

when i started writing destiel circa 2014, fandom was as you described. wincest was a juggernaut on par with destiel. teen wolf was full of underage and noncon. a/b/o was on the rise. it seemed like fandom was a genre without restraint -- anything you wrote, if it found the right audience, would be celebrated unabashedly. people who have been following me for a long time know that i was addicted to adderall at the time and pounding out all sorts of manic nonsense. i remember living on the validation of comments (and at the time, there were lots of comments. not so much anymore, but that’s another story). i got critical comments only rarely, and they were the type that i admired -- readers without judgment thinking through the story, reacting to it earnestly. i made some of my best friends because they left long, critical comments on my work. sometimes they didn’t like it, sometimes they did, but ultimately, they were engaged, and that’s what counted.

i remember my first policing-type comment, i think at the start of all the purity nonsense. it was a destiel fic, and someone very angrily told me i should tag my bottom!cas because it was triggering. i’ve thought about that comment a lot over the years. top/bottom discourse is nothing new, but to say that bottom castiel is triggering? that was ridiculous. but then i realized -- there was a writer in fandom at the time i won’t name, who was known for being extremely sensitive (for bottom!cas especially, which they found triggering), and their very dedicated following offered fic that was safe for their fave to read. i have nothing against this person at all. they were not part of the purity discourse, they were up front about their sensitive nature, and as far as i knew (i believe i met them at a con once?) they were very kind.

but that commenter had been clearly influenced by this person and believed that a specific fictional character receiving anal sex from another specific fictional character was actual, real triggering content, and it was my obligation as a writer to tag for it. which i did, because i felt bad, and i was baffled by that request. at the time, i wanted more than anything to be liked, and conformed wherever i could. if i got such a request now, i would ignore it because it was rudely written and honestly kind of bonkers. i’d happily add a tag for something i may have missed, or even something i’d never considered before, but there’s no reason a person can’t make that request politely.

this situation isn’t about purity discourse proper (the commenter didn’t tell me not to write the fic, and it had nothing to do with morality), but it’s the earliest example i can think of where the process of policing had occurred: a person of influence on tumblr affected their follower’s thinking, and that follower felt entitled to command another writer to conform to that ideology.

i could be completely wrong about making these connections. maybe that commenter truly believed bottom!cas was a legitimate widespread trauma. they did not say the fic was triggering to them, but that it might be to some other people, in the same way purity police say “think of the CHILDREN” when in fact they don’t give a fuck about children at all.

after destiel i moved to stucky, which was, at the time, a juggernaut ship where anyone could write anything. this was also the time when the term “cinnamon roll” became incredibly popular, circa 2015. it was a fun and seemingly innocuous meme, but it positioned the ideas of “purity” and “wholesomeness” in sharp relief, and cemented these ideas by beginning to give it a distinct vocabulary. “trash” was pitched as its opposite. stucky is where i first came into contact with “antis.” in destiel, there had been ship wars, sure, but it was of a different flavor than antis. destiel vs wincest wasn’t about morality in 2014. it was about everything but.

in stucky in 2015, however, the disk horse was running rampant. the MCU had a sub-section of fandom called HTP (hydra trash party) in which steve and/or bucky have dubious or nonconsensual relations with various or many members of hydra. this is the first time i remember being aware of morality becoming a cornerstone of shipping. HTP was loathed by purity police. by the time i wrote a stucky bdsm au, i’d accumulated multiple nasty anons, rude comments from entitled readers, and other nonsense that all said the same thing: your filth is not welcome here in our space of purity. go away.

but the release of the force awakens is what really turned the tide. TFA offered three major ships: stormpilot (as it was called at the time, now finnpoe), reylo, and kylux. the fandom that developed around the sequels was firmly divided. franzeska wrote an amazing meta about this phenomenon which gives some insight into the seeds of purity policing. in short, stormpilot should have been the primary pairing of the sequels, but instead many of the badwrong writers from other fandoms (and HTP specifically, which was how i entered the fandom) flocked to the blank slate of kylux.

it took a long time for the ship to gain traction. a friend told me that kylux had started with angry star wars racists who hated that there was diversity in the sequel trilogy. and i told them no, i was there, there were twelve of us and a cornchip, and all we cared about was the dirty/darkly comedic potential of these two ridiculous villain characters in one of the biggest franchises of all time. it wasn’t that complicated. i don’t mean to dismiss the discussion of race in fandom; i think it’s important to acknowledge that racism, as franzeska describes far better than i can, plays a huge part in fandom, particularly in star wars, and it’s an important and ongoing discussion to be having, especially given what kelly marie tran has gone through, and how it affected (presumably) rose tico’s extremely limited presence in TROS.

the early fics of kylux weren’t particularly taboo. they were post-TFA hurt/comfort mostly, then slowly the bdsm and power dynamics crept in. those of us who wanted to get away from purity discourse had finally found a new home. for a while. 2016 was the golden era of kylux. we were all very happy.

i remember talking to a friend about how there were certain things i couldn’t write in certain ships. being from ye olden days of fandom, she was appalled by this idea, and told me i could write anything for any ship i wanted, wasn’t that was the whole point of transformative works? and i agreed! but i tried to explain, if you post badwrong for a fandom of purity police, you’re going to, at best, get dogpiled in your comments/inbox. at worse they will find you, call your employer, and try to ruin your life. people will tell you to kill yourself. they’ll report your tumblr and try to get your blog shut down. there are real-life, harrowing consequences to writing taboo fic, and many who write fic as a hobby don’t have the emotional energy to field these risks.

around this time, discord became popular, which offered a private space for badwrong writers to congregate. i had started grad school and didn’t have much time to write fic. metoo was happening. tromp got elected. kylux was slowly turning mainstream so a lot of us turned our attention to gradence in fantastic beasts. some went on to hannibal and other fandoms that hadn’t yet caught the attention of purity police (but it was, as it is now, just a matter of time). kylux, i feel, was specifically decimated by a single fan creator, who was like a police chief. they would get wind of someone writing underage or noncon and write a call-out post about them, and that writer/artist would get pitchforked. a few times, my comments or posts got screencapped, and posts were written urging people to stop reading my works because of how heinously immoral i was. this happened to several of my friends too.

the great tumblr tittyban of 2017 happened, which only added fuel to the fire and further legitimized the purity movement. i shifted hesitantly to the 100 fandom, which seemed small in comparison to supernatural, marvel, and star wars. i thought it was a chill place. i was wrong; it was just as toxic as other fandoms. but i also didn’t care anymore, and i appreciated that i was mostly left alone. more importantly, i found a lot of support from other people who were as tired of the purity as i was, and @the100kinkmeme was reborn.

the state of things is pretty abysmal. there are some really amazing writers out there writing under multiple sock accounts, keeping their fandom identities shattered so as not to call attention to themselves. as much as i understand why writers do that, and i respect that decision, i also think it’s sad. it deprives readers the chance to read that author’s other works. it limits the sense of community and our ability to make friends. it fractures the future of the genre.

what’s most important to acknowledge is that none of this is happening solely in fandom. i went to a writers’ conference where 2 of 3 panels were about the history of moral policing and censorship in art. it is worth noting that of the 40-ish visiting writers on faculty, only one (1) was a woman of color (jaimaica kincaid). naturally, older rich white people who have spent their life in the arts are all about death of the author, separation of art and artist. they’re on the total opposite side of purity police, and they won’t acknowledge at all that racism and sexism are a problem in the creative world. they don’t have any nuance on the discussion, or modern perspectives in light of metoo or popular culture.

this went on longer than i anticipated. i neglected to mention YFIP (your fave is problematic) an old blog that started the idea of call-out culture by pulling receipts on celebrities, and how call-out culture led to cancel culture, which also aided in the purity disk horse. i think a lot can be said about how some of this stuff is genuinely good (metoo and holding men accountable for their bullshit) while also being profoundly toxic (punishing criminals via mob mentality, ruining their careers and livelihoods through social media, rather than giving them their due process in court. i understand it -- the judicial system is built by the hands of the very predators we seek to condemn, but still. the jury of the internet is never a fair trial).

if you want to read more, my tag is tsatp (the sacred and the profane). i’m sure i’ve left out a lot, but i can only speak to my experience. i think it would be good if people would share their experience dealing with purity policing, too, so we might get a cohesive timeline in place. feel free to reblog and add your story.

#tsatp #my fic #Anonymous

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tothedarkdarkseas · 3 years

Note

D'you feel like Gorillaz has become more gentrified? Like, they've really reversed a lot of the character design from Phase 1 imo. I can sort of see where "soft boy Stu" is coming from; looking at Humility versus Tomorrow Comes Today, there has been a huge departure of character. Same with Noodle (who is showing more cleavage than any other phase) and Murdoc (who seems to take himself MUCH less seriously). What do you think?

Hi anon! This has been tough for me to answer because there’s such a tension in the fandom right now, and as ever, I’m sort of the most useless type of person who falls a bit in the middle. I’m just doing a bit of stream of consciousness here, so I’m sorry if it’s ever unclear!

To start, I want to clarify that I do understand what you mean by “gentrification” in a more colloquial media setting like this, and I don’t want to seem pedantic, or like I’m picking on you or disagreeing-- but for me, “gentrified” is not really the word I would use to describe Gorillaz. Again, that isn’t me try to point to the dictionary and contest the meaning on paper, words evolve with us as our usage of them evolves, and in this context I’d infer it as meaning the project is being made more profitable for white and upper-class voices at the chief cost of devaluing marginalized people. Now, I know we’re talking about the characters here, but... Gorillaz is always a bit weird to talk about because it’s such a multi-faceted project, and I do have some regretful feelings that the work of hundreds of people often goes dismissed in the full scale of the “is Gorillaz bad actually” conversation. I do apologize if it seems like I’m willfully misconstruing the question to push the subject, I promise that isn’t my intent and I’ll get back on topic-- it’s just something I’d like to express some appreciation over while we’re discussing the good and bad of the project. There aren’t many bands in existence, and none on their level of mainstream fame in the English-language market, who bring this many POC artists to the forefront, heavily featuring not just superstar crossover collaborators but smaller indie or unknown artists performing on a larger stage without being asked to compromise the culture in their music. The fact that Song Machine has three non-English languages featured on different tracks, including Xhosa, is pretty cool and not something you often stumble across. That doesn’t mean the band, real or fictional, is perfect by any stretch-- but I’ve never gotten the sense that the collaborators are being used by Gorillaz or asked to follow only what they’re told, but that the band backs the collaborators in making the music they bring to them.

I recognize that’s not entirely on topic for this question, but it’s sort of aimed at the broader conversations happening right now I guess. Like, we’ve all been seeing a lot of strong feelings about the band by now, haven’t we? So er, y’know, hot on the heels of this album, I just wanted to ramble about my opinion on the band’s side of it, and whether Gorillaz as a band has lost what makes them special. As far as the music goes, no, I don’t personally feel that way, so I’m still pretty jazzed on this album.

As for whether the characters have been moving in reverse or stagnating-- I’d have to agree, yes, I look at soft boy Stu and it feels pandering. That isn’t necessarily to discount that anything of value has come from Gorillaz since then, they’re just... rather inconsistent. Truthfully, it’s difficult to speak to because I do have to take into account that my vision of the characters isn’t really entirely in-line with canon, even the older canon, but is much less so with the newer stuff. I can’t say there aren’t moments that have frustrated me, between art or interviews-- and it’s the things I know earn me ire to express because it is a selfish want, it’s the cute stuff people like that I often don’t, and so I have to step back and assess what is an objectively (or as close to objective as we’ll get) disagreeable direction, and what simply doesn’t gel with what I want the characters to be. I think it’s very often the latter, but of course there’s part of me-- as there is with near everyone in the fandom-- who thinks that something I really dislike is inarguably not as compelling. On the flipside, there have been bits scattered here and there that did gel with my ideas of the characters (this refers primarily to Stu and Murdoc) that seemed completely reviled and rejected when they happened. Er, so the wishy-washy thing I’m getting at is: yes, Gorillaz is surely different. In particular Stu is written and drawn quite differently, to the extent that there is a completely fractured image in the fandom of what “in character” means for him, and I’m not always happy with everything we get. I’ve had to just “distance” myself from canon-- which, to be quite honest, even though this is a popular mindset with shippers I don’t actually say it with much pride. I do have a sense of embarrassment at how it sounds for me to say it “doesn’t matter” if it’s in-character when I guess I’ve wished that I was... I don’t know, doing some kind of good and thoughtful thing for the character and his potential, rather than just writing him as an OC, which is what it increasingly looks like I’m doing. (Hell, it increasingly is what I’m doing, and I don’t love to feel that way but in the effort of honesty I do recognize it.) For Murdoc, I don’t personally mind his presentation nearly as much, though I can see how he’s leaning more cartoony by the day. While there were some missed opportunities for better Debunked sessions, better interviews, or better videos, I haven’t been totally wrong-footed by him either. At worst, the jokes we’ve gotten from him have felt a bit toothless, and at best I’ve also felt like there were some winners in there. I’d be glad to simply ignore the “plot” around the portals, but even when engaging with it, I can see the idea behind having Murdoc aimlessly chase them-- maybe for profit, maybe for control, maybe just because they exist around him and it is his core driving need to take and to have. That isn’t to say it’s handled as well as it could be, but I sort of just... look past it to be frank with you, haha. It hasn’t been spoiling me on Murdoc, I suppose. That’s just my own feeling, though.

I’m staying optimistic that the almanac will have some funny Murdoc bits, but I’m more nervous about Stu’s parts of it. I have hopes and fingers crossed, but I also have a lot of fear based on the direction Stu’s gone in for a while now. Yes, it does bum me out quite a lot, I admit. Hope springs eternal, though, and I do still perhaps foolishly believe that Jamie and the writers have a bit more love for mumbling, zombie-faced, “a bit thick” laddish Stu than they do for the soft boy and they might make some efforts to give us something. Touch wood.

If I’m being honest though, despite taking issue with a lot of choices I haven’t lost my love of Gorillaz as a project partly because I sort of think we’ve had rose-tinted glasses toward previous phases, and there is some extent of editorializing that goes on about the band’s history. I think Gorillaz’s plot writing now is pretty bad, but I also think Gorillaz’s plot writing has always been pretty bad. I think it rides on the characters like it has always ridden on the characters, and it is uneven in that respect because it has always been uneven. I think these statements-- that it is worse now, and that it is not actually a steep decline-- both feel true for me, but I can’t say how true they feel for you! And that’s alright! Just my two cents. It’d be a lie to say I’m thrilled with everything over the past two years or so, but it’d also only be hurting myself to lean into the frustration and force myself to become more upset if I have the ability to compartmentalize and make my peace.

#long post #this isn't meant to step on toes! i just have some compacted feelings... which i shove down because i still enjoy a good joke #thank you for the question anon! i hope you know that i was not aiming to disagree or put words in your mouth!#Anonymous #i keep trying to insert a read more and it just isn't working so i'm v sorry about that

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maiassensibleblog · 4 years

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Dear theatre people, this is what I mean when I say theatre is elitist...

(All views expressed are my opinion).

I’ve been considering whether now is the right time to post this but when theatre comes back (which it will, it must), it cannot look how it looked before. I love theatre with all my heart, it is the part of my life that heals the most. But the industry drives me crazy.

I want to address the questions: Why don’t people go to the theatre? And why don’t people care about theatre? My perspective is from a West End theatre goer who is working class, not white and not straight. I am not involved in making theatre and do not desire to be involved.

To answer this huge question, I’d like to start with two definitions:

Elitist: Relating to or supporting the view that a society or system should be led by an elite.

Inaccessible: Unable to be reached.

I often see people asking “why don’t people go to the theatre?” with only responses related to accessibility. When we talk about accessibility, we need to consider barriers such as ticket prices, geographical location and ableism. An awful lot of people are not stopped by accessibility, but they do not go to the theatre. Why? Theatre is elitist.

Elitism is the feeling that you do not belong in a space because the people who are there are different from you and often appear to think they are better than you. In my opinion, this is the reason that the general public do not care about theatre. Elitism is built into the theatre world and this has only been highlighted recently through the BLM movement (I don’t need to go into this here, you’ve all seen it).

From a personal perspective, I’m privileged to have been going to the theatre since I was tiny. We didn’t have a lot of money but my mum was really good at finding deals on tickets and I grew to love theatre more and more as I grew up. I go around once a week and see a lot of off West-end stuff. I, a seasoned theatregoer, feel elitism every time I go to the theatre. I will elaborate on these in the sub-topics below but I wanted to point out that I am somebody who is relatively confident around the elitist feeling, imagine if you aren’t. You just wouldn’t bother and that is what we’re seeing.

Tickets

The first thing I would like to discuss may seem to sit between accessibility and elitism but getting affordable tickets sits in with elitism in my opinion. I am often asked how I can afford to go to the theatre so often and my answer is always I know where to look. Why do theatres feel that it is acceptable to hide their cheap seats? The only thing that is achieved here is keeping theatre for those who know where to look.

If you have not be brought up around theatre folk, you don’t know that day seats exist. Even when theatres advertise and say something like “£15 day seats available”, people who do not know anything about theatre will not have a clue what that means. They won’t know the difference between a digital lottery and a regular in-person day seat, they won’t know how to press buy now just at the right time on TodayTix to get a rush ticket. Having cheaper options does improve accessibility but the way it has been done doesn’t serve to reduce elitism.

Put yourself in the shoes of somebody who has never been to the theatre before. They see a poster for a musical that looks amazing, they google it, they see decent seats for £100+. They decide to go for the £30 option in the Gods. They feel ripped off and don’t bother again OR they know that those are crap seats and don’t bother at all. There is nowhere on that main booking page that mentions cheaper, good seats. That is telling people that they only deserve good seats if they’re rich. That is elitist.

Image

My next two points spill into each other, but they are not the same thing. What do you think of when you think of somebody who goes to the theatre. We all just thought of the same old, white couple. They tut at young people who talk at interval? Yeah we all know the type. It’s amazing that these people, who usually have disposable income, go to the theatre and spend money there but they are coming anyway. Why are you therefore using them to advertise?

Some theatres do this amazingly (Bush, Soho, Young Vic, loves) but most don’t. Some shows have gone too far (looking at you Heathers West End transfer) but think: What is the demographic that you think would want to come, but isn’t? If you’re trying to attract non-theatre goers, they have to see themselves in those who are recommending it.

Obviously, some known reviewers have to be included to keep the regulars in but theatres must start including a wider range of reviewers, they must be open to criticism from young people, queer people, Black people... Then, they must show the faces of these reviewers in their advertising, they must include their views using their vocabulary. And once you get these voices (and start respecting them), theatres must start taking these views into account. A mainstream producer actually listening (and properly listening) to the views of not the mainstream critics? That is revolutionary. That’s showing you’re willing to change.

Etiquette

This is the big one. Theatre etiquette is elitist. I’m sure many people know what I mean by this: Hushed tones even when the show isn’t on and you’re in the bar, FOH using theatre-y vocabulary to usher people places (even things like “the house is open” mean nothing to people who aren’t in theatre), expected restraint to reactions towards what’s happening on stage. I’ve never been to a theatre that doesn’t use vocabulary that would be alienating to non-theatregoers. Only a few theatres don’t have that feeling of “we’re better than you” hanging in the air.

I have been told that I do not match up to people’s ideas of expected theatre etiquette twice outside of fandom things. I remember them both. Once, I was laughing at funny moments during a funny play. The second time I was talking to my friends excitedly at interval and had some older theatre-goers tut and ask us to be quiet (hun, it’s the interval). As I mentioned, I go to the theatre all the time, I generally conform (even when I hate it). Imagine how you’d feel if you didn’t know the nonsense rules.

The solution? Dismantle the rules.

People dismiss panto because is does this and it’s the least elitist theatre out there. Stop getting on your high horse about people openly enjoying themselves. And to those panicking, very few people are actually going to chat their way through a whole show they’ve paid money for.

We need more relaxed performances. We need more for disabled people but we also need more for young people, where they can react to what’s going on during the show and whisper to each other about it.

We need more sing-a-longs. Musicals can create an amazing fandom this way. Six is doing an amazing job because they’ve fostered this environment. Imagine a Hamilton sing-a-long. Just sit in that for a moment. Imagine a person who had never been to the theatre before and has heard a few songs of the soundtrack getting the feeling of a gig from the theatre. It’s powerful and it needs to happen.

Shakespeare

Nothing exhibits the elitism of theatre more than Shakespeare. The sheer prevalence of it. And, I’m going to say it: Nobody fully understands what’s going on.

Why, as an industry, are you all so obsessed with a sexist, racist, homophobe who died in the 1600′s? People alive today are writing plays about stories that people want to hear, in a language that people can understand. Commission them.

That is all on that.

Secrecy

There’s certainly something to be said about keeping the magic of theatre alive by keeping tricks a secret. I totally appreciate and love that about this art medium. You watch things happening in real time that look like magic and it’s beautiful.

However, the secrecy around productions has gone too far. Why are full on HQ recordings of shows being filmed for them never to see the light of day? I have seen the argument that people will not feel the need to watch the show if they have seen a recording but I have only seen that argument from people who work in theatre. Listen to the people who just go to the theatre. I don’t know what I can actually say to convince the industry of this, but theatre people will still come because there’s nothing like live theatre.

What you will do by releasing a good recording is open the show to the masses (and make money from it). You will essentially be building a fandom. People can watch football on TV but choose to pay for a ticket to go watch live because it is a different experience. People can listen to a band but choose to pay for a ticket to go to a concert because it is a different experience. It is the same thing. You honestly need to get over this because I think this is a massive reason why this elitism still exists.

Also why not release HQ footage even as a trailer? Stick it on YouTube for free, get ad revenue and advertise.

These are just a few things that need to be taken into consideration when theatres re-open. Theatre must come back better and stronger than it was before and it must get more people in the room. The people will need art.

This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal. - Toni Morrison

#theatre #theatre culture #west end #broadway #elitism #opinion

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aion-rsa · 3 years

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Celebrating Black Voices in Anime with Funimation

https://ift.tt/2Zl6eQ9

This virtual panel is presented in partnership with Funimation.

The anime industry only continues to grow larger and more mainstream with each passing year. It’s remarkable to see the growth, whether it’s through the wider prevalence and variety of dubbed content or the number of anime-based streaming services. Anime has alway been on the fringe of pop culture’s interests, but part of what makes it such an exciting form of art is that it doesn’t just entertain audiences in unpredictable ways, but it often excels with its inclusion of underrepresented groups. This has helped anime become such a universal product that doesn’t just speak to everyone, but specifically highlights those that may get overlooked elsewhere.

Dani Chambers (The Ancient Magus Bride, Ace Attorney, My Hero Academia: Heroes Rising) and Lee George (Appare-Ranman!, Listeners, Smile Down the Runway) are two talented voice actors from Funimation who have taken some time to discuss and spotlight Blackrepresentation in the anime industry, the connection that they’ve had with anime throughout their lives, and the power that anime has to empower certain communities.

You can watch the full panel below or read on for the Q&A transcript!

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DEN OF GEEK: Lee, Dani, thank you both for your time today to talk about this and to begin with, did you have any kind of relationship with anime before working in it? Were you two fans before you were a part of the industry?

DANI CHAMBERS: Yeah, I grew up on anime, like Sailor Moon, Tenchi Muyo!, you know, all kinds of anime that I feel like everybody was into, but I just loved it. It was always a part of me and growing up, I loved doing theater and acting. So it was like one day I knew that I wanted to do that, but I never knew what it was. Iit’s always been a part of my life and it’s amazing that I can be a part of it like this now.

LEE GEORGE: And likewise, you could always find me on the playground, charging up a Kamehameha hot blast, or trying to instant transmit somewhere. And it was definitely a big part of my social circle growing up, which was nice to find that kind of camaraderie.

Those are definitely the shows that I gravitated to as well when I was growing up. And what do you think the initial allure was about those programs? Was it fulfilling something that wasn’t getting satisfied in other kinds of shows?

DANI CHAMBERS: I think that’s possible, yeah. When I first watched Sailor Moon, for example, I was like, “Dude, they’re cute anime girls who can kick butt with hearts and rainbows and stuff. What?” Growing up it was always seen that that kind of stuff was too girly, but it’s like now they were kicking butt with it. They destroy these weird, scary looking aliens, but with the power of love and friendship. So that was very cool to me and it helped me appreciate friendship–well I always appreciate friendship–but it made me appreciate camaraderie a bit more with my friends that I shared this with. I loved it and it allowed me to just be comfortable in it without having to be feared or judged by other people about it.

LEE GEORGE: Yeah, I think there was, too. There’s a rawness to anime that you don’t find in more traditional cartoons. Characters feel so strongly about something that they’ll explode, or power up, or release tension in some kind of emotionally powerful way. The depth of a lot of what you see in anime is very mirrored in real life, even though it’s a little extreme. So I think that was really cool to have at your fingertips as a young adult.

Absolutely. It’s such an exaggerated form of media, regardless of whether it’s the action, or the comedy, or the friendship. And there is a real sense of unity, not even in the programs themselves, but like the fandom around them. Fandom itself, I think has grown into a very huge thing. But in anime, in particular, there’s a very intense kind of fandom. Have you had much experience with anime fandom, whether it’s been at conventions or on social media?

LEE GEORGE: I’ve never done a convention before. I mean, I’ve gotten to do Funimation’s virtual con that they did in the middle of last year, which was incredible, but I’ve never been to an in-person convention. However, I think a cool thing that’s come out of doing voice acting is I’ve gotten a lot of messages on Instagram and Twitter from young aspiring voice actors and young anime fans, whether they be Black or what have you, just appreciating the art form, which is really cool. And it’s something I’m still not used to, but it’s incredible to see and experience.

DANI CHAMBERS: So I’ve done like two conventions at most, but I’ve had one person come up to me, which really resonated with me. They loved my performance of a character and they didn’t say that it necessarily changed their life, but it kind of like helped evaluate the situation that they were going through at the time. That’s what I want to do. I want to help. Like Lee, I’ve also had messages sent to me from, you know, other POC aspiring voice actors who want to do this. And they’re like, “Thank you for helping and inspiring me to go do this.” And that’s why I wanted to be doing this. Just to see others go after their dreams and actually do the thing that they said they wanted to do is so heartwarming. So seeing that in the community just fills my heart up with so much joy and I’m glad it’s happening.

That’s amazing. I think it’s so important when children see themselves represented in something and it must be so validating to be a part of that and to give those kids that experience, especially when you’ve gone through that same thing yourselves.

LEE GEORGE: Absolutely. Recently I was talking to a friend about this and how there’s a difference between wishing for something and hoping for something. So when you don’t see yourself in the things that you enjoy and doing them later in life, it feels more like a wish than a hope. You hope for attainable things, but you wish for, you know, the ability to fly or to do a Kamehameha one day. So being a part of that transformation of turning voice acting as a wish into a hope just brings a smile to my face all the time.

I think anime has the ability to tell some very creative stories that couldn’t be done anywhere else, but it also examines such a wide spectrum of characters that aren’t necessarily human, or can even feel beyond race at times. Has that made a difference at all when it comes to representation and casting or the variety of characters that you’re able to play in anime versus other mediums?

LEE GEORGE: Yes, that’s definitely true that anime is full of the wildest creations. I don’t know that I’ve played many non-human characters, but we’re talking about a medium where they don’t necessarily have our same racial context that we kind of place on ourselves and the world around us. So being able to voice a character who is fair-skinned, but has naturally blue hair and can summon a soul sword feels as different as voicing a dragon creature. It’s easier to detach my self-identity as a Black man to who this character is even though I’m the one voicing it.

DANI CHAMBERS: Lee pretty much took the words right out of my mouth. I come from a theater background where you kind of have to fit the mold of what the play calls for. So jumping from where my options are limited to a medium where I can pretty much be anything was a huge realization. I can be a depressed anime girl with red hair and magic powers. That’s amazing. It was truly like a shock jumping into this industry, but it made me aware that I shouldn’t have to be limited in this industry. It was just a very important wake up call for me.

It’s interesting to see how anime has also gained such a presence in the rap and hip hop community. Why do you think there’s been that response or that synergy between those particular markets?

LEE GEORGE: It’s easy to reduce an anime plot into something that mirrors the Black experience. My Hero Academia for example, is about an unpowered youth in a world, surrounded by people with powers and privileges. Midoriya’s perception in that world is that he wishes for the opportunity and finally gets the chance to show that he deserves that same respect and ability. And that he can do great things with that kind of power. So I think that since rap is all about expression and breaking through molds that we or the world put ourselves into. They kind of go hand-in-hand, in a way.

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DANI CHAMBERS: Yeah, I definitely agree with that. It breaks the mold of what people expect us to be in. Everybody has their own box of what they think people should be looking like or sounding like. Anime kind of broke that and just went in a way where it doesn’t have to follow what the world deems and it can be whatever it wants. Being in this culture kind of opened their eyes and realized that, “Oh my God, these stories are like ours!” And they are stories that can help us change, not only ourselves, but our communities around us. And I think that helps inspire other people to make change, too.

The people who are influenced by it in that culture and have influence over their communities can help spread that same message of what the anime was saying. It helps people to change their behaviors and negative mindsets, which is helpful to all cultures and communities. When there are influential people who take up a stand like that and explain why they think that it’s cool then it can read to really positive change.

There have also been changes going on in the voice acting industry over the past year to kind of show effort towards better representation being reflected. There was the recasting of roles in Big Mouth and Central Park. Do you think actions like that are helping move the industry in a more positive direction and getting things in what’s perhaps a better place?

DANI CHAMBERS: For me, with people stepping down from those roles, I personally don’t think they really needed to do that. I think that what we’re trying to get at is the opportunity to audition and to be a part of it, not just a pity cast because we need this person. We don’t want to get cast just because we’re the only POC people available for this role. We want every opportunity to audition for whatever role there is. Not just because we fit this mold of what they want. Obviously there’s a difference with things like historical pieces that require it. But when it comes to anything that’s fantasy it should go beyond being limited to play just the minority characters. We should have access to everything just like how everybody else does. So it’s a matter of opportunity rather than requirement, if that makes sense.

LEE GEORGE: I 100% agree with that. However, to also play devil’s advocate because I think it’s worth it with this discussion, I also come from a theater background and as an actor you’re expected to play outside of yourself. That’s a main argument for why I shouldn’t have to be confined to my own racial identity when it comes to acting in any form or medium. I think in certain arenas, as they are right now, the majority have a large claim on a lot of opportunities as Dani was pointing out, and opportunities are a thing that we want.

If the argument is that you should be able to act outside of yourself so that you can play these roles that are written as people of color, then what’s happening is that there’s a disregard that a marginalized group is saying that we’re having a hard time even playing ourselves in these roles. Some people are worried about expanding beyond their range and we’re just trying to get the representation that’s written for us in certain media. So, absolutely, it’s all about opportunity and we have to reach a point where there is enough intake of people of color roles so it even moves beyond opportunity and it’s not about racial casting or stereotyping when it comes to those roles.

Dani, I suppose the inverse of that can be seen with how you voice Ironheart in Marvel Avenger Academy. It must be exciting to see these new versions of these iconic characters happening now that would have seemed impossible not that long ago.

DANI CHAMBERS: Yeah, it’s really cool. When I got that audition I was excited, but then when I booked it I just freaked out. It’s an incredible opportunity for something like that where it’s a Black superhero who is also female. You want to cast somebody–a Black female–for that role because of representation, but to have the opportunity to do that was amazing. It was just a few lines for a mobile game, but it’s still had a huge impact on me. A lot of people have been like, “Oh my God, I loved your Ironheart in Marvel Avenger Academy. You inspired me. I wanted to go voice anything too.” That’s so important to help people realize that they can voice anybody that they want. It was really a dream come true.

Amazing. Both of you have played very diverse characters that have gone all over the spectrum. But are there any kinds of roles that you haven’t gotten to tackle yet that you’d like to be able to explore at some point?

LEE GEORGE: I’d love to play someone that’s just really eccentric and out there. I have the tonal variety of a robot, so it’s often sullen characters and maybe emotionally unavailable individuals, which I totally understand. But I’d love a chance to just really get weird. I don’t know why. The actor in me is like, “Oh that’d be fun. That’d be really cool.”

DANI CHAMBERS: I think for me it’s kind of the opposite. I play a lot of eccentric characters, like little girls or the childhood best friend who’s just always happy. Like my first role was a very monotone, very depressed character. So that was fun, but I think I’d want to try maybe like a hero or somebody who is very committed to their mission. A very mission-centered person who wants to accomplish whatever they need to, but then gets betrayed in the end and just kind of Hulks out. I’d love to do that.

With all of this talk on representation, are there any anime series that have made you feel especially seen or a program that excels in that area?

DANI CHAMBERS: Well I’m not in it, but Lee is. Appare-Ranman! Is a good one. It has a whole cast of fun characters with different accents and there’s a lot of diversity, even with the voice actors. It’s so good and it’s just a lot of fun to watch. It’s a big race and you just get to enjoy the characters. They all have culture-specific problems and it’s so interesting how everything collides together, yet they can still work together through the chaos.

LEE GEORGE: That’s too sweet. Well I’ll also say to look out for Horimiya, which is new and looks incredible. The cast is just all heavy hitters and very diverse. I’ve been told that it’s a hidden rom-com in the making. So if that’s your cup of tea then definitely check out Horimiya.

Great picks, and Dani, what you said about Appare-Ranman! and its dubbing is so true. Other series like JoJo’s Bizarre Adventure will also experiment with regional dialects in dubs and I think it allows the dubs to get even better than the original version in some cases. It’s fun to see that come together.

DANI CHAMBERS: It’s great. Actually, Appare-Ranman! and Horimiya are both directed by Caitlin Glass and she cares a lot about casting diversity and making sure that everyone gets an opportunity. She’s a phenomenal director and it’s great that she’s a big part of this. I’m grateful to her so much.

LEE GEORGE: Likewise.

The post Celebrating Black Voices in Anime with Funimation appeared first on Den of Geek.

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erineliz · 4 years

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I spent a lot of time thinking about and writing about my favorite Taylor Swift albums of all time and ranking them. It was a lot of work but I’d love to see other fans rankings and read why. Here’s mine:

1.folklore

2.fearless

3.reputation

4.taylor Swift

5.speak now

6.Red

7.lover

8.1989

So now that folklore has been out awhile, I’ve listened to it, memorized it, loved it. I’ve been reminiscing on old albums now, as you do. My album ranking opinion is probably a super unpopular one in the t-swift fandom that I follow but, I’m a different kind of swiftie I suppose. So I’ll try to further explain my opinions on these albums.

Starting from the bottom,

1989: this is last for me but in no way means it’s a bad album, I mean something has to be last but this one just was not my wildest dream lol. It started off with the release of shake it off before the rest of the album and this was the beginning of Taylor releasing my least favorite song first on quite a few albums (followed by LWYMMD and YNTCD, but we’ll get to those later) I love, love,love blank space and it was a huge bop for a long time after I first heard it. Prob the only thing that made me even want to listen to the rest of the album. Because, as you can see red didn’t fall very high on my list so to follow it up with just shake it off made me kind of feel like, am I over t Swift? 😯 shocking, I know. I was a senior in college when this was released, blank space was played loudly at a few house parties and I loved that everyone loved it too, not just me; a long time lover of swift. It always feels like an I told you so moment when people who aren’t swifties like one of her songs. I never bought this album, and didn’t have Apple Music at the time so I feel like I never really gave it the time and appreciation it deserved. Almost every song on it became a single and I did like a lot of them. The first time I heard New Romantics was when my sister was playing the deluxe cd in her car and I was like, what is this? I loved that song. I think I then looked into the album more and listened to the rest. It was ok, I liked clean because I was going through a breakup. I liked how you get the girl, I thought it was creative and also kind of related to my break up. Out of the woods was too repetitive for me, the rest of the songs were played on the radio so much that they just became overplayed and annoying to me. So yeah, although this was her most successful album by far, I think it was just too mainstream, over played and not for me! But still good overall, you know, because, it’s Taylor Swift.

Lover: it was hard for me to put this this low, because again, not a bad album. It started off by Releasing YNTCD and Me! Before the rest of the album and again I was just like meh... but I knew better in my career as a swiftie that these two singles meant nothing for what the rest of album would be. I really like a lot of the songs on this album, London boy, daylight, false god, cruel summer, the man..all really good! But just nothing that went down as a favorite swift song of all time. I love the aesthetic of this album, probably one of my faves. I love that it’s about love, it came out last year, right when I bought a house with my lover, and I listened to it many hours while painting our walls before we moved in. I feel like Taylor and I have gone through it all together, and lover was the epitome of where my relationship was with my fiancé, just like her and joe 💕 we made it through all the heartbreaks and this was the purple pink sky at the end of the tunnel! But still, she has made way better music IMO.

Red: This is the swift album that everyone thinks got snubbed by the Grammy’s. Most swifties would scoff at this ranking as well. But..again not a bad album, this album has some of her BEST songs/lyrics. But..also it has, and it hurts me to say this, some of her worst as well. Red is good, but if we’re taking albums as a WHOLE, that you can listen too without any skips, this is not that one for me. This album does have some of my favorite of all time songs: all too well(give me the 8 minute version,damnit), red, state of grace, treacherous. But then it also has..stay,stay,stay which I really think is just like, so corny and fake, you can tell it’s not about her life, it’s like a little country twangy but still like bubble gum pop. It just rubs me the wrong way and gets a skip when listening. This album was a huge turning point in her country to pop timeline and it has a good mix of her pop bops along with her pretty little guitar poetry. The pop singles on this album were not my fave. 22 is fun, I was 20-21 when this came out and everyone was jamming 22 on their 22nd b-days. IKYWT got sooo overplayed and annoying. Same with WANEEGBT. I love my t-swift deep cut, sad songs but some of these were just trying too hard at that, like sad beautiful tragic and the moment I knew. They were just tooo dramatic for me. But idk, maybe it’s just because I wasn’t going through heartbreak when this came out, I was about 3 years into a 6 year relationship so heartbreak hadn’t been relatable for awhile and wasn’t going to be for awhile longer. I loved the duets with Ed and Gary, so glad we got that again on folklore! I also think that this album appeals way more to a younger audience. I think I grew up a little by 2012 compared to when I was crying over boys listening to the first albums, not just in a sense of heartbreak but also like just the parts of red that are a little corny to me. I think she was still aiming for the young teeny bopper pop and I was kind of growing out of that stage in music, broadening my horizons if you will. I started listening to swift when I was like 15. I think I just was a little ahead of the target generation that this album was made for: But I still just wasn’t done with her or this album due to the minor cheesy parts. Because then she puts shit on there like the fucking bridge of all too well and I’m like ok she is still the greatest writer of all time. This was a long explanation for red, but I have so many feelings about it. And also, yeah.. it didn’t deserve a Grammy, all things considered. All too well could have had one for song of the year, but whatever.

Speak Now: this was a good album, I think it was very similar to fearless but not quite as iconic. fearless has kept its high rank over the years so because this was so similar, I can’t put it too low. It was exactly what I wanted after fearless, also I think it kind of explains too why red was a bit of a let down..it was a huge change from fearless and speak now. I guess I’m just slow to adapt to change? But anyways speak now has some of the best deep cuts, dear john, last kiss both so beautifully written. Real, raw. We all knew who they were about and the drama of these relationships was exciting because these were the days that’d we’d all hear stuff about who she was dating but never get the full story. then later hear about it in her albums..it was nice to get that kind of honesty from a celebrity, made us feel like we really knew her. Sparks fly is up there as favorite song of all time. Mean was such a clap back to her critics and had the country vibe and twang from her first album. Also, this album had songs about John Mayer, joe Jonas, Taylor lautner..and Kanye west? All huge names at the time. I have to admit, the Kanye west innocent song was a huggeee let down at the time. I know this bitch had worse thing to say than “you’re still an innocent” but..she was very deep into playing her nice girl role at the time. So thank god there was a rep era later on down the road! I was a freshman in college when this came out. Living in dorm rooms, listening to music on my laptop late at night with the lights out.

Taylor Swift: this is up there, because it just has to be. This is where it all started. Listening to country radio, hearing Tim McGraw for the first time. I myself being a huge Tim McGraw fan thinking, I hope someone does think of me when they think of Tim McGraw lol. And then, just on a whim somehow, looking up other songs by her..just to see. Now in 2006, looking up songs by an artist wasn’t as easy a task as it is now. I illegally downloaded music on limewire still at this point. And would then burn it to cds. And would later get my first iPod and transfer everything to that, because who wants to pay a dollar per song on iTunes? I’m sorry Taylor, but Not my mother. So, being 14-15, I had to find my own ways. Stay beautiful, our song, cold as you, picture to burn, should’ve said no..these songs were the words I was looking for in high school, going through teenage love and heart ache. Feeling the exact same way as her and wanting to just write these words on a paper and fucking send it to all these boys who made me sad. Wanting to be a famous singer just so these people could see how I feel and how they ruined everything. Pretending that Mary’s song was the story of my lover and I in an imaginary world. Like, for real. This album did something to me, because of this album no matter what happens in this life, if Taylor puts out music, I’m going to listen to it..just to see.

Reputation: this album was a huge turning point for her. And for me, as her fan. It was after 1989, so I wasn’t like, obsessively waiting to see what would be next. The whole cancel tswift thing happened and I heard about it, but it wasn’t like a huge deal. I was on her side, she didn’t do anything wrong and people were so quick to jump down her throat. but musically after 1989, I was not a hardcore swiftie, I still hadn’t adapted to the all pop era. I needed my Taylor swift on a guitar, pouring her heart out in her lyrics. And then, this happened and it was, for me, way better pop than anything on 1989 or red, by far. I was back to my obsessive swiftie ways, but in a whole new way. Every song on the album was a jam, she was speaking her mind, finally saying wayy more about kanye (and kim, ugh) than what we got on speak now.(ironic, because to me this album is when she really started to speak and didn’t play the nice girl anymore) not only that but, this was a love album and I related to it in so many ways. I was finally out of that 6 year relationship, and had a bit of a “reputation” (not really, but some bridges were burned and people talk a lot about things they no nothing about when you end something that lasted 6 years) and I had met someone new. I related to every love song on this album so much and it meant so much because, like Taylor, after all the bullshit that happened, finding the right person is everything. She had never been more relatable. I feel like her pop music finally grew up enough for me. She was doing pop in a new way and I was here for it.

Fearless: this one has stood the test of time. A classic. No skip album. Country, but her first intro to pop crossover with love story, but unlike a lot of her early pop hits, love story didn’t get old and overplayed for me. It’s not like my favorite song now, but when it blew up, I was about it. Beautiful writing on this whole album. It was the first album I bought. The physical cd. It came out when I was just learning to drive. Driving on my own and blasting this album singing at the top of my lungs along with it with no one to tell me to turn it down or change the song solidified the love story I had with fearless. Blasting you’re not sorry over and over again, (a top 5 song of all time) it made me want to learn to play piano (I didn’t). White horse playing on grays anatomy (my fave show at the time). Listening to fifteen at age 16 for the first time thinking, yes this is so true and I’m so much older and wiser now 🤣 . I was a colbie caillat fan before I knew who Taylor was. Hey Stephen was cute AF. Wished that I had the courage to say things like that to my crushes. Forever and always after my first breakup. It just hit so hard. I can always go back to this album, and have, over the years. My first tswift concert with my only other friend that liked her. It was before any of the drama that came out in the news about her. It’s when She started to blow up in popularity, I’d start to religiously follow things she was doing, interviews, videos on tour, and fell in love with her personality. This girl was talented and hilarious and pretty and smart. I wanted to be her so bad.

Folklore: although it’s still new and fresh, I really think it’s the best yet. For me it’s Taylor swift come full circle. It has the writing, some of her best lyrics yet. It has the age and wisdom that we have watched her gracefully acquire over the years. It’s not pop but it still has the catchy tunes that get stuck in your head, but in a quieter, simpler way. It takes loads more talent to get these songs on the charts than it did with her tried and true formula that she has used in the past for a pop song. She perfected that art, but this is a new level now. It’s not trying too hard, it’s honest. It’s still about love and how far she (and I 😭) have come in that journey. Yet it still has the heartbreak, teenage angst that only she can describe so beautifully. Cardigan might be best of all time. Betty takes me back to something on fearless. Mirror ball and August are light, airy, upbeat and just unique. TLGAD is her storytelling at its finest, yet also a quick fuck you to those who think she’s “ruined” anything. She had a marvelous time. It’s also that personal level, we’ve seen the photos of her and all her friends at this house and it just makes you feel like you’ve been there or something. Exile takes me back to red and I love this duet so much. Invisible string is so.well.written. The concept, so beautiful. The story of her and joe. Details we’ve never heard before. The lakes really ties it all together for me. It’s everything. We’re all isolated right now, but this song speaks to me so much. I’m not a big social media person, I like the simple things in life. I like to read, to write, my circle of friends is dwindling as we all get older and that’s ok because I have the love of my life and that’s all I need. It also speaks to how isolated I feel as a t swift fan, not that there is any shortage of swifties out there, but all the people I am close with are not fans of hers. And that’s fine, we have different tastes in music, whatever. But to me the best thing about Taylor has always been her writing, her poetry. I like the sad sappy songs, I want the auroras and sad prose (I also love the concept of not moving for years) this song has it all, even another subtle fuck you to her critics again. Who are you to tell her what her words are worth? They are better than any other artists’ out there. So many other dumb ass musicians out there that don’t even write any of their music who want to say Taylor isn’t “that great”. To me her words are everything. Folklore is everything. And it’s all hers! That’s huge. I feel like with her owning more of her shit now she can also be free to do whatever the fuck she wants. There’s no pressure for a tour on this album, (fucking covid 🙄) which may have influenced how she wrote it..no fancy dance numbers needed here. Without a big record label down her throat too she may have had more freedom, maybe to not have a hit single (although she still does) there’s no super mainstream straight pop BOP like every other album has had. I can’t wait to see what the future holds for her and her music. Oh and you want to talk about Grammys? GIVE IT TO FOLKLORE.

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lechevaliermalfet · 5 years

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In the Name of the Moon – A Look at Lunar Legend Tsukihime

There’s a popular joke in the Type-Moon fandom that there is no Tsukihime anime, but boy it sure would be great if there was one.

I had only ever been dimly aware of this attitude toward the Tsukihime anime myself. Watching it fansubbed for the first time in the early 00s, I wasn’t really plugged into the fandom, and the joke seemed like a minor thing to me. I had all but forgotten it by the time I was with my wife at Otakon in 2012, and we went to a panel about Type-Moon for fandom newcomers.

The panel was pretty salty about the Tsukihime anime, taking the joke about there being no such thing so far as to refuse to acknowledge it or discuss it. If I recall, they insisted on this refusal even when directly asked about it by someone in the audience. I also don’t recall them being all that complimentary about the Fate/Stay Night anime (the original 2006 series) for that matter. We had a long drive home after the convention – fourteen hours, give or take – and our discussion about the convention kept circling back to that panel.

She’d gone mostly to accompany me, I think, and because she didn’t have anything she wanted to do that conflicted with it. She had some minor interest herself, as she’d seen this supposedly nonexistent Tsukihime anime, and like me, she enjoyed it. So it was pretty irritating for her to go to this panel ostensibly for newcomers and then have them trash the one thing she’d experienced in the fandom. It was all the more irritating when you stopped to consider that at that point that it was, in all probability, one of the handful of things real newcomers might have experience with.

In its way, though, the panelists’ hostile and disdainful attitude toward the most accessible works in the general Type-Moon oeuvre did make for a suitable introduction. If not to Type-Moon and their work, then to the fandom, and the high levels of toxicity most of its assholes could and would display given the opportunity.

But I’m not here to talk about the Type-Moon fandom, except as it amuses me, or is relevant to the subject at hand.

The subject being this supposedly non-existent anime: Lunar Legend Tsukihime.

My own relation to the Western Type-Moon fan community is tangential at best. A couple of guys I know (one a good friend, the other an acquaintance), back in the early to mid-aughts, were moderators for the Beast’s Lair forum, basically the center of the English-language fandom community at the time. Of course, at the time, the fandom was almost brand-new. Tsukihime was all the rage then, because Tsukihime was almost all there was. Fate/Stay Night was new enough that there hadn’t really been time for the discourse around it to even form, let alone evolve much. And in those days, Beast’s Lair was basically the forum owner and a few of his online friends, and I feel like half the reason it existed was because at that point, it was more convenient to just have a forum than it was to get a bunch of guys together on an AIM group chat with that level of frequency. This was before Mirror Moon created a translation patch for any of these games. These were guys who bought the game direct from Japan, paid the outrageous import fees, referred constantly to a GameFAQs walkthrough, and died like men. It was that, or learn Japanese. Most of them opted for the walkthrough. Thank Whoever you believe in that the game runs windowed, I guess.

Fate, which has been the bread and butter of Type-Moon’s success for well over a decade now, was a commercial game. But it was one built with on the base of the huge support Tsukihime had garnered following its launch. Tsukihime itself was a doujin game, made when the guys at Type-Moon were a bunch of nobodies and had no real money to speak of.

Because they were nobodies, and because they needed the game to sell big if they were going to make the kind of money they needed to make, they did what a lot of Japanese doujin developers have done and continue to do, and will probably do until the end of time, and put porn in the game.

This is not unknown in Western development circles either, just for the record. But Japanese culture is in some ways more permissive when it comes to depictions of sex or sex-adjacent topics and material in their mainstream entertainment. Porn can net you a decent career, or at least a halfway-decent living, and it’s generally easier over there for porn artists in any field of endeavor to “go legit” and make the jump to the non-porn version of their field.

That doesn’t happen in the West, or at any rate not in America. Or very rarely. We have (for better or worse; there’s a whole separate debate there) a much sharper division between the porn and non-porn sides of the entertainment industry, and that barrier’s much less porous. But porn fans will support you. If the success ceiling is far lower than in the legitimate side of the industry, it’s also true that the floor is likewise lower.

So here we have Tsukihime. Not “porn with plot”, or even “plot with porn”, but “plot (…with porn)”. It’s there because they were worried the game wouldn’t sell without it, and so there’s not much of it in the first place. What I’m saying is that if you’re wanting to get your rocks off, you’re going to be a while.

Which is not to say that Tsukihime as a game is inherently like… progressive, or woke, or anything like that. Oh no. Nonononono. It’s horror (-ish, depending on your route), for starters – a genre that thrives on objectification and exploitation. And then it’s Japanese, which gives it an extra few layers of seeming weird to American sensibilities. So this is less like going down the rabbit hole and potentially more like falling into a snake pit.

I say all this to lend some context. When we think of Type-Moon today, we tend to think of this highly successful production house with a star franchise that’s rapidly hitting the market saturation point. If it hasn’t already (and I have a friend who maintains that it has). And that is absolutely not Tsukihime. Not the game, and certainly not the anime. No ufotable animating, no Yuki Kajiura composing, no Gen Urobuchi directing the critically acclaimed and popularly loved (and irritatingly overpriced) prequel.

This is Tsukihime. This isn’t the property that launched Type-Moon to stardom. That would, again, be Fate. This is the property that let them make Fate the way they did. Tsukihime is the visual novel world’s equivalent of some garage band you never heard of releasing their demo tape as their debut album, and the demo tape is actually pretty good, even as it suffers from having basically rock-bottom production values. It’s one of those things where the whole is more than the sum of its parts. You have to look at what it tries to be and tries to do, and like it for that. In that much at least, even as they differ in many other ways, that much is true of both the anime and the visual novel.

It’s worth it, though.

Phantasmal Fantasy

If we’re being honest (and why wouldn’t we be honest?), Tsukihime, at least going through the main route, is a little bit less straight horror and a little more what I think of as horror-fantasy. It isn’t horror because it’s rarely if ever actually frightening. But it uses horror aesthetics in a fantasy setting (urban fantasy, in this case), which may lend things a generally eerie and unsettling sense of ambiance and a particular feeling of threat to the main characters without ever quite getting your pulse up. It’s a hybrid genre I happen to have a huge soft spot for (I’ve been reliably informed that this is sort of My Thing). The entire Legacy of Kain series falls under that banner for me, as do most of the Castlevania games. The Dark Souls games all have it to some extent, and Bloodborne leans into it hard enough that it actually is kind of legitimately scary at various points. And then there are movies like Vampire Hunter D.

Lunar Legend Tsukihime, the anime based on the visual novel Tsukihime, was released in the early to mid 2000s. On a technical level, it’s very middle-of-the-road, with a bit of a generic visual style and workmanlike animation. But we’re talking about an anime based on a doujin hentai game. More mainstream visual novels’ adaptations tend to get better treatment. Tsukihime is well-regarded, but probably not really “popular” in the same sense as something like, say, Da Capo or Little Busters or Air, or... Look, Type-Moon’s getting the star treatment was pretty much going to be impossible at that stage. It took Tsukihime and the first Fate adaptation before we got to that point. That the Tsukihime anime happened at all is honestly kind of remarkable, and a testament to how much of an impact the game made.

Tsukihime takes place in the modern day (well, modern for the date of its release, which for the game was 2000, and for the anime would be 2003 or so). It’s a vampire story, of sorts, though the only creatures we’d recognize as traditional vampires are a minor threat at best.

Our main character, or at any rate, our viewpoint character, is Shiki Tohno. He’s part of a large, wealthy, and presumably powerful family, though he lives with an aunt and uncle whose ways and means are much more middle-class than his father, the head of the family. He was banished from the main estate eight years ago, shipped off to live with his aunt and uncle after an accident when he was about eight.

He doesn’t remember much about the accident. He (and therefore we) are initially told it was a car accident, and that it damaged his heart. He has fainting spells occasionally if he over-exerts himself, and otherwise generally anemic symptoms. Something to do with damage to his heart after the accident; it’s not really clear. The weakness makes him an unfit heir to be head of the family, hence his being put aside.

The real change in him is far stranger, and far harder to understand.

While recovering in the hospital, he begins to see odd lines running through everything, making the world look fractured. He discovers that if he cuts along those lines with a blade or other edged implement, the object will simply fall apart along those lines. It takes little to no force to do this. He could cut down a tree simply by dragging the edge of a knife along a particular line on its trunk, a line invisible to anyone but him. His attempts to convince others that these lines exist fall on deaf ears, and only cause concern for his mental state.

One day during his recovery, while wandering around outside, he runs across a woman named Aoko Aozaki who not only believes him, but understands what’s happening. She explains to him that he has a rare ability – perhaps the only one in the world with it – known as the Mystic Eyes of Death Perception. What he is seeing is the inevitable destruction and dissolution, the “death”, of every person and object around him. The lines are the only way his brain can make sense of it, as this is something the human mind doesn’t readily grasp. She gives him a pair of glasses which make the lines go away while he wears them, and which therefore allow him to go on with his life as normal. She tells him that he mustn’t use this power of his unless absolutely necessary.

Shiki lives his life normally from that point forward, until one day while he’s in high school, he receives notice that his father has passed away, and Shiki is to move back into the main estate. Said estate is in the same town, so much of his day-to-day should remain the same – same friends, same school, same daily routine.

But a strange thing happens on his way to the manor after school. While resting in the park, he sees a young woman with shoulder-length blonde hair and a white sweater. From out of nowhere, he is overcome with a furious, murderous impulse. His body seems to move on its own, with no input or control from him. Off come the glasses, out comes the knife he carries with him, and he’s off chasing her. Bad things happen.

He wakes up in the Tohno mansion, having blacked out and been retrieved by Hisui, one of the two maids of the home. She dresses as a Western maid, while her twin sister, Kohaku, also a maid, prefers a kimono.

But his arrival at the manor comes with significant culture shock. In the wake of his father’s passing, possession of the manor and the position of head of family have both fallen to his younger sister, Akiha, whom he hasn’t seen since his accident some eight years ago. His memory of her is a little hazy, but he seems taken aback by the polite but stern young lady she’s grown into. Altogether, the four of them – Akiha, Shiki, Kohaku, and Hisui – are the only inhabitants of the house.

Shiki finds its size and sense of isolation intimidating, all the more because his daily life in and around the house is in for a massive shake-up. For starters, there’s a strict curfew, and also no television. When Shiki objects, Akiha puts her foot down, and seems determined that he will live according to the family’s ways and rules, or… Well, there is no “or else”. He just will, end of story.

So he sneaks out to go buy some snacks and magazines. On his way, he is accosted by one of his classmates, Ciel. But here, she’s dressed in an odd outfit, carrying a set of deadly-sharp swords, and seems intent on killing him until she satisfies herself that he poses no threat.

The next day, further weirdness ensues. He encounters the blonde lady, the one he thought he killed, very much alive and well. His initial relief that he didn’t actually kill her is quickly undone by her assertion that actually, he did, and with rare skill and gusto. She then goes on to describe the exact cuts he used to slice her into seventeen separate pieces.

Then it gets stranger.

She is, she tells him, a vampire, albeit not all that much like what you’d think of when the word comes to mind. And no, she doesn’t sparkle. Her name is Arcueid Brunestud, and she’s hunting an enemy of hers who’s in the area, and is responsible for a string of murders and mysterious deaths that have been occurring lately. She was doing well enough until Shiki came along murdered her. While she was able to recover from this inconvenience, their encounter has left her in a weakened state. Now she needs help, and who better than the one who put her in this position in the first place?

Twists, Turns, and Dead Ends

I’m a little conflicted about the problem with the Tsukihime anime. I can’t decide whether its creators overestimated what they could do in twelve episodes, or underestimated the material and the time it needed. I supposed it really doesn’t make much difference. Six of one, half a dozen of the other.

Bad news first.

There are some technical issues with the show, which are probably the least of its problems. The art style is kind of lackluster and workmanlike, and the animation is overall pretty by-the-numbers. There are numerous moments where you can see drawing or animation shortcuts were taken, and there are lots of long shots where the camera lingers on one place or on one person well beyond what’s necessary for drama. On the other hand, the more important action scenes do see a slight jump in quality, so maybe the producers were keeping something up their sleeve for when it counted.

The English voice work is serviceable. The actors’ voices are by and large a good fit for the roles, but the acting is occasionally a little wooden. The writing is somewhat off as well. Shiki disappears from his normal life for a while in the third and fourth episodes, and his friends’ and family’s discussions of it once he resurfaces don’t seem to agree on the times he was gone – at one point, even within the same conversation. This may be a translation or dub writing error, though. There are other weird gaffes (this time in the original script), such as that Shiki doesn’t notice that Kohaku and Hisui are identical twins. This despite the fact that their only notable differences are eye color and wardrobe.

But these are mostly technical troubles, and they’re things I can overlook pretty easily. The writing errors are never so serious that I get confused about what’s going on, and the artwork issues aren’t too out of line, either. Certainly I’ve seen other shows from the time that did worse and more often.

The real issues \with Tsukihime, and the problem most of the original game’s fans have, stem from the way it’s adapted from the game.

Like a lot of visual novels, Tsukihime has multiple routes, and many if not all of them are mutually exclusive. In fact, some don’t even involve Arcueid, who you’ll remember is one of the main characters. This presents some difficulties when making a TV series. On the one hand, there is a canon route, and you could probably make a decent twelve-episode TV series out of just that. On the other hand, there are lots of fans who prefer the alternate routes, who would be pissed if their favorite characters showcased in those routes weren’t given some screen time, and so you want to give them something. And, too, one of the intriguing things about a game like Tsukihime is all the lore and world-building that makes these divergent plotlines possible and interesting. Even when not pursued, elements of those routes may come up one way or another, and lend a certain richness and depth to the story. It would be a shame to leave that on the cutting room floor.

Another possibility the show’s creators could take is to craft their own continuity, essentially creating a story hybridized from multiple routes from the game while not adhering strictly to any one of them, and create a single story that way. This hypothetical hybrid story would then be better able to explore more of the background and lore, and incorporate that richness into its own new canon. But that would take probably more than twelve episodes, and twelve was all Tsukihime got. For anyone who’s curious about what this approach might look like, there’s a manga adaptation that incorporates elements of the other routes into the main story. It’s out of print now, sadly. Originally published by ComicsOne, it was taken over by DrMaster after ComicsOne went out of business. Then DrMaster themselves went out...

Anyway, the compromise measure that the show’s creators eventually decided on was to largely tell one story (the Near Side routes, particularly the Arcueid route), while throwing in bits and pieces from other routes… and then never following up on them. There wind up being a few non sequiturs and narrative dead ends or red herrings, almost as a kind of wink and nod to say that the show’s makers at least know those possibilities exist. But this results in the show being unfocused. For instance, a couple of episodes build up the Problem With the Tohno Bloodline, but this ultimately doesn’t figure into the story. This material comes from what the game refers to as the Far Side routes, and those developments largely go unnoticed during the Near Side routes which the anime’s plot focuses on. The problem is, again, that these are mutually exclusive as the presented in the original game. Weaving them together in the “new continuity” approach would be fine – maybe ideal for the anime, even – but it would take an amount of alteration to the continuity that the anime never makes. It winds up being less of a problem than it sounds like, but it does manage to be frustrating.

The main story, meanwhile, hints at interesting elements from the broader cosmological background that the game establishes (and which later Type-Moon games borrow and build upon), but many of those elements never quite leave the background. This leaves a frustrating sense of massive, powerful forces and entities moving in the background, that there is something far larger happening that we are not even quite glimpsing, but only being given hints of.

But if it sometimes seems that Tsukihime only scratches the surface of the greater and deeper lore of its setting, that lore and setting are still compelling. There’s an almost Lovecraftian sense of cosmic scale to the supernatural as it’s presented in Tsukihime. Arcueid, Nvrnqsr Chaos (no, that’s not a typo; it’s the real name of an adversary in the game, though the anime presents it as Nero Chaos instead), and her ultimate enemy, Roa – all of them are connected to higher forces and entities. The murders occurring in Shiki’s city are the most minor of problems in the grand scheme of things. This is what makes the anime both fascinating and frustrating. It shows us this conflict, but refuses to give the full context for it. So much seems to be held back; the full natures of these characters goes unexplored.

I like a little mystery. I like it when some things are unexplained, or when the answers are there to be found rather than to be given. It’s one of the things I love about Dark Souls and Bloodborne. But the story of Tsukihime fails to explore these mysteries in a way I find really satisfying.

I feel like this is the root of why a certain overly vocal segment of the fandom chooses not to acknowledge the anime. Coming to it from the game, I can see where it might seem a little disappointing. Many of these hooks can seem like teases to those who understand their significance enough to be upset that they ultimately don’t deliver.

But that’s not the experience that either I or my wife had watching the anime. We both came to it before we ever knew anything of the game. For us, those odd hooks were just moments where we went, “Huh. Weird,” and carried on watching the show. Sure, there was clear and unaddressed significance, but it wasn’t a problem. If anything, it made me more curious about the game.

The show may seem meandering to some, but to me, I just tend to think of its pace as sedate. It doesn’t really dig into the characters’ backstories, but it does help to develop them and give them room to breathe.

In particular, the anime spends a lot of time developing Arcueid. We see that despite her power, and her potential for wrath and violence, she’s surprisingly cute and innocent-seeming at times, and actually innocent when it comes to some things. You can see her interest in Shiki grow, but she seems unable to express it. Her attempts at being normal can come across as almost mocking, when they are instead sincere and well-meant, but hopelessly clueless.

What we learn of her story is somewhat sparse, but we know that she spends most of her time asleep, awakening only to deal with threats like Roa. The reasons for this are complicated, at least enough so as to be beyond the scope of this writing. Suffice it to say that there’s a wiki if you’re after more information. Just be warned: The writing there is pretty iffy. Anyway, Arcueid is capable of getting by just fine on her own (when some inconsiderate dick doesn’t just up and murder her, anyway), but it’s also clear that, thanks to spending most of her time asleep, she doesn’t really understand a lot of what’s going on around her. There’s a kind of obliviousness to her that might be frustrating in another character in a different show, but is somehow just endearing here. Like my wife said at one point: You just want to hug her. Which is not, you know, the normal reaction you have with vampires. “Aloof”, “compelling”, “seductive”… These are the words we tend to think of when it comes to vampiric “affection” in fiction. “Huggable” doesn’t really show up on the list. And yet, here we are.

There’s a certain cat-like quality to her. Elegant, graceful, mysterious, sometimes selfish, frequently endearing, and occasionally ridiculous. There’s comedy in her situation. Shiki, despite his powers, is otherwise kind of a dork who could not be more clearly in over his head, at least at the start. He spends most of the series bewildered, confused, scared, and very occasionally snapping and completely losing his shit against some eldritch horror. And yet he’s the one who has to keep Arcueid grounded (to the extent that this is really even possible) and basically explain to her how the world works. In some ways, it’s really Arcueid’s story.

The pace of the series helps it build a sense of brooding mystery as it explores the twin dilemmas of finding a way to stop Roa and figuring out Shiki’s uncertain place in and relation to the rest of the Tohno family. And as you might suspect, these two problems aren’t as separate as they first seem.

If nothing else, the opening theme is just about perfect. Subdued, mysterious, haunting; it sets the mood of the show almost perfectly, in a way that comes close to over-promising on what the anime actually delivers. It definitely sets a mood.

That mood is one I tend to get into around this time of year. I’m normally a night person in the first place. No amount of working mostly first-shift jobs over the last two decades has changed the fact that there’s some part of me that wakes up when the sun goes down, and wants to stay up until the sunrise. I like to be out and about in the dark. I can remember back when I was in college, I would be out with friends trying to find any reason at all to stay out as late as possible. Later in life, I’d duck out long after everyone else was asleep and go for roaming walks at night (at least, back when I lived in a reasonable neighborhood). With fall here, the urge just gets stronger.

There’s something of that feeling I get from Tsukihime, large portions of which involve that same nocturnal roaming, and take place in the nighttime times of life. And I enjoy stories about monsters and the supernatural – I went through something of a vampire fascination phase when I was younger, and still maintain a certain amount of interest – and so those things alone might have gotten my attention.

Fuck the haters; the Tsukihime anime exists, and it’s good. Not great, and not as good as it might have been, but it’s fine. If it’s not exactly gripping, edge-of-your-seat suspense, it’s still an entertaining way to spend the better part of five or six hours. Certainly worth a watch if you can track it down.

Tsukihime tells an odd, interesting story – moody, dark, weird, mysterious, fantastical – all things I like. A story of supernatural threats, monsters, mystery, and marauders in the night. It’s hard to think of anything more appropriate for fall – for October – for Halloween.

Availability

The DVD release for Lunar Legend Tsukihime was originally handled by Geneon in both Japan and the U.S., since they were part of the original production committee. After they folded, it was picked up by Sentai Filmworks, one of the several splinter companies that rose from the ashes of ADV’s implosion in the late aughts.

Geneon’s release was evidently a multi-volume affair. Which seems ludicrous today, when you typically buy an entire season of twelve episodes or so all at once these days, in a single set. But Geneon (which had previously been Pioneer) had been around since the VHS days, and a lot of those companies in some sense inherited the mindset that had governed the VHS release schedule, which was to release a volume every couple of months or so, with three or four episodes on each one, and that was that.

Sentai Filmworks’ version is a two-disc, single-volume set, so that would probably be the way to go. Especially if shelf space is a concern.

There is no Blu-ray release, and honestly, it’s hard to imagine what Blu-ray would really do for the show. At any rate, it seems to be out of print currently. Geneon, of course, folded about a decade or so ago. And although Sentai Filmworks lists it in their catalog, there’s no option to buy. And it doesn’t appear to be available for legal streaming anywhere. Like a lot of older (and I hate to think of this as “older” – I remember being an adult when it was new) – maybe I should say somewhat older anime – Amazon and eBay are your best bet if you’re interested.

Postscript the First – The Anime versus the Game

Tsukihime, as a visual novel with multiple routes, contains far more material than the TV series. HOWEVER, please consider this paragraph your giant, flashing, neon-lit trigger warning for content potentially involving sex, assault, sexual assault (of various kinds), incest, violation of consent, and more violence than the anime producers could show even with the series airing at otaku o’clock.

Just to be up-front for a moment, I haven’t played much of the game. Much of my information comes secondhand, or else is the result of reading the Type-Moon wiki and talking with friends who’ve played through it. I’ve yet to finish a single route. I’d like to, and I occasionally chip away at it here and there, but the problems are twofold.

The first problem – probably the main problem – is the low level of engagement. I get curious about visual novels from time to time, but they’re always a little too easy to put down, and a little too hard to pick up. And that may seem strange, since there’s so little to do in one. The amount of effort involved is nil. But that’s just the thing. I often wrestle with whether or not I even consider them to be games at all. And, look: It’s not like I think visual novels are unworthy of anyone’s time. They’re fine. Largely not my cup of tea, but fine. But what you do in a visual novel could hardly be called playing, any more than you “play” a Choose Your Own Adventure book. There are no mechanics, no maneuvering through the world, no use of skills. Just decisions to make, and those not very often. The thing about an actual game is that I’m mentally engaged, fully occupied and firing on all (or most) cylinders. When I want to play a game, that’s what I’m after. And visual novels just don’t offer that.

Of course, I do love to read, and so it would seem like they should be right up my alley for that reason at least. But no. The writing is actually my second problem.

So far as I’ve observed, which admittedly isn’t much, most Japanese visual novels translated into English are pretty awkward, and this is probably a combination of factors. One is that what constitutes good writing (in terms of how the language is deployed) in Japanese differs considerably from what constitutes good writing in English. It’s not just visual novels, mind you. The couple Haruki Murakami books I’ve read have both also seemed off to some degree as well. I think it’s just something in the translation, some difference between English and Japanese in the matters of word choice, rhythm, and flow, and the sense for how these things work in each. I sincerely think that making a Japanese work really sing in English would involve a level of change that most translators (and visual novel fans in particular, given their greater likelihood of being total Japanophiles) are deeply uncomfortable with.

But beyond the general problem of Japanese-to-English writing, there’s the problem of Kinoko Nasu in particular, who is Type-Moon’s writer.

Nasu is, I think, something of a Lovecraft disciple, with his cosmic-scale sense for horror. But he’s also like Lovecraft in another very important and distinct way, which is that despite having really interesting ideas that set my imagination on fire, he actually can not fucking write.

I’m sorry, Lovecraft fans, I really am, but it’s true. Deep down, you all know it. Lovecraft, for his part, was a man who at some point earlier in his life swallowed a thesaurus, and was then hell-bent on vomiting it out over every page he wrote ever afterward. He never used one word if he could find a way to use five or six to say the same thing, never used a simple, elegant, and concise word when he knew a more complex one, and his style has so little flow you’d need an electron microscope to find it. You could make a workout of running back and forth to the dictionary while reading his work. Or you could make it a drinking game. And then die, of alcohol poisoning.

He had some great ideas, once you got past the writing, and the multiple onion-like layers of intense racism. And he was intensely racist; let’s not forget that. Not just “racist because it’s the 1920s or ‘30s and basically everyone white is racist right now,” I mean racist even for those times. People back then were a little weirded out by how much he hated the Jews, and black people, and anyone else who wasn’t the right shade of paper-white. But even just focusing on his writing, the feeling remains that he was not the best vehicle for his stories, and that’s just how it is. The most aching, taxing, fucking grueling reading I have ever done on stories I still actually liked is mostly found between the covers of the various Lovecraft compendia I have lying around the house. I like his stories; I just don’t like reading them much.

Nasu may well be his reincarnation (and oh, would it ever have horrified Lovecraft to be reincarnated as a Japanese person). A common complaint I’ve heard about Nasu’s writing (from people who’ve read it in Japanese) is that he has good ideas, but just isn’t a skilled writer. Now, I’m not qualified to really dissect how he comes across in his own culture, but when translated into English, he’s a painful read. Maybe it’s the fault of the group responsible for the translation (Mirror Moon), but at the very least, I can confidently state that he should stay out of porn. His sex scenes have some of the least sexy and most unintentionally hilarious writing I’ve seen in my life. It’s why I think that even Fate didn’t really take off to become the absolute phenomenon it is until after we started to get anime adaptations of it. Those adaptations would all have been written by other people, or at least had some amount of editing or collaboration to dilute the worst of his influence, letting the good ideas shine through without Nasu’s own writing griming everything up.

I don’t have a lot of basis for comparison, but I feel like on a technical level, Tsukihime is pretty basic. The character artwork is nice enough, with a distinct style. The backgrounds, though, are in most cases very clearly photographs that have been filtered or otherwise manipulated so as not to clash too badly with the character art. This was probably a shortcut to save time or money, or both.

On the balance, I’d say it’s worth looking into, with the major caveat that there’s a lot of stuff in it that didn’t (and couldn’t) make it into the anime, that makes the story overall much darker and more sinister than the anime could manage. Unfortunately, it’s going to be hard to find. There’s only the original version released in 2000. There’s talk of a sequel and a remake, but the amount of time that’s passed for no more attention or work than the project has received, to the extent that these things have become running gags in the fandom. They probably are things that the higher-ups at Type-Moon really do mean to create at some point, but which aren’t a huge priority for them, and so are very, very back-burner projects.

As I mentioned above, the anime and the game are both similar in that their quality persists despite somewhat lacking production values. But the anime’s middle-of-the-road budget and somewhat generic style was never the problem. The game, meanwhile, was pretty clearly made on a close-to-shoestring budget, but this actually doesn’t matter nearly as much. Visuals novels live and die on their writing, ideas, and artwork, I think. Rarely if ever do they rely on really cutting-edge graphics for their impact. And in truth, Tsukihime the game was always going to be marred far more by Nasu’s writing than anything technical.

A nice upside is that, since we’re privy to Shiki’s internal monologue, he comes across as a more interesting character. He seems to sometimes just float through the story in the anime, with bouts of intensity here and there when things go wrong or he’s totally lost it. But the game gives us his thoughts, and we get a better handle on why he does the things he does.

For English-speaking fans, there are walkthroughs, of course. But if that understandably sounds like too much of a pain in the ass, there’s also a fan translation (unauthorized) by Mirror Moon. In addition to rendering the game into English, I believe it also introduces an option for removing the sex scenes. So for those who are uncomfortable with those, this will answer that concern, at least.

Postscript the Second – Alternate Takes: Kara no Kyoukai

Frequently referred to in English-speaking circles by its subtitle, The Garden of Sinners, Kara no Kyoukai (which Wikipedia tells us means something like “Boundary of Emptiness”) is an interesting story from Kinoko Nasu’s early days. It began publication (independently) in August of 1998, and is set in that timeframe. Originally a series of novels, it’s primarily known in the U.S. as a boxed set of seven movies (plus a stand-alone eighth) priced exorbitantly by Aniplex USA (the Blu-ray boxed set for the first seven will set you back a cool $400). These movies tell the story of a different Shiki, this time a young woman who wears a kimono, boots, and red leather jacket, named Shiki Ryogi.

There are pretty clear linkages between it and Tsukihime, though these are thematic rather than narrative, and the result of ideas being reused. Nasu began writing Kara no Kyoukai first, and seems to have cannibalized some of its concepts for Tsukihime. The two stories take place in alternate universes. As with Tsukihime, this version of Shiki also has the Mystic Eyes of Death Perception, although Kara no Kyoukai’s Shiki does actually come by them after an automobile accident. There’s also a redheaded sorceress with the last name Aozaki (Touko instead of Aoko), and I want to say that I’ve read somewhere that they’re sisters, and that Touko traveled to this alternate reality from the “main” one where Tsukihime and Fate take place. She was initially envisioned with sort of pixie-cut blue hair, but was converted for the movies into a redhead like her sister Aoko, and Nasu decided he liked the change so much that it became canon.

But although it features a Shiki with the Mystic Eyes, she shares the spotlight with Mikiya Kokuto, who’s a dead ringer for the Shiki of Tsukihime. His personality’s different – he lacks Shiki Tohno’s deeply buried killer instinct, for a start. Mikiya has no special abilities beyond a knack for information-gathering and a better-than-average capacity for deductive reasoning. Moreover, even without any special powers of his own, he seems to move with relative comfort in a world full of sorcerers and mystical murderers, in part by keeping an open mind, taking nothing for granted, keeping his assumptions in check, and taking everything as it comes. He works as an investigator for Touko’s paranormal detective agency, Garan-no-Dou. Shiki is mostly the muscle.

Mikiya has a younger sister, Azaka, who in her turn looks an awful lot like Shiki Tohno’s sister Akiha. Except for in flashbacks, where she looks like a young Rin Tohsaka from Fate instead. As with Tsukihime, she is attracted to her brother. Unlike Tsukihime, the two of them are actually blood siblings, so... At least with Kara no Kyoukai, this profound failure of the Westermarck Effect is entirely one-sided; Mikiya has eyes only for Shiki. TV Tropes would undoubtedly describe it as Single-Target Sexuality.

There are any number of other parallels between the two, but these are the most obvious. Much of the background lore seems to be similar between the two series, although Kara no Kyoukai doesn’t use the same parts of it, and doesn’t dig into the parts it does use quite as much. It’s much less concerned with cosmic entities like Arcueid or Roa or Nvrnqsr Chaos, and more concerned with its characters as individuals, and how they relate to each other. That isn’t to say that it doesn’t dive into the sort of metaphysical strangeness on display in Tsukihime and Fate – Kara no Kyoukai is aggressively weird – but its metaphysical struggles are more self-contained, connected more directly to the characters and less tied to the cosmological backdrop.

The movies were released in Japan beginning in 2007, almost a decade after the novels began publication, and well after the successes of Tsukihime and the first Fate series. They’re animated by ufotable, and feature Yuki Kajiura as the composer. I’d encourage anyone interested to track them down, though I know the price tag can be offputting. Aside from high-quality video and sound, the set is pretty bare-bones. There’s no English audio track; in fact, the impression I get is that this is basically just the Japanese Blu-ray release, re-encoded for Region 1. This includes the movies’ proper titles not being displayed in English anywhere on the discs or cases, so you have to do a little sleuthing to figure out which movies are which. This is doubly aggravating considering that the intended viewing order isn’t chronological, so it’s not immediately apparent if you’ve started with the wrong movie. If you feel totally lost and like you’ve just come into the middle of things, then it’s highly likely you’re exactly where you’re supposed to be. Thankfully, the menus are in English, and the subtitles are serviceable.

There’s a DVD version of the boxed set that costs less – I want to say the whole boxed set went for something like $200 – which is still a decent chunk of change, but more reasonable for a set of seven movies. Unfortunately, a quick browse of Amazon makes it seem even harder to find than the Blu-ray set. And, sadly, there are no legal streaming options for this series.

#type-moon #tsukihime #shingetsutan tsukihime #visual novel #anime #halloween #vampires #lunar legend tsukihime #arcueid #arcueid brunestud #shiki tohno

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