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pompompurin1028 · 3 years

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Oh my God!! I had never thought of it that way, that’s awesome! Good catch, Kat :o

That is so true, we read Yozo’s life and deeds completely through his own eyes therefore we can’t treat it as an objective narrative. When this is combined with all the analyses you made yesterday, it’s all coming together and this is the best feeling ever, when I first read your response I went crazy with euphoria😭

And exactly! We can definitely distinguish these two narratives -Yozo’s and the woman’s- in the last scene under the sunset. Dazai, for some reason, always denies his good intentions and is “blinded to his better side” as you said and I totally adore this way of putting it. I really hope Atsushi will be able to bring him back to reality😔

I mean, of course he’s not the most snow white person out there, he still has really gray morals, but isn’t this already an incredible step considering that he was born in pitch black? He needs to see how much he’s achieved since then, but he still feels guilty and this totally blocks the good parts of his journey in his mind, which is probably why he always has that façade to keep him from breaking down. Just like how Yozo had this façade of “clowning” even though he was feeling empty inside all while entertaining people and seeming so cheerful. This clowning thing was a really beautiful parallelism between BSD Dazai and Yozo.

Exactly😭 For someone as traumatised as Atsushi, that poor cinnamon roll is really so precious with his amount of trust and kindness🥺 And yeah… There’s no way I would be able to 100% restore my trust for him -if I had it in the first place, of course, you never know with Dazai😂-, I would question constantly if he’s planning new things with several villains “for the sake of the city”, and this is just what Atsushi says, he denies this as well like what- then why😭 He owes a really good explanation to the ADA, tbh. I hope they treat this subject in S3 or I’ll get really mad if he just gets away with it as if people didn’t die because of his shenanigans😤

And oh my God! I never knew that! This is really intriguing, I’m totally on Dazai-sensei’s side on this matter, Run, Melos! will be so interesting to read :o And as always, I’d love to read your analysis on it😌

And that’s so true😞 His plans are always so complex and detailed that if the littlest thing goes wrong, it would all be over, I mean, trusting that Chuuya punches him in the face or he’ll die?? He’s really walking on thin ice there haha. Which, of course, comes with great stress. And omg I LOVED THAT ANALYSIS THANK YOU SO MUCH FOR SHARING💕 I reblogged it privately to come back to it whenever I start having doubts or feeling bad about Dazai which happened way too often even before Dead Apple, I just couldn’t keep a healthy relationship with him like I do with Kunikida I have no idea why this will really be a useful thing to come back to 💫 It pains me to see that how much he suffers in reality yet he’s not even able to acknowledge that it’s not his fault😞 (you can gimme all your analyses don’t be shy👀)

I’m planning on reading this one, it has several chapters and they all seem really explanatory. (I hope linking system works in asks🤔)

Exactly, I honestly used to miss all these about Akutagawa and just overlook him, consider him as a mere invincible rabid dog with an unhealthy obsession, whose ability is just to murder. But that’s not true at all, he’s more than his ability. To be honest, I think this movie made this sentence valid for everyone, especially if the ability is too strong, one always tends to consider them as their ability and nothing else, but that’s not true, their abilities are a part of them but they don’t assure their existence. Each one of them is more than their ability and I loved seeing that, I even felt sad when Aku regained his Rashōmon😭

Haha, always!!❤️ Never hesitate to share anything about any theory/headcanon you have, I love discussing them🥰

These asks and responses are getting longer and longer but I’m not complaining😂

Thank you so much!🥺 That makes me really happy that you said that!

And yes exactly! We have to make note that the novel is written in an I-novel narrative, and like all first person perspectives, they are unreliable. And "crazy with euphoria", that makes me so happy to hear😭💕

But yes, we can clearly see the distinct difference between how Yozo sees himself, vs how the woman sees him. (Side note: And one of the reasons why I love this book despite its dark themes and narratives, is that it talks about the goodness of humanity that still exists in even the worst people. Dazai-sensei's narration of Yozo is written in a way that almost makes us hate him. But we have to always be reminded that despite this, there are goodness, even in people like Yozo, which I felt is an amazing reminder) And his own blindness to his better side is obviously self-destructive, as seen in the novel, and I believe that if Dazai continues to see this way, he will not be able to heal despite following what Oda wants him to do. No, he first has to face his past, and as you said he has to recognize how far he has come, even though he is still learning, he is still changing. Like all other characters in Dead Apple, Dazai is also facing his past, or more so an introduction to having to face his past, as I believe that Atsushi had also said that he hopes that Dazai can put his past behind him or something similar to that. And I personally feel that Dazai would have a happy ending because unlike in the novel, he has someone (Atsushi) to remind him of his goodness, the fact that he can go beyond what he is in the past. I just love Dead Apple so much😭

And the clowning part breaks my heart too... In addition to being a facade to stop others from seeing how empty he is inside, which would deviate himself from being "human". It gives me a saddening understanding that Dazai is keeping everyone at a distance. Although he wants others to understand him, and his whole existence is basically a cry for help, he fears being hurt, or at least that's what I believe how Yozo thinks. And it should be noted that the act of clowning, can also be seen in The Setting Sun as well, which he once again uses a mask to attempt to blend into society, yet knowing that he'll still be different from the rest of them

Also one thing I also realized as I am writing this is how Dazai-sensei intentionally in a sense villanizes himself (as it is semi-biographical) as well as Yozo in No Longer Human, and I can't help but wonder if this is another parallel to Dead Apple?🤔

But unfortunately, the consequences of him making that meticulous plan which endangered everyone will not be resolved, as it should be noted that this is a sort of spinoff from the main storyline. But in a sense I like the ending it gave us, as it allows open interpretation. And I feel that it also might symbolize the fact that all the main characters in the movie are still growing, are still learning and are continuing on their paths to face their pasts... And what I think is also quite important to note that is there's also a sense of trust Dazai gives to the people involved in his plans, he trusts them to make that exact move to make his plan whole. And also, what also makes me sad is that Dazai seems to be asking for forgiveness for what he did during dead apple, at least that's what it sounds like to me as he said: "Atsushi what I did earlier-"

And I totally agree that it is impossible to restore full trust back to Dazai. That itself is impossible, for it is a disillusionment, it is a stage you cannot go back to. But and I agree with Dazai-sensei, I believe that this could help Dazai see the better parts of humanity like when he said to Oda, that the good side is really more beautiful.

And I'm so glad to know that you want to save it🥺 It can definitely be hard to see Dazai's good side at times, he is quite confusing and is easily misunderstood ngl. But sometimes I think he intentionally does that so no one can see through his true intentions, to keep himself at a distance, while at the same time wanting others to see through him, to help him😔

And oo thank you for the analysis! I'll definitely have to read it soon☺ Also if you have any analysis that you'd like to discuss or want me to know, feel free to drop them in my ask box as well!

And yes exactly! That about Aku is so beautifully said.

And honestly I'm not complaining either haha. These have been quite fun🥰

#asks💌#Req🎻#bsd dazai #bungou stray dogs #dazai osamu #dead apple #bungou stray dogs analysis #bsd theories #kat rambles #I have a lot to say about no longer human and it shows haha

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ilan · 2 years

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very curious to know your take on odasaku

ok i do actually have a lot of thoughts about him despite publicly proclaiming that he’s nothing to me that was a lie. for one thing i hate how people try to portray him as this wise older mentor figure he’s like twenty five the man has no fucking clue what he’s talking about and when people take his words as gospel it pisses me off especially when it comes to his dying monologue abt how dazai is going to be a miserable loser forever like. why do people just assume he was right abt that when dazais character arc clearly includes both moral and emotional improvement. oda was literally wrong and THATS OK i don’t condemn him for it he was a young adult who got pulled into a business he never wanted to work in and ended up losing everything he cared about and then his life for it i can understand it. i think his story is really just tragic like he was not cut out for the mafia in the slightest even characters like kyouka managed to adapt to it even as they were miserable but oda’s inability to adapt is ultimately his downfall bc he’s not enough of an asset to justify keeping him alive. again i don’t blame him i think it’s a really interesting take on morality in the mafia and the overall themes of gray morality. again i think he’s a really interesting and tragic character but i don’t like how people reduce him to like. dazais dad. wise mentor figure. perfect beacon of light. etc etc he’s just a guy who got mixed up in shit he shouldn’t have and paid the price and i think that’s infinitely sadder than him being someone who stood out in any way. and i think that also contributes to why he was able to get through to dazai because he wasn’t something untouchable or anything he was just an average person and that makes the morality he embodies feel infinitely more attainable.

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hecallsmehischild · 3 years

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Recent Media Consumed

Books

The Princess Bride by William Goldman. I have mixed feelings about this book. I am torn between admiring the writing device the author employs and being annoyed by it every time it crops up. The idea is that the writer, Goldman, is actually presenting you with an abridged version of an antiquated Florinese novel while cutting out all the “boring political satire” bits and only keeping the action/adventure/romance portions just like his father did when reading the novel to him as a child. The author character continually interjects himself and this was distracting to me in a way that Lemony Snicket’s work was not (I cannot tell you why). Also there’s an awful lot of uncomfortable racial depictions in the original novel. Also I hated Buttercup’s guts, she truly comes across as someone who doesn’t deserve anyone, MUCH LESS WESTLEY. My end impression was that there are some parts of this novel that really elaborate on scenes in the movie and give an interesting depth to them (for example, we really get to know Inigo Montoya’s father and when he dies, it’s a character that we the reader can mourn as well) but in my estimation, the movie adapted the book marvelously and actually is one of the rare movies that I would say is overall better than the source material.

Fangirl by Rainbow Rowell. Second read, I bought my own copy this time. This is such a chick flick book but it’s soul food for me because goshdarnit a novel took fanfiction writing seriously and it’s so comforting to read. It also re-inspires me to keep pegging away at my fanfic.

The Dancing Realms series by Sharon Hinck. Hidden Current and Forsaken Island are written by one of my current favorite Christian fantasy writers. This is her second developed fantasy world, and while there are some things that I didn’t care for as much (I thought some bits of characterization didn’t work as well in this series as her previous one) the world she built is really cool and there are moments in the story where real glimpses of something deep and beautiful bleed through. My favorite set of themes from this work is the damage that can be done by elevating one sort of gift above all the rest OR by losing yourself entirely to your gifting and seeking only the pleasure derived from your gift without any grounding. I’m not synopsizing very well, but it’s worth a read and I look forward to the upcoming third book, Windward Shore.

Momo by Michael Ende. I wish this story were as well known as The Neverending Story, which Michael Ende also wrote. This novel wielded a surgeon’s knife on my fears of being meaningless and wasting my time and my life. It’s one of those novels that really has something important to say about life, I think. I want to add this into my queue of books to read on my Youtube channel, when I get an opening.

Given by Taylor Nandi. The cover looked amazing, and I was intrigued that Wattpad now has its own publishing press. However I was (I really am sorry) disappointed. I had to put it down within a few pages. There is very much a “tell, not show” feel to the writing and I can’t keep on with it.

Movies

Soul. PIXAR KNOCKED IT OUT OF THE PARK AGAIN, REPEAT, PIXAR KNOCKED IT OUT OF THE PARK AGAIN ON BASICALLY EVERY LEVEL. The visuals and character designs were fantastic, the messages beautiful, the characters believable, relatable, and fully embraceable. And every five or ten minutes, Sergey and I would pause and discuss implications and theorize about different parts of the movie and lore which turned a ninety minute watch into a three hour one which made it EVEN BETTER (for me). This is THAT kind of movie. Hats off to you, Pixar.

It’s A Wonderful Life. It must have been well over ten years since I’ve seen this movie. First, I was shocked to see it has been colorized. Second, the colorizing actually helps me catch a few fantastic details I would never have noticed (like Mr. Potter’s giant gold-framed painting of himself in his own office). Also there’s so much adult context I missed watching this as a kid, it’s fantastic to re-watch it and get so much more out of it this time around. I don’t think all “great classics” deserve their crowns, but this one does for sure.

Batman: Hush. Fun! Not much else to say. Just, fun to watch.

Collective films I binge re-watched for whimsy value: Klaus, The Little Prince (recent re-imagining), Mary Poppins Returns, The Lego Move 2.

Shows

24. So I finally finished all (the good) seasons, 1-8. Talk about an emotional meat grinder. This is possibly one of the most well written, well acted TV shows I’ve ever seen in my life, and it just. Never. Stops. Punching you in the gut. I had to take massive cartoon binge-watching breaks in between seasons. But it was worth it. This is an amazing show for many reasons. One of the things that stands out most to me is how it tackles the post 9/11 racial tensions from almost every angle. *announcer’s voice* Now featuring, that time a Muslim was the bad guy, and then that OTHER time when a Muslim was the valiant head of the Counter Terrorist Unit tracking all the terrorists down, and that OTHER time when you were certain someone was being wrongfully accused of terrorism by a dumb racist but it turns out the dumb racist was right and you hated him for being right because he was right but all his reasons were wrong, and that OTHER time the Big Bad was from China/Russia/Africa/our own dang government/our big corporations, and that OTHER time when we got a whole scene of an Imam guiding our protagonist in a deathbed prayer that was so moving I was choking up, etc etc etc. There is no black and white, it is all shades of gray, and every moral you ever held will be challenged in the course of watching this show.

Batman Beyond (3 seasons + Movie). Kinda cheesy, kinda campy, and I will punch the next person who says “Schway” out loud. But it was fun to watch. And some individual episodes were really excellent, I think. Also Re: Return of the Joker movie, HOLY CRAP.

DuckTales (reboot) 3rd season. It felt… like they ran out of ideas? Like they ran out of caring? The first couple seasons were spectacular, but it kind of petered out at the end, there. Still, the first couple seasons were fantastic.

Animaniacs (reboot) 1st season. IT’S TIME FOR ANIMANIACS. THEY’RE STILL ZANY TO THE MAX. IT’S LIKE THEY NEVER LEFT, AND THEIR COMEDY’S STILL DEFT, THEY’RE ANIMANIACS!!!

#child loves books #child loves movies #recent media consumed

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destiny-smasher · 4 years

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“But I can't walk on the path of the right, because I'm wrong.”

So, The Last of Us Part 2 is out. It’s about 25 hours long. I’ve played it. I loved it, but it’s got its flaws. I think the hype buildup was overblown, and I think the zealous hate from the leaks was also overblown. This is a beautifully produced game that is trying to do much more than the typical AAA game tries to do, and in so trying, it’s messier, muddier, and more complicated than its predecessor. I love it for that, despite my issues with how the game ultimately resolves things.

I think Naughty Dog was either intentionally misleading audiences (which, given the marketing, is possible) or perhaps Neil himself has a different concept of the game he directed than what was actually delivered. Despite how it was advertised, The Last of Us Part 2 is not inherently about ‘hate’ or ‘revenge.’ It’s not just a revenge story.

It's a story about empathy, about how human beings and their interactions have layers, and how we are better when we extend blind empathy to others instead of blind hatred. I gotta talk about this. SPOILERS FOR THE ENTIRE GAME to follow.

Seriously, final warning for SPOILERS.

This game is simply too big, too complex, and has too much going on for me to write a single piece going over everything there is to talk about, but there are some things I need to say that inherently rely on discussing the entire game in a spoiler-filled way.

Let’s start with the most noticeable thing that has hit me over this game’s reception: people like Joel way more than I would’ve expected. SO much of this game’s negative reception seems to be over Joel’s character and the circumstances around his death. I was not at all surprised that he died - I was a bit surprised at when and how he died, in the moment, but even by the end of the next scene, it had washed over me how much sense it made. He died in the same way everyone else dies in this series. He had it coming in the same way anyone else in this world has it coming. He was never a hero. If you truly look at Joel as a ‘hero’ figure but don’t extend that same logic to Ellie and Abby, you do not make sense to me.

I’ve seen a LOT of hate getting thrown at Abby, and frankly, I do not understand it, and if you hate her but do NOT hate Joel or Ellie similarly, then I inherently don’t respect your opinion? You’re being blatantly biased and unreasonable in exactly the way this game is arguing you should not be. Straight up. Get your transphobic jokes the fuck outta here. Get your homophobic takes on Ellie and Dina the fuck outta here. Get your xenophobic complaints about the MUCH more diverse cast of characters in this sequel the fuck outta here. The ONE case where I could see a reasonable thing to be conflicted about is Lev’s character, because they are a transgender kid who gets deadnamed by some NPCs. As a transgender person, I personally found this to just...make sense and feel organic to the world, and none of the actual characters in the narrative with names or roles in the story ever deadname Lev. Lev is fucking precious and I love him, and I think his inclusion adds inherently more to this game than otherwise, despite the understandable conflict some might feel about his backstory. To ME, the fact that all of what Lev goes through and how Yara and Abby do what they can to look for him, that says to me, “protect trans rights” and I am glad it is there. Trans people have to deal with that shit sometimes, I think it’s fine having it be PART of a wider narrative. It doesn’t define Lev’s story, it doesn’t dictate the plot of the game, it’s a spark that sets some events off and I think that adds more than it could potentially take away, as does the overall representation in the game.

Getting back to this element of bias, though, I get that you “went on a journey” with Joel and Ellie in the first game. I get that. But you spend about as much time with Abby in this game as you did with Joel in the first game. And I see a lot of people are SOMEHOW totally fine and chill and cool with Joel going on a murder rampage in the first game, specifically killing at least one man who was specifically trying to save humanity - they cite that Joel is a morally gray person who has done bad things and is trying to become a better person. Sure, cool, OK. And Ellie, sure, ya’ll will think her going on a bloodthristy revenge quest is cool, fine, A-OK, because Joel was murdered. But somehow they are physically incapable of extending that same empathy to Abby, even after the game bends OVER BACKWARD in every reasonable way it could. Why is this? One person tweeted at me the simplistic, reductive idea,

“ I know the sensible thing that naughty dog was aiming at was that we'd feel sorry for abby and eventually grow to like her, but for me I just don't. I loved Joel and I love Ellie. They didn't kill anyone who I loved as a character. Abby did. “

At least they’re being honest with themselves in that they literally missed the entire point of the game. You having personal bias you cannot remove yourself from does not make for “A DEEPLY FLAWED STORY” or whatever the fuck people have been tossing around.

I personally don’t buy any of that bullshit until we get into the final hours of the game during the epilogue, but we’ll get to that.

Everything in the first 20-ish hours of this game felt organic and believable and completely in line with the first game to me, and the fact that ALL OF IT happens as a direct after-effect of Joel’s selfish act at the end of the first game really contextualizes how/why it was called ‘Part 2.’ So honestly, all of this nonsense about this sequel being ‘badly written’ is just...bonkers. I will agree it’s not some master class in writing - neither was the original game. But both games are very similar in writing style, tone, and the world presented is consistent, while character motivations are realistically complicated. Naughty Dog has never been great at plot, but the real quality of their work comes through in how much effort they go to in order to present realistic feeling worlds and characters, and from the environments to the actors to the extra animations on top, I think the details and the context they create are where they shine.

To better understand where I am coming from with this game, let me lay this on you.

During the scene in that basement, when Abby shot Joel in the leg, and Ellie shows up...I realized what was about to happen. Ironically, it was exactly what I had originally predicted was the thing going on WAY back when the game’s reveal trailer was dropped -- that Joel was dead, and was motivating Ellie’s revenge quest. If you’ve read what I have written of Arcadian Rhythms, you will have some idea of my feelings on Joel and Ellie’s relationship -- in short, I think it is complicated, and just as damaging as it is good. That’s real life. That’s how reality is for many relationships, especially ones between parents and their kids, especially in my experience. When I realized Joel was about to be murdered, my feelings and thoughts were not jumping to ‘oh fuck what an asshole I wanna kill these people’ or ‘oh no not Joel’ but rather, my immediate gut thoughts were ‘yupppp Joel kinda deserves this, he literally did this to who knows how many other people, but why are THESE people, specifically, out to get him?’

When Ellie later cites to Dina that there’s ‘no point’ in speculating as to why these people murdered Joel, because it could be for one of many possible reasons, I found that to be interesting -- Ellie herself acknowledging that Joel had fucked over many other people, while still pursuing revenge herself.

I do think the theme of ‘the cycle of violence’ is very core to this game and arguably is its strongest central theme, specifically because violence in wholly integrated into its gameplay. But narratively and structurally, empathy is, I would argue, even more paramount. This game spends about 12 hours of its runtime (so about half of the entire game) actively trying to encourage you to understand, relate with, and empathize with Abby. The developers COULD have had you swapping back and forth between both characters, which might have resulted in better pacing, but I think it would’v taken away from what they were going for. It’s that long, slow burn that makes Abby’s side of the story work, in much the same way the long, slow burn of the first game does what it does, and the way the long, slow burn of Ellie’s revenge quest helps us see just how far gone she is.

But “arghh I hated Ellie she kept making bad decisions that made no sense” some of you say, “they did her DIRTY” some of you say.

No.

Joel did her dirty.

The Fireflies did her dirty.

And it’s this exact concept -- that our actions and choices have consequences and ripple outward beyond what we can initially imagine - that is at the heart of why I think I love this game so much. Most video games depict a pool of water that is either a constant whirlpool, a raging clash of waves, or stone dropped in the middle and the ripples spreading out. The Last of Us Part 2 is more like a series of ripples all happening simultaneously, and not all of them are as apparent or even important, but it’s just...a bunch of ripples all happening all over the place.

And it breaks my heart, during 2020, a year when human rights, systemic racism, a worldwide pandemic, late capitalism, and entire countries submerged in protests because their government is fucking them over...has people shutting off or refusing to turn on their empathy to anyone outside of their bubble. In 2020, when the world needs empathy more than any other year I’ve experienced in my life thus far, a game like this goes SO FAR above and beyond what most games try to do, in a very risky and controversial way, to actively invite its players to fucking STOP AND CONSIDER for a damn moment that there’s more to the world than JUST YOU and what you care about. That your actions have consequences beyond your singular perspective.

Ellie is fueled by rage for a number of reasons, and we don’t even understand all of them until literally the final moments of the game, which I found to be appropriate as it ends on a note of reminding us that there is ALWAYS something we don’t know, something we don’t understand, motivating someone else’s decisions.

Ellie was robbed of agency, of purpose, by both Joel and the Fireflies. Joel robbed both Ellie and the Fireflies of their purpose. And the Fireflies robbed Ellie and Joel of theirs. In return, Ellie is left without purpose, and all she’s really left with is a broken man who desperately wants to be a dad again, to the point that he will murder and lie to hold on to that. Don’t get me wrong - I don’t necessarily hold it against Joel that he murdered people to save Ellie. I will always defend the idea that it was a fucking selfish decision that would realistically lead to consequences. But in the same way Marlene points out to Abby’s dad, ‘What if it was your kid?’ ie ‘What if it was someone you loved?’ I get that, that’s the beauty of how the first game ended. It presents a zero sum game where there is no ‘correct’ choice that everyone can agree on, but in the back of our heads -- and Part 2 actually states this as a point of fact -- we all know Ellie would have CHOSEN to sacrifice herself, had she been asked.

So it was deliciously realistic to me to see Ellie grappling with the frustration, distrust, and anger of Joel having not only robbed that purpose from her, but having lied to her about it. And in the end, it was also wonderfully realistic that part of why she hated Abby so much was that Abby inadvertently robbed her of her chance to try and rebuild and repair that broken relationship.

But here’s the thing, though - the thing I see fucking NO ONE talking about, and I can’t decide if it’s because no one is picking up on it or what.

Both Ellie and Abby are haunted and driven by broken men making selfish choices. Their selfishness keeps both characters kind of locked in to desperately grasping at violent acts to justify a purpose.

Some will play the flashbacks with Joel and will feel warmth and nostalgia and admiration. Some will play the flashbacks with Owen and feel disinterest or disgust because ‘why should I care about these people?’

For me, I couldn’t help bu draw parallels to how both Owen and Joel were men trying to be good, you know, not being specifically evil people, but men who were a bad influence on the women around them, who were great and good and charming and all that until things didn’t go the way they wanted, pushing and prodding with passive digs and pressure to reaffirm their own hopes that despite their mistakes, they’re ‘good men.’ Owen is admittedly much less well developed in this regard, partly because his arc just isn’t as deep or interesting, partly because he didn’t exist in the previous game. But I still could not quite shake it. I grew up with men like Joel and Owen as my father figures, so there’s personal bias there.

I literally had an actual nightmare that woke me up in the middle of the night partway through playing through this game because Joel was in it and I said or did a thing he did not like, and his reaction spooked me awake, in part because I LIVED that growing up. (not murder, but violence, passive aggressive manipulation) I absolutely adore the depth given to Joel’s character, that he has LAYERS to him, and I loved seeing Tommy similarly expanded upon. (him passively prodding at Ellie to try and make good with Joel felt a little manipulative, given that he KNOWS what Joel did; and even his wife’s prodding at Ellie at the game’s outside to ‘make good’ with some old jerk who seems all expectant about being rewarded for basic apologizing, ech)

Last of Us is a horror game, Part 2 even moreso, but it was the feeling of men like Joel who do bad things and then try to justify them after the fact that actually creeped me out more -- all the more creepy because I KNOW Ellie and Abby will give up on better choices to try and ‘do right by them’. I was relieved when Abby began to break free from these old, poor choices, even shortly after making more fo them during her half of the story. This brings me to another fascinating aspect of this game: how Abby’s story is a combination of both Joel’s and Ellie’s.

Dunkey (of all people!) recently praised this game and compared Ellie’s and Abby’s narratives to TLOU1 and Uncharted 4, and I agree with him in a lot of regards, there, but I think what the team was more going for was for Abby’s story to feel like a combination of Joel’s and Ellie’s while simultaneously being directly impacted by Joel and Ellie’s story.

Abby grew up in a military community, even though she expressed an interest in science -- just like Ellie. The death of her father drives her on a quest for revenge -- just like Ellie. She does some horrible shit to people all in the service of trying to protect a kid as some desperate attempt to feel better about all of the bad shit she’s done -- just like Joel. She starts to let herself be empathetic to other people and tries to become a better person because of the kid she takes under her wing -- just like Joel.

In a way, you could argue Part 2′s overall story is kind of repetitious. Ellie’s quest for revenge is a bit too narrow-minded and blind in her rage, and Abby’s story kind of recycles many components we have already seen up until that point. I think what’s there still generally accomplishes what it set out to do: get us to question and try to understand why people do what they do, and consider our own place in that cycle, in those ripples.

I think many aspects of this game that look circumstantial on the surface are not accidents.

I think the recurring imagery of water is an allegory for how we can let rage, anger, and hate drown us. The game’s title starts with a boat drifting in water, and the title changes after the ending to a boat that is beached. The Seattle arc shows a gradually increasing focus on water flooding the environments, culminating in a big rainstorm with crazy waves. The final fight sequence (which tbh I hated but we’ll get to that) takes place literally IN water, involves Ellie trying to drown Abby, and ends with the two of them going separate ways in their boats.

I think it’s no accident that Abby and Ellie’s desire for vengeance is ultimately caused by the same specific moment, and I think it’s interesting that many people seem to skip RIGHT OVER the idea that Ellie feels such a deep sense of rage at Abby killing Joel only because Joel made the decision that caused Abby to kill him in the first place -- and the good and bad that came from that. It’s just a brilliantly complicated web, I think, and that further highlights that none of these characters are inherently good or evil, which is pretty much the entire point of this world in the first place.

I think it’s interesting that both Ellie and Abby grumble insults all of the time over the people they’re killing, and both try to justify their violence with thoughts like “well we’re better then that, we don’t do THOSE kinds of things,” which is, ya know, literally the kinds of mental hoops actual real human beings jump through to justify doing bad shit to each other.

I liked the idea of the trading cards until fairly early on when I found the ‘Dr. Uckmann’ card, which...made me roll my eyes a little at first, until I read the description, which then made me feel more actively uncomfortable than maybe anything else in the entire game, to be quite honest. Partly because it rang of entitled self-importance, but partly because of the reports of Naughty Dog crunch culture.

And on that note, let’s talk about how this game arguably crunched its employees way more than it needed to while simultaneously making its story more bloated than it needed to be.

Don’t get me wrong, I love indulging in more STUFF than it required. I can totally see the appeal of writing extra stuff to a story like because you can, because it’s interesting, because it’s fun to MAKE shit. But when you are a AAA game development studio who is potentially crunching your employees into burnout, maybe a fairly pointless epilogue on top of a game that is already arguably a bit too long in the tooth is...maybe not the best way to go?

On the upside, I enjoyed playing the Santa Barbara location, I loved getting some more Abby/Lev time, I liked seeing Ellie a bit older, I LOVED the scene at the farm with her, Dina, and JJ. I loved the gameplay challenge that was the Rattler’s base. I loved that this game had noticeably larger environments to explore.

But tbh a LOT of content could’ve been cut from this game to make a smoother, better paced experience while simultaneously putting less strain on the developers. I do think the extended flashback sequences focused on non-violent gameplay is important enough to justify itself, but I think a lot of the more violent or unnecessary parts of the game (like the entire sequence on the Seraphite’s island and the Santa Barbara sequence) all feel like...EXTRA? Which on the one hand is great because hot DAMN more beautifully rendered locations, content, etc. but on the other hand I’m not sure it adds as much to justify the real life pain and misery I’m sure some developers went through to create it all, and in a way, it doesn’t quite justify its own existence if we’re being critical.

I get what they were going for with the Seraphites and the WLF but neither group is developed enough to really accomplish the goals of empathy. I think focusing on specific members OF those groups is better, because that is ultimately how real life people break down their walls of bias, -isms, etc. -- they just interact with and befriend people from these groups and realize organically “oh hey we’re all...people, huh.” The game’s attempts at naming NPCs and dogs don’t do much when the game actively rewards you for killing them (speaking of which, I played on Normal and there were way too many items imo, we’ll see how that is on higher difficulties). We could get into the role of violence and gameplay but that’s a WHOLE other can of worms.

But the Rattlers in the final act are even worse. After this entire game of being actively encouraged to empathize with other people from other groups and let yourself consider they aren’t evil, the game just...shoves an objectively worse group of people at you, asks you to murder them, and then...discards the whole thing without a second thought. I found this to be fun from a gameplay perspective (sorry Neil, playing your game actually IS FUN when you put so much work into making the violence fun to engage with) but I found it weird and frustrating from a storytelling perspective, as if the whole thing was an undercooked, unfinished final act that they cobbled together because they just...wanted enemies with helmets and an environment depicting southern California. Hell, tbh I don’t even get why Ellie had to be there other than the developers didn’t think players would be OK just...letting Ellie live a life in peace on a farm or that players would be OK NOT playing as Ellie at the end and letting her beat the shit out of Abby.

I actually LOVED the farm sequence, it felt so...weird for a while. Like you’re just waiting for the hat to drop. And when it does...it’s just PTSD. And that felt right. That felt good, that even though Ellie was spared, after all the shit she did, because she let go and spared Abby in return, she got to live this peaceful life...except life’s not that simple and old scars can still hurt.

I loved when Tommy showed up and we got to see that darker side to him we KNOW has been there this entire time, but Ellie maybe hasn’t been forced to see it. All the way up until this point, I felt I could understand where the characters were coming from and what motivated their decisions.

And then Ellie decided “no, actually, maybe if I throw all of this away I can maybe get rid of this PTSD I got from throwing everything away before.” And then it got worse when after she breaks into this fucking slave house to free people, after she saves Abby and Lev from dying on posts, she STILL wants to fight. ANd Abby’s where I’m at -- that ‘fucking REALLY?’ feeling. I utterly disliked the fight scene in the water. It was the one time in the whole game that actually felt like misery porn to me. I was honestly going into it expecting that maybe Ellie’s stab wound from the trap would cause her to be too weak to fight, and she’d literally drown from bleeding out because of her own unrelenting pursuit of revenge. But nah, we’re put through a pointless, brutal fist/knife fight that...doesn’t really have purpose imo. WHatever you wanted to accomplish here, you could’ve done back in the theater in Seattle. (on that note I LOVED the Ellie boss fight, what a fun gameplay thing and also just tense all around since you really couldn’t tell what was going to happen, but I LOVE that Lev stopped Abby from killing Dina, even though she had every reason to)

I can imagine different versions of the Santa Barbara sequence that offer a more edifying conclusion while still working in the environmental and gameplay components they seemed insistent on working in. It’s the one major portion of the game that, now that I’ve had time to process, I feel the most conflicted about.

Neither Ellie nor Abby “deserve” a happy ending in much the same way Joel didn’t “deserve” a happy ending. This game has no true protagonists or villains (anyone who is presented as a ‘villain’ is minor, and we don’t find out much about them anyway). I think Joel was lucky to get the time he got to live in community once again, to rediscover his humanity (look at all of those flowers they left at his house, this man who fucked over humanity and murdered countless people had a chance to live a few years of peaceful life again), I think Ellie was lucky she got time to even live what she did on that farm with Dina and JJ, and was lucky to still be alive at the end of the story. I think Abby was lucky to have been able to break free from a life of militaristic bullshit and rediscover some of her own lost humanity.

I think a lot of people admire Joel as a hero when it’s clear he was never one.

I think a lot of people admire Ellie and try to idolize her as the smarmy kid she could never permanently exist as.

I think a lot of people hate on Abby for EXISTING (and being a woman -gasp- WITH MUSCLES) and I’m pretty pleased with Laura Bailey getting to play this role (and Ashly Burch getting a supporting role in this game, too, for that matter).

I think The Last of Us is not ‘about Ellie and Joel.’ I think The Last of Us is about humanity, and exploring it through different angle. Sometimes needlessly gritty and dark ones, but Part 2 gave us even more light-hearted, pelasant moments than I could have expected. I think people who look so reductively at this game -- now officially a ‘series’ -- as ‘Joel and Ellie 100x forever’ and literally anything outside of that being bad and a waste of time fundamentally missed the entire purpose of this game, ironically ignoring what it is trying to passionately to convey. I think Naughty Dog’s marketing of the game actively misled people in ways that are rare for the industry, and I do think that is a bit shady - but on the other hand, being misled actively improved my experience with the end product (which is arguably why they did it). I think the way Sony has latched on Joel and Ellie as ‘Playstation Icons’ and encouraged people to buy up TLOU merch depite there not being much TO turn into merchandise says something.

Also? Frankly?

I am SO FUCKING TIRED of “angry sad dad” games.

Like. I loved TLOU 1, I loved the new God of War, etc. etc.

But God of War took basically NO RISKS and had NOTHING TO SAY that countless other pieces of media have said to death. That’s fine, there’s nothing wrong with that, I really enjoyed it and look forward to the next. But this game actually has challenging thoughts, complicated things, it is trying to get players to consider, and most everyone I see shitting on the game either hasn’t played it or doesn’t seem interested in games that exist for something beyond making them feel good about themselves? I dunno.

I think at the end of the day, TLOU as an entire series, and specifically the sequel, isn’t about Joel and Ellie, that was just the more focused lens the original game had. For its messier, muddier experience, Part 2 strives for nothing more than many pieces of media have but for something that is still rare in the space of AAA video games.

It takes some risks, it makes some missteps in getting where it goes, for sure, and it’s by no means some holy gift to mankid, but it passionately goes to GREAT lengths to explore and express a fairly simple idea:

empathy is a choice, understanding others is a choice,

and we are all inherently better off when we choose to blindly accept understanding than when we blindly choose hate and violence.

Just because we can’t walk ‘the path of the right,’ and just because ‘we’re wrong’ doesn’t mean we should let the phantoms in our lives continue to keep a hold on our future. Just because someone does some good things doesn’t erase the consequences and ripples of the bad they have done, and just because we do bad things doesn’t mean we can’t do good.

The way to end the cycle of violence is empathy.

It’s simplistic in concept, but if you look around at not just the reception to this game even before people could play it, but just the STATE OF THE WORLD IN 2020, you will see that maybe we still need such basic, simplistic concepts to continue to be explored in big budget media.

#tlou part 2 #tlou #The Last of Us #The Last of Us Part 2

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nny11writes · 4 years

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Shadow Weaver, One Good Thing, and Moral Shades of Gray

Some Season 5 rambling for whoever wants it regarding Shadow Weaver, her actions, and the end of her character arc.

I might revisit this later more from her perspective, that scene (you know the one) felt very complex to me and I have a few different feelings about it, this is one of them.

Spoilers below the cut!

Okay, I really loved Shadow Weaver this season. I’ve loved her every season, she’s such a great character and her concept, animation, and voice acting all work flawlessly together to breathe some real life into her. I just love her! Great bad guy!

And this season? No one is letting her fucking breath without body slamming her.

It was one of the things I loved about her interactions with everyone, that she’d say something and immediately get told off. No one was falling for her shit. And you can see the way she’s super annoyed and confused, amazing how much a mask can portray, “Excuse ME I’m a GOOD GUY now?????” No one was forgiving her, no one liked her, they barely even tolerated her. I feel like it was wearing her down. I haven’t re-watched yet, but I think we saw Weaver with or near cups several times, but regardless, for sure when Catra found her she was drunk. She was half fucking slurring as she drank at what could be the end of the world. It was a rather pathetic sight, and now the joke about Shadow Weaver being drunk at 8AM makes more sense. This is just some stuff to keep in mind as we mosey along.

Noelle has talked before about shades of moral gray in the series and how people can shift and move along that line, and how people can also still be good people making bad choices or bad people making good choices.

I think Shadow Weaver is being used to display that. She is a few baby steps away from the beyond Vanta Black of Horde Prime. She is not a good person, she is not a hero; even if some of the things she’s done are good for others or could read ‘heroic’.

There was also a running theme this season of “One Good Thing”.

Catra is an obvious one, “I just want to do one good thing in my life!” And she goes from thinking she’s made a heroic sacrifice of sorts by saving Glimmer to getting the chance to actually move forward. And even if her steps faltered, Catra moved forward and did far more than just one good thing.

Hordak had a few moments of getting to see him lower his walls with Entrapta, but the thing that stuck out to me was his face as he held a happily cooing Adora. “Oh…okay, I guess- I guess this baby is mine? WAIT NO, CAN’T DO, ABORT, NO EMOTIONS, EMOTIONS ARE FOR HORDE PRIME, GET THIS THING AWAY FROM ME!” (Okay so that wasn’t all just his face, but that’s the gist). Hordak didn’t kidnap Adora, he went where sensors showed a portal would be and found a baby. He could’ve left her there, he could’ve done a lot of things, but he had a one good thing moment where he chose to take that baby with him. Cradled close. It’s a kind action in some ways, and not in others. I think Hordak hoped the baby might have an answer or solution to the portal (talk about high hopes buddy). But I think he also didn’t want to leave a baby to die alone in a field. It’s not a big great declaration or heroic moment, but it is still a good thing. Hordak’s one good thing.

I think Shadow Weaver has always held a twisted sort of care and love for Adora, and I also really think that Shadow Weaver would have held just as disgusting and awful a brand of ‘love’ for Catra if Catra had done/been what she’d wanted (which let’s be real was unrealistic and was a bar she would’ve kept moving). Shadow Weaver’s love is not pure. Perhaps as Light Spinner it could have been. As Light Spinner she was still an awful person willing to use anyone including children to get what she wanted. She wasn’t a good person. But even bad people can feel true love for others. I’m not saying that her love was pure or was always good intentioned as Light Spinner, just that I think she had the capability for it. But once that entity/parasite consumed her? Once she let her lust for power overwhelm her basic humanity? No. I don’t think her love would have been good in any form FOR SURE after that.

So her insistence that, “Didn’t you hear? I’m one of the good guys now.” rings just that much more hollow and cracked. Her motivations have always been selfish and her choices rarely take other’s into account beyond ‘how can I use this to my advantage’. Her kindness is faked, her goodness is incidental, her love is poison, everyone else knows that. Everyone else treats her the way they should, cautiously at best and hostile as needed. But Shadow Weaver doesn’t get that. She truly believes that she’s a good person now and is baffled that no one else will believe her and if frustrated/upset that she can’t even go ‘pure evil’ because she doesn’t have the legs to stand on for it. “I’m a good guy,” fuck you.

I think this shows with Catra. She’s still an absolute bitch and a half to Catra, and again I’m not saying what she did or said was good or right. But I think Shadow Weaver had a few moments of legit thinking, “Okay, fine, gotta tone this shit down because I’m a good guy.” She was always in control of her behavior and this was such a fine razor to cut with. It’s like the idea of an abuser who just “loses control” and destroys things then apologizes. It’s never their things they destroy and they don’t help to clean up or replace anything. The apology is a lie. They never lost control, they knew what they were doing. Same with Shadow Weaver. It was disturbing to watch her interact neutrally or her warped ass version of nicely with Catra. Because we all know it’s not that Shadow Weaver was out of control before, so we know she could have acted this way the whole time. It still wouldn’t have been good. But I think going from torturing kids and threatening them with death, to basically cold indifference is a half step forward and a full step sideways. It still would’ve caused harm, it still would’ve left destruction in its wake but a different kind of it. I don’t know, I just thought this was a wonderfully god awful way to show that. It also shows that she thinks she can either smooth things over or control the situation, which good luck with that.

Got distracted a hot second there, my example in this is actually when she grabs Catra to cover her mouth. It’s a move that if literally anyone else had done it wouldn’t have felt so fucking skeevey. But it’s Shadow Weaver physically touching Catra, her favorite chew toy. Catra has a very justified reaction to that, and you can still see the wheels turning in Weavers head. “Ungrateful, I’m trying to save you, I’m a good guy!” Fucking hell this lady.

So here we are, with a genuinely awful and bad person who believes they’re a good person now and trying to pantomime what they think a good person would do. With her very twisted version of “love” and the realization coming ever closer that she’s not in control of anything, no one trusts her, and no one likes her. I think she absolutely is thinking about her legacy right here, I think she is definitely trying for one last manipulation to put a big underscore on “Shadow Weaver was a good guy”.

I also, however, think she manipulates so well because she always draws a grain of truth into what she’s saying.

My example of this is her “You remind me of myself and I wanted you to be better, stronger than me.” Bullshit. Catra might have reminded Shadow Weaver vaguely of herself, but the rest is pure bullshit. Shadow Weaver doesn’t hate herself and certainly never did shit to make Catra a ‘better and stronger’ person. It’s 90% lies, but that 10% helps her sell her abuse.

So I think in her final moments there, Shadow Weaver does some complex mental gymnastics. She knows that Adora has to make it to the heart for anyone to survive. She knows that Adora loves Catra and that Catra loves Adora. She may know that if she doesn’t save Catra it is very likely that Adora will very likely not survive. Adora has always been ‘distracted and pulled down’ by Catra, so now she needs her ‘crutch’. I think Shadow Weaver also knows that once this is all done, no one will have a use for her and I don’t think she wants to face a world where she has no power and no control.

So she steps forward and puts one last manipulative play into motion.

And I think she sells it with a semi truth.

I’ve always thought it was interesting that even after joining the Rebellion that Shadow Weaver seemed so dismissive of Catra. Even as Catra was steam rolling them in Season 4. That Shadow Weaver didn’t even have a moment of, “Well damn, don’t like you still but I guess there was something competent and worthwhile underneath it all.” I can’t even remember if she mentions Catra at all by name when they aren’t in the same room together.

I think that Shadow Weaver was impressed, to some degree. She had always seen Catra as a pest, a gnat flying in her face and distracting Adora. Worthless, small, weak, and dumb. I think seeing how far Catra actually does make it is impressive to her. Not “oh wow that’s amazing!” impressive. More like, “huh, okay then” with a side of bitchiness. I think she never mentions Catra directly because of that. She hates Catra. She doesn’t want to admit she’s impressed by anything Catra’s done. She hates her and hates it and hates the whole thing.

So when Shadow Weaver removes her mask (definitely to play on them seeing her as a person first and not a monster) (although I think it also is a very good way to remind the audience that monsters are human too and that is far scarier to deal with, think about those photos of Nazi’s smiling on their weekend away from work where they helped kill thousands) and says, “I am so proud of you, Catra.”

90% is a lie, 10% is truth. Shadow Weaver might not think that’s the ratio, she might really be buying her own line. That’s something to explore another time perhaps.

And then she goes out in a blaze of glory with no need to face her own bleak and uncertain future, ‘protecting’ Adora, who she holds a dark and twisted affection for, and secures her legacy as a good guy. One final, “I fucking told you so”.

Shadow Weaver’s death is not a redemption. I think she hopes it is, and knows that even if it isn’t, Catra and Adora can never deny the impact she had on shaping them. That they’ll never really be free of her, and therefore no one else will either.

She will never truly have to face the consequences of what she’s done. For all that the other characters shut her down, no one gave her the true blue knock down drag out no holds barred VIBE CHECK she deserved. And without that this ending is very unsatisfying for some. For others that missing piece adds.

My take?

She’s a bad person, doing her One Good Thing, not realizing that it doesn’t take her from bad to good. Her sacrifice is, in this way, in vain. She’s a bad guy and will be remembered as such. She did her one good thing.

She’s still a monster.

#Shadow Weaver #She Ra #SPOP #spop spoilers #spop spoiler #season 5 #s5 spoiler #s5 spoilers #she ra season 5 spoilers #she ra season 5 spoiler #I love Shadow Weaver #she is an excellent bad guy #is this my first fandom breakdown/meta?#...#it might be

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coppermarigolds · 4 years

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TLOU, nuance in storytelling, and authorial intent

Recently, massive spoilers for The Last of Us II leaked online, including actual cutscene clips. Being a complete spoiler fiend, I immediately went and looked them up, and I am......frustrated.

I’m not going to discuss any of the actual specific spoiler content, but I am going to talk about my general reactions, particularly in comparison to the first game, both as a fan and as a writer/aspiring novelist. This could still be considered mildly spoilery, so I’ll put it under a cut.

The plot of the first TLOU game isn’t exactly groundbreaking--it could actually be called pretty basic, and yet it’s had a huge emotional impact on plenty of people, myself included. I never really stopped to think about why exactly that was until the spoilers for the second game were leaked. Certainly the slow, realistic build-up of the relationship between Joel and Ellie, and the excellent performances by the actors, were major factors. But looking back on the first game now, in comparison to what I’ve seen of the second game, I think there was another aspect at play: when the chips were down, the first game trusted the audience and didn’t try to tell us what to think or feel.

Yes, there were some scenes in the first game that could be considered over the top tear-jerking or basically just there to be misery porn, but I’m thinking specifically of the whole endgame sequence and the decisions made by Joel, the protagonist. In that sequence, Naughty Dog did something remarkable: they presented a complex, morally complicated situation and let the audience draw their own conclusions. TLOU has been out for seven years, yet to this day, whenever I see discussion about it, there’s inevitably a debate about the ending and what Joel did. Is he an unredeemable monster? Is he a hero that did nothing wrong? Is he somewhere in between? I’ve seen opinions all along the spectrum, and the amazing thing is that you can convincingly argue any of them. Both sides have valid positions, and the beauty of it is that Naughty Dog didn’t tip their hand either way as to what they consider the “correct” interpretation. They left it completely open to each individual player.

Most mainstream media doesn’t do that. Many writers spoonfeed what they want the audience to take away from the story. These characters are good; these ones are bad. These actions/beliefs are the right ones; these over here are the wrong ones. If you like or endorse this particular opinion, you’re right and good; if you endorse that one, you’re bad and wrong.

In some ways, we as human beings crave this black-and-white storytelling. We want our own feelings and opinions to be validated by the media we consume; it’s just human nature. We want to be told we’re good and right for this value or belief that we hold, or this choice that we would make if we were in the characters’ shoes.

But at the end of TLOU, Naughty Dog didn’t do that. When I finished the game for the first time, I felt deeply unsettled. There was no tidy resolution, no absolution, no assurance that the choices made were the right ones and that things would be okay. That’s not to say it was an unsatisfying ending--I would actually venture to say it was a pretty perfect ending for the story that was being told. It wasn’t comfortable, but it was right.

(Important side note: that’s not to say that stories with comfortable, happy endings are somehow inferior or not worthwhile. I love and cherish stories that make me feel good, and I think they’re just as necessary as stories with uncomfortable, ambiguous endings. This particular story just happens to be one of the latter.)

So why is it such a big deal that Naughty Dog let players form their own interpretations and opinions of the first game’s characters and story? For some people, it may not be. We all want different things from our stories, and that’s fine. But for me, it’s significant because if there’s one thing that immediately, viscerally pulls me out of a narrative, it’s the sensation that the writer is trying to manipulate me. I crave nuance in stories. I want protagonists with flaws and antagonists with complex, understandable, even relatable motivations. Themes and messages in stories are fine--encouraged, even--but not at the expense of character and story. As soon as I get the sense that the author is trying to beat me over the head with an opinion (even if it’s an opinion I agree with), I start to check out.

Don’t dictate to me what you think I should feel. Show me the characters and their motivations and choices, and let me decide what I feel. And definitely don’t pull cheap stunts like doing awful things to the characters for pure shock value or just to make the audience wallow in anger and misery.

That’s the thing about the TLOU 2 spoilers. Instead of continuing on with the organic, complicated, nuanced story of the first game, it feels like Naughty Dog picked a side. It feels like they’re trying to tell a portion of their audience, “No, what you feel about these characters and situations is wrong. THIS is the right thing to feel.” It feels like they threw a bucket of water on the shades of gray in the first game in favor of making things black and white in the second. Maybe to an extent, that’s inevitable for a sequel. But it feels like Naughty Dog didn’t even try to avoid it. They could have taken the sequel in any direction they wanted, but they picked the one most likely to cause dissent and anger and anguish among people who connected to the story and characters of the first game.

(Another side note: I’m not talking about the “dissent” of the vile neckbeard fanboys who are all over Twitter and YouTube spewing their homophobia/transphobia/misogyny. Their opinions aren’t worth a second of anyone’s time. I’m talking solely about story and character issues.)

I knew TLOU 2 would be a story with dark, painful, even disturbing elements just like the first game was. But what I hoped for was a story that would allow Joel and Ellie to continue to grow through the darkness and come out stronger, both as individuals and in their surrogate father/daughter relationship. My fear was that Naughty Dog would take the lazy, easy route of provoking a reaction from the audience by using our attachment to the characters as a weapon against us. And unfortunately it appears that’s exactly what they’ve done.

Of course, they’re well within their rights to tell this story. They own the IP and they can do whatever they want with it. There’s all sorts of stuff that could be debated about relationships between creators and consumers, whether one party “owes” the other anything, or issues about the balancing act between telling the story you want to tell, and telling one that other people will pay you for. All of that is beyond the scope of this already ridiculously long post. But I do think it’s worth asking why they wanted to tell this particular story, and why they wanted to tell it this way. Neil Druckmann has talked about how the themes of TLOU 2 will center around hate and the cyclical nature of vengeance, etc. And I mean.......that’s not exactly super groundbreaking stuff. Is it necessary to go as over-the-top as possible to tell a story with a pretty basic message? It feels like there’s something more at play here.

Anyway.

Am I jumping the gun? Maybe. In the aftermath of the leaks, Naughty Dog is insisting that we don’t know the whole story, yadda yadda. I’m sure there’s some truth to that. Context is important. Still, the leaks weren’t just vague hints of what might happen, like spoilers so often are. These were actual video clips taken directly from the game. And it would take a looooot of context to make me okay with what I saw in the clips. Enough that I’m definitely not buying the game the day it comes out, like I originally planned to. I’ll probably watch an LP and then decide whether or not to play the game myself.

If there’s a silver lining to all this, it’s that these issues are helping solidify what I want to accomplish in my own stories that I hope will be published one day:

Subtlety is key.

Don’t let the theme of your story overpower the characters.

Make your characters and situations as nuanced as possible.

Write what you want, but don’t toy with your audience. They aren’t playthings for your amusement.

Except for horrible bigoted entitled dudebros, because screw them.

#the last of us #on writing #the last of us spoilers tag #tlou spoilers tag #the last of us 2 spoilers tag #tlou 2 spoilers tag #i don't really know what i'm trying to accomplish with this post #i just have a lot of thoughts about storytelling and need to dump them somewhere

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wonderfulworldofmichaelford · 4 years

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Psycho Analysis: Yzma

I feel like there’s no sense in introducing this one. You know her. I’ve seen all the gif sets, the quotes, the images, the memes… it’s safe to say most every person on the internet is intimately acquainted with The Emperor’s New Groove’s geriatric villainess, Yzma. So, let’s just cut to the chase and talk about why Yzma is a fantastic villain, shall we?

Motivation/Goals: Yzma’s goal is pretty simple and yet also infinitely understandable. She wants to take over the kingdom from Kuzco because, after years of being treated like garbage by the snotty little emperor she likely helped raise, he’s just firing her because she’s old and ugly. Like, it is TRUE, but it’s still incredibly tacky and rude. It’s not hard to empathize with her at least a little bit as she goes to poison the snotty, miserable emperor, though it really does become harder to side with her as the movie goes on and she continues to berate her poor manservant Kronk.

Performance: The legendary Eartha Kitt of Adam West’s Batman and My Life as a Teenage Robot fame gave Yzma exactly the voice she needed to instantly ingrain herself in your memory forever. Kitt was absolutely not afraid to ham it up, and combined with the character design and animation, it makes Yzma a delightfully over-the-top figure that is easy to love to hate. Even better, she has insanely good chemistry with Patrick Warburton as Kronk, and the two play off each other extremely well, leading to Yzma being part of a good 95% of the movie’s funniest scenes. It helps that, while she is definitely very funny, she is more often the straight man reacting to the insanity her compatriot brings to the table, a dark mirror to Kuzco and Pacha’s relationship… well, comparatively dark. These two are a couple of goobers after all. What I think really helps is that, despite being the straight man in a general sense, Yzma is still probably one of the most insane villains in Disney’s filmography, as in literally unhinged, so she is as able to generate laughs as anyone else.

Final Fate: Yzma’s attempts to kill Kuzco backfire spectacularly, and instead of succeeding in any way, shape, or form, she ends up turning herself into a cute little kitty. It’s a marked improvement, honestly. How she changed back to normal for the TV series, who can say? By all accounts it doesn’t make sense. Just don’t think too hard about it, it’s a comedy after all.

Best Scene: Considering how the entire climax of the film is an absolute cavalcade of comedy, we could go with that. Or we could go with her attempts to poison Kuzco at dinner. Or we could go with her interactions with Pacha’s family. The “problem” with Yzma that every scene with her is so great that it’s hard to single out any single one moment as outstanding, because all of them are pretty much on the same level. She’s remarkably consistent with how great she is.

Best Quote: It’s really hard for me to pick just one line (which is something I tend to say a lot, but I mostly talk about good villains on here, so cut me some slack), but I think the combination of the delivery and just how great Kitt’s voice was really helps make her brainstorming ways to kill Kuzco a legendary moment:

“Ah, how should I do it? Oh, I know. I'll turn him into a flea. A harmless little flea. And then I'll put that flea in a box, and then I'll put that box inside of another box, and then I'll mail that box to myself! And when it arrives, AH HA HA HA! I'LL SMASH IT WITH A HAMMER!!! It's brilliant, brilliant, BRILLIANT, I tell you! Genius, I say!”

The laugh is really what sells it, honestly.

Final Thoughts & Score: Yzma is probably the single greatest Disney villain who doesn’t totally follow the Renaissance villain format post-Renaissance, with only Turbo really being a contender for the crown. What I mean is this: the Renaissance set a serious precedent for animated movie villains going forward. They had to be hammy, have huge personalities, and get their own song. Ratigan was something of a prototype, and then Ursula went and set the standard. Sure, there were exceptions in the Renaissance – Hades is great but got no song, and Ratcliffe is… Ratcliffe, and he has a song – but for the most part the best Disney villains had a clear style. Ursula, Gaston, Frollo, Scar, all of them are some of Disney’s best and all of them stick to these rules.

Yzma came early in the post-Renaissance era so it would make sense for her to fit the bill entirely while they were still experimenting with new styles, but because of the tumultuous production of The Emperor’s New Groove, she ended up keeping the ham while having her villain song cut. And yes, this is a damn shame, since Eartha Kitt was a fantastic singer and the song’s not half bad, but I think the movie as a whole and Yzma herself work better without music. She’s just so funny with how she reacts to and interacts with things throughout the movie, I just don’t think she really NEEDS music to really push her over the top in terms of quality. Like, let me put it this way: I think, without “Be Prepared,” Scar would probably not be quite as impressive. I think with a villain song, Jafar would have been even cooler. Yzma? She’s pretty much perfect the way she is.

I debated a long time on what score to give her, but I frankly think she does deserve a 10/10. I almost gave her a 9 on the basis that she didn’t have a song, but her overall performance combined with my realization she didn’t need her song to be great made me decide to reward her with the highest marks. However, there is one criticism I have that I think stands: she would not nearly be s funny if not for the presence of her faithful lackey. So let’s talk about him, shall we?

Psycho Analysis: Kronk

I put this one to a vote, and it turns out that a lot of people consider Kronk a villain. I guess if we’re being technical he is an antagonist, but a villain? Kronk is pretty much the least evil villain out there. Still, it’s pretty impossible to deny that he’s not exactly a good guy when he’s complicit in an assassination attempt. Kronk’s a bit of a morally gray figure for much of the film.

He’s also, without a doubt, the funniest character in the film.

Motivation/Goals: See Yzma above. He’s just her lackey, so he doesn’t have much in terms of goals of his own. He does, however, have a conscience, as well as numerous skills including some serious culinary skills, including knowledge of fry cook lingo.

Performance: This is one of the roles that really put Patrick Warburton on the map, alongside Joe Swanson in Family Guy. And if I’m being honest, this is the definitive Patrick Warburton role in animation. Kronk is just an absolute delight to watch, since he’s basically the lovable idiot character perfected. He’s a ditz, but he does have a lot of skill in some interesting niche areas, he’s not truly good or evil and has a moral code, he’s very quotable and funny in a pretty natural way… Kronk has got it all! And it’s all thanks to Warburton injecting that Patrick Warbuton-ness we’ve all come to love from his performances.

Final Fate: Of course Kronk gets redeemed in the end. The dude is the biggest softie on the planet. Maybe Yzma should have thought twice before insulting his spinach puffs.

Best Scene: Kronk has a similar problem to Yzma, where every single scene he’s in is incredibly perfect, but unlike Yzma, there is one scene that really narrows things down and gives you the perfect summation of Kronk as a character: the scene where he is attempting to dispose of Kuzco’s body, does his own theme music, argues with his shoulder angel and shoulder devil, and then ends up saving Kuzco, thus allowing the rest of the plot to happen.

Best Quote: Unlike Yzma, there is no way I could possibly narrow down Kronk’s best quote. Whichever one is your favorite, you’re right. That’s the best one. Everything out of his mouth is gold.

Final Thoughts & Score: Kronk is a very interesting lesson when it comes to Psycho Analysis because, while he is certainly antagonistic, and certainly is a great character, he’s not a great villain, which is what these reviews are for. Like, he is easily the best part of the movie, he is hilarious, his chemistry with Yzma is undeniable, and this is Warburton’s definitive vocal performance in animation… but it doesn’t make Kronk a good villain so much as it makes him a good character. Like there’s no way I can give him below an 8/10, because again, still an antagonistic role, but he can’t score much higher because his personality is just so legitimately NICE that calling him a villain seems really weird (which is why I put it to a vote in the first place).

I really can’t stress enough how much I love Kronk; he’s like in my top 10 favorite Disney characters. But when it comes to villains, I really don’t think he’d make the cut, because even when he is doing something bad it comes off more as misguided loyalty to Yzma than an actual desire to do bad. It’s really telling that it’s the most petty of things that makes him drop Yzma like a hot potato: Kronk was never really a villain, he was a good guy who made poor life choices and had a toxic friend influence. He didn’t really have a character arc where he became a better person like Kuzco did, although Kronk’s ultimate turn to the side of good does somewhat mirror Kuzco’s; he simply realized that the friend in his life he devoted his time to was an awful person and decided to leave her behind, and when all is said and done, that just leaves a big, buff nice guy who likes to cook. And that makes Kronk a truly great, funny, and lovable character.

It just doesn’t make him a great villain.

#Psycho Analysis #Yzma #Kronk #Eartha Kitt #Patrick Warburton #The Emperor's New Groove #Disney

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cinaja · 4 years

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Jurian or Lucien for the character ask? Your writing gives me so much joy, SJM could never

Thank you😊 You're so kind!💕

I already did Lucien here, so I'm doing Jurian!

How I feel about this character:

I absolutely love him! He's one of my absolutely favourite acotar characters (a very close second to Miryam). He's just so fascinating! And he's the only fully human charcter who plays a larger role in the series, which is great.

Honestly, I feel like Jurian is one of the most under-appreciated characters in all of acotar. I mean, he was one of the human leaders during the War! That's so cool! I'll be forever disappointed that the books didn't use the role he played and how he's likely viewed by the present-day humans more.

I also really enjoy his character. Him being snarky is so fun to read, and he feels really,,,, intense in general. He's also morally gray in a way I find really interesting and enjoyable, because he fights for the right thing, but his methods are sometimes a little questionable (not just the matter with Clythia, I think there was also a line somewhere about how he sacrificed some of his own soldiers in battle to get to Amarantha). In my opinion, this is the best kind of morally gray, because it makes room for some really interesting moral debates. (It's certainly indefinitely better than the usual kind of "morally gray", which tends more towards "glorified asshole" these days.) I also think there's lots of room for a great character development for him, both with a recovery arc after acotar and him losing himself during the War.

All the people I ship romantically with this character:

Miryam. I already wrote a lot about that relationship in the ask I got for Miryam, but in summary, I really like them together for a time span of about... four to five years during the War, and I think there's lots of potential for their relationship in general.

@croissantcitysucks also got me into shipping him with Philip Briggs from Crescent City. (If you haven't read ccity, Philip Briggs one of the only human characters in the entire book, he also fights for his people's freedom and is made into the villain for it). They'd fit together perfectly! Also, they both have some severely traumatic experience to deal with, so they could have a great healing arc together. And since sjm's worlds are canonically connected, it would be entirely possible for them to meet...

My non-romantic OTP for this character:

I have two😅 I really like his friendship with Miryam and Drakon during the War (I already talked about that at length in the ask I got about Miryam) and I really love the Band of Exiles (which I also talked about more in the Lucien post), so I'm not going tonget into detail about either.

Taking both of these relationships aside... I wouldn't say it's an OTP, but I kind of like the idea that he was friends with Mor during the War. I know she isn't overly fond of him during acotar, but Jurian does say that they are friends. I always had the headcanon that Mor actually genuinely liked Jurian until things between him and Miryam went to hell, and she's basically still angry about whatever went down between them and just up and ignores that they used to be friends.

My unpopular opinion about this character:

What he did to Clythia wasn't as horrible as everyone (including the narrative) makes it out to be. I agree that torture is bad, of course, and if the book's theme was "never under any circumstances use torture because it is horrible", it would make sense to have Jurian villified for it.

But well, violence and torture are pretty normalized in acotar and sjm books in general (which is rather disgusting in itself, but that's a whole different can of worms). Feyre tortures Ianthe in acowar, a huge part of Azriel's job is torturing people, Rhysand tortures people (sometimes over nothing more than a minor insult) and they are applauded for it. But Jurian tortures ONE enemy general in a war that's literally about the future of his entire species and is villified to no end? There are lines in acotar about how he "got what he deserved" and I'm like ??? How does he deserve to be tortured for 500 years? Sure, torturing Clythia was wrong (I generally think torture is wrong no matter the circumstances), but I can think of dozens of worse things other sjm characters do and get away with.

I'm sorry, but am I supposed to feel bad for Clythia? She was a commander in Hybern's army, owned slaves and killed lots of humans! She may have been "in love" with Jurian, but that apparently changed nothing about her considering humans to be property. The narrative presents it like he "used her for his own gain" or something, but, well, she was his enemy! She kept his people as slaves and wanted to enslave all humans! Yes, he betrayed her trust. So what? It was strategically smart move. She more than deserved it!

One thing I wish would happen / had happened with this character in canon:

I actually want him to make up with Miryam and Drakon pretty badly, but I already wrote about that in the post about Miryam, so I'm going to pick something else here.

I would have really liked Jurian to serve as some kind of voice for the humans in acotar. There's this general anti-human sentiment in acotar that I really hate, and I'd love for Jurian to take up the opposite positon. I want him to talk about all the things the Fae did to the humans before and during the War, and how their mistrust/anger is well justified. I want him to verbally smack any Fae who says that humans are so prejudiced against them. I want him to be better than the Fae in some things and prove that being human doesn't mean that you are lesser. Basically, I just want him to give some of these arrogant, prejudiced Fae a nice ass kicking😂

#thanks for the ask😊#I've been really hoping someone would ask for Jurian #jurian

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itsclydebitches · 4 years

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I can't remember if it was you or someone else who talked about it, but I wonder if the sharp turn into "all adults are now wrong and the younger generation is the only hope" is because of the current political climate surrounding us. I know RT and Miles are very liberal (I can't speak for Kerry or the other writers), and that they have retweeted some posts with the same sort of theme (pt 1)

This exactly. My issue has never been with RWBY’s messages, only its execution. Younger generation surpassing those who came before them? All girl power team? Dictators are Bad™? Queer rights? Fuck racism? Hell yes to all of it! The problem is simply that, more often than not, RWBY fails to accurately craft and implement the messages it’s aiming for. It’s not a show that’s particularly good at nuance (everyone has one (1) reaction to Ozpin’s vision) and when that nuance shows up it’s often ignored by the writing (Ironwood’s heroics, Blake asking Weiss not to get involved with the racist, Adam’s brand, Qrow’s alcoholism getting fixed off screen, Whitley left on the stairs at the end of the volume, Oscar going shopping, etc.) Which isn’t an issue with some aspects of storytelling, but these are all subjects that demand nuance. Intentions are great, but at the end of the day the viewer only has what we’re given on the screen. Just like a writer might go, “I wrote such a romantic relationship!” and the fandom might respond with, “Actually no. You may have intended to write something romantic but what we got was abuse,” RWBY has a long history now of the writers (presumably) thinking they produced something - a morally gray Ozpin, a villain Ironwood, satisfying queer rep, fill in your preferred blank here - and my side of the fandom is going, “I see what you wanted but that’s not what we got. And canon isn’t superseded by a tweet published weeks later that only some of the fandom ended up seeing. We’re well past adhering to the authorial voice.”

Which isn’t rare by any means. Stories try and fail at things all the time. In regards to RWBY and RWBY criticism, the disappointing thing is that all of these controversial subjects invite an easy way of slandering other fans. I delete a lot of asks in my inbox akin to, “Just admit that you hate queer people” because the assumption is that if I’m criticizing the execution of something like the Blake/Yang relationship then I must really just hate them together. It’s a stance I can understand because some people do use criticism as an ever moving finish line: to them queer rep is never good enough to justify it’s place in the narrative. They just keep coming up with reasons for why it’s “bad writing” and thus shouldn’t exist. For me and RWBY it’s the opposite though. It’s because I’m invested in all these topics that I want them treated accurately and respectfully (at least however “accurately” and “respectfully” translates into a fantasy story). When we talk about something like generational differences it does no good to have your characters stand up and insist that they’re perfect, they never needed an adult’s help at all. Not unless the story intends to prove them wrong and/or liars and/or you’ve shown us that they’re right to say that. I’m all about media’s impact (though many sneer at the concept that media can actually influence us in any negative way) and we see that kind of mindset here on tumblr all the time. On my dash it’s most prevalent in conversations about queer history and internet safety: younger fans insisting loudly that they know best without even bothering to hear out those who are older than them - those who lived through these situations and thus have experience to impart. That kind of stand-your-ground-it’s-cool-to-say-‘fuck adults’ mindset is learned. So yeah, it’s just a silly animated series. It’s just a couple of scenes. But those scenes impart messages when a) the writing isn’t polished enough to display nuanced sides to the debate or b) the viewer isn’t primed to question whatever the characters are imparting. RWBY is popular and having that popular series suddenly getting its fanbase to identify with characters who treat others this way and doesn’t acknowledge them as villains/morally gray/at least making mistakes to learn from is... a bit concerning. The fans who insist that their faves could never have an impact on their behavior are the same fans who slam into my inbox to cuss me out about it.

Even if you don’t care about how RWBY handles topics like racism, abuse, political power, generational divides, and how that handling reflects real world situations... that lack of nuance hinders the storytelling. It’s just not as good as it could be which, as you say, is a shame because there’s so much amazing potential. As a writer I get it, it’s damn hard, but if RWBY wants to tackle such subjects they need more revision time. The chance for someone to say, “Okay you want to say A and made a stab at it... but really you’re conveying C at the moment. We need to do X, Y, and Z to actually get to A.”

#rwby #rwde #mymetas #Anonymous

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salty-dracon · 3 years

Text

Some thoughts on The Caligula Effect 2

So I joke about this game getting a second remake to my friends online and the next moment I learn THIS was announced during the Japanese Nintendo Direct. Let me spill out my thoughts to spark discussion as well as provide a record to myself if this game actually does get localized.

Everything is under the cut!

My thoughts on Overdose were that it has a fantastic world... and that’s it. Out of the game’s cast, there were maybe four characters I liked, and the rest had moments that made me lose all sympathy for them. I recall it was common for some Let’s Players to like the villains better than the protagonists, and I’d agree on that front. I actually think the anime is the best iteration of this game’s story, changing up the formula enough to provide a really solid characterization arc to everyone. But Overdose suffers from poor writing issues (killing Eiji offscreen in the best ending was one of the worst decisions they made), rough handling of certain topics, boring and monotonous dungeons, and 500 social links you’re never going to do. I’m incredibly critical of this game, and I’d never recommend it to someone without a LOT of disclaimers, but somehow I still love it.

Already this game looks CRAZY good visually. It doesn’t look like a reskinned Vita game anymore, with something a little more reminiscent of say, the Digimon Story Cyber Sleuth games. That’s not to say that the game doesn’t still implement its fantastic character art, which still show up next to the speech bubbles. (At least the models have moving jaws. That’s important.)

Here’s to really hoping this game won’t be another Caligula 1 reskin, because uh... the game is about a protagonist who realizes that the world is a virtual one created by a Vocaloid who won’t let anyone out and joins up with a group of teenagers who also want to get out despite the fact that their real world lives were horrible so that they can set things right and they call themselves the Go-Home club (and also a Vocaloid gives them weapons made out of black stuff) but the people that are stopping them are basically the servants and guardians of the Vocaloid keeping them trapped in, who also happen to be humans who can’t return to the real world because their real world lives were so horrible, and so they have to fight because the Vocaloid won’t let them out otherwise. I mean, of course it won’t be a reskin, but I’m surprised at just how much of the original story they kept.

As for things they absolutely did NOT keep, DAMN this game looks dark! I was once remarking to a friend about how Caligula’s story would appeal better to me specifically if they’d gone with a religious pressure rather than idol stan theme, and they appear to have really pulled through with that religious pressure. I just realized, while writing this, that the image I showed off above actually has an image of an angel in the stained glass window being worshiped by fans with glow sticks. Furthermore, there’s a gothic cathedral-like altar, a halo behind Regret’s head, and this whole exchange looks like it takes place in a church. While I’m not religious myself, I can talk a lot about church architecture (see: my Fire Force livetweet) and I’m interested to see how this game handles it.

Not only that, most of the character designs seem darker and very different from the original game’s. Take a look at this game’s idol goddess:

Is μ going through an emo phase? I wouldn’t blame her lol. I think she still has a fantastic design that is in equal parts dreary and beautiful, while perfectly matching the color scheme of the new game.

And what a color scheme it is! The world of Caligula 1 had a gorgeous white, black, pink, brown, and gray color scheme framing bold pops of color in the form of flowers. Caligula 2 changes things up by making black the primary color framing everything else. The pops of color are so much bolder, too, from Noto’s bright yellow sweatshirt to basically everything χ is wearing. Do these changes reflect the story’s potential darker tone too? Or are they representative of something else?

We don’t know too much about the characters, but Caligula 2 looks like it’s giving them different weapons. It looks like the protagonists wield double knives instead of double shotguns. As for the other weapons, I see shortswords, katanas, chains, pistols (much smaller than Shogo’s), canes, and Qiyana’s ohmlatl from League of Legends. Definitely a shift from the original game’s weapons. I wonder if they’ll make a comeback? That giant gun was unique to say the least.

The Obbligato (I think?) are this game’s Ostinato Musicians. Italian for “obliged”, they are the ones who defend Regret from any threats. The one shown off most in the trailer is this guy who looks like the 1010 dudes from No Straight Roads. Man, he really looks like Shadow Knife in that image up there...

Also we get a, um, clown astronaut and a crazy high school yandere. Just to name a few. Definitely not the first time I’ve beat up a clown in a video game. Pretty unique as far as villains go, though. I hope this game has its own villain route, where you learn more about them. I’d really like that.

Social links! Looks like you rank up social links the same way you do in the original game. Do you want to make this character spill out all their trauma? Are you SURE about that, despite there being no negative consequences to you, the player? Awesome. Get ready to be sad.

The battle system is, from what I’ve read, similar, but not the same, as the battle system in Overdose. I’m not going to give too many details on that. They still seem to be time-based with combo chains, but they’re pretty vague. Looks like you still get to unleash crazy special attacks against your enemies. And they in turn can unleash crazy special attacks against you.

I absolutely want to see a. better characters and b. better overall writing. In my opinion these were the two weakest points of Caligula 1. Despite the protagonists’ tragedies, some of the little things they did made me sort of hate them. I did not like how everyone in the original Go-Home Club used Kotaro (who you learn is FOURTEEN!) as a verbal punching bag despite him being one of the kindest characters in the club. As for better overall writing, I stated before that I preferred the anime’s interpretation of events, because I thought they were in a better order overall. Besides killing Eiji offscreen, I hated how they wrote μ to be such a monumentally stupid character (I often point to Persona 5 Royal on how to write a villain like her well) and their, in my opinion, poor handling of certain topics like fatphobia. And though the character episodes sort of redeem them, it’s like... not really? The way I described it to a friend was that while the moral of Caligula 1′s story may have been “We live in a society and everyone’s dealing with their own hardships, but you can’t run away from them forever and you can at least be sympathetic to those facing them”, the character interactions end up dumbing it down to “We live in a society”.

Also an anime adaptation would be really sick. The anime just had so much better writing.

As for what I’m really curious about:

1. Who is Regret and how is she related to μ and Aria? We already know she’s a Virtuadoll like them, but if I recall correctly μ and Aria had some more concreteness to their backstories. Specifically, the human characters remember them existing as vocal synthesizer programs before they became the rules of Mobius. Regret’s backstory is that she just kind of showed up one day. Does she have different origins from μ and Aria? By the same merit, who is χ and how is she related to Regret, μ, and Aria? We know that χ opposes Regret and gives the Go-Home club the power to fight back against her, kind of like what Aria did in Caligula 1, but was she a co-creator of Redo like Aria was, or was her role completely different? The fact that she isn’t a little sparkle like Aria was (as a result of losing all of her power) indicates that their roles might be a little different.

2. What relationship does Redo have to Mobius? We know Mobius was created because Aria and μ wanted a place for humans to live without the sorrows they experienced in the real world. However, eventually μ was manipulated by everyone’s negative emotions and Thorn’s actions. This caused her to prevent anyone from leaving, and also the plot of the first game. Is Redo a second, improved iteration of Mobius, or a completely new virtual space? Were the goals behind its creation the same as in the first game? Or was there another force at work? Is Regret trying to copy μ or improve on her work? Or is she doing what μ did independently? I don’t think there’s enough information to predict the answer to this, but from what I’ve seen, there are a lot of similarities between the two worlds, from the high school to the end goal. However, there are some differences in tone. Mobius was a place to escape suffering, while Redo is being marketed as a place to escape regret. Redo also has a more religious bend than the idol theme of the first game.

3. What other links do the first and second games have to each other? People have been theorizing that Marie Mizuguchi/Wicked from the first game may return as Marie Amabuki (I think) in the second due to them having the same VA. There’s obviously the shared artstyle, symbolism, Catharsis Effect, glitchy NPC faces, and general setting. I also suspect that this game takes place after the events of Caligula 1. Not much I can say about this right now, but I wonder how everything joins up. Or if it even matters that they do. I haven’t seen too much on whether or not this game is being marketed as a standalone or a sequel, or if you even need to play Caligula 1 to enjoy Caligula 2.

Conclusion: While the Caligula series isn’t one I’d recommend to everyone, for the way it handles a number of sensitive topics, I will still be checking out Caligula 2 if it comes to the West. Though very little has been revealed thus far, so far I’m interested in the religious iconography used as well as the darker tone and colors presented in the game. As well as the characters, who have more varied and interesting designs including super unique weapons. I’m a bit disappointed that the plot, as it has been revealed, is an exact copy of Caligula 1′s plot, right down to the names of the protagonists’ faction. I was hoping for a bigger evolution to the story, but considering so little has been revealed in the first place, this may be a bit of a preemptive judgement.

That’s it. I hope you enjoyed my discussion of what I’ve learned so far.

#the caligula effect #caligula

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science-lings · 3 years

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You have made me curious. Please tell me about your oc's! What are their names? Why? Are they from a specific fandom or from a world of your own making? What do they look like? What is thier favorite fruit/color/food/drink? You made a spidersona a while back, right? Have you developed them more or have you moved on? (Sorry theese are a lot of questions at once you don't have to awnser all of them if u don't want to lol)

Okay so I have a great many main ocs so I’ll make little intros for them that answer each question lol

also here’s a link to the masterlist that might be more helpful and less rambly lol, it also links to art of the characters if you’re interested:

OC MASTERLIST

First of all, we have Rosalia (Rose) Scarlett Dawn who has healing powers, she (or at least her main design) started out as the spidersona you mentioned, but she evolved beyond even marvel oc territory lol. I draw her the most, she’s the one with red fading into white hair and sectoral heterochromia/ gold eyes, you can probably find her very easily on my art account @sciencelings-arts. Her image is also what I use as the icon for my writing account @sciencelings-writes which was a commission I got done for her last Halloween. She has become a very different character, although I still really vibe with her spidersona origins. She exists in the marvel universe as a SHIELD agent that does her best to use her powers for good but once SHIELD falls she works for Tony Stark and the Avengers as their on-call medical professional as she is kind of the expert in weird shit like injuries and sickness that originate from magic or alien stuff. Her sister Artemis also works for SHIELD as a field agent and does not have powers. Their relationship is kinda complex and depends on the universe that they’re in, like my original series is set in a bunch of different universes as I don’t want to constrict myself with just writing fantasy or sci-fi or whatever. Anyway Rose is a lesbian with underestimated powers and all that kind of shit. She’s fruity, they say an apple a day keeps the doctor away but she is the doctor and she will consume any apple within her eyesight.

Second of all, this one will be shorter, Andromeda Starling, Basically her parents were scientists for hydra and she found out and ran away, resulting in her getting lost in space and gaining shapeshifting powers that evolve from partial shifts like gills and wings to full transformations like turning into a dragon because she wants to. She’s a sapphic asexual and is endgame with Rose, Her image is on my art blog (linked above) and my rarely used OC blog @sciencelings-ocs, After her transformation, her blood turned purple and her eyes turned purple and all her hair turned a cold white. She actively avoids going to earth and is the basic lone wolf type that comes across as mean but it’s mostly due to trauma and mental illnesses. She kicks ass and has no idea how to talk to people. She likes space fruit and actually knows how to cook space food.

Next, we have Adisa Crow AKA Doctor Plague who is Rose’s nemesis, She got her powers from trying to recreate Rose’s powers within her and it going very wrong. Her powers can reverse other character's powers and skills, whether that’s a direct opposite like making a fire-themed character control ice or whether it’s just twisting the power against them, like making Andromeda’s shapeshifting uncontrollable as her power normally relies on her focus and complete control. But her powers come with a price as they are constantly affecting her, giving her hallucinations and manipulating her thoughts and emotions drastically. She wears a plague doctor mask when in full supervillain mode. She and Rose have a full friends to lovers to enemies to friends kind of arc as when she is released of her powers she might be forgivable with a whole lot of therapy. She only drinks Redbull and coffee.

speaking of therapy, next we have Alexandria Iriklitis. She’s a superhuman therapist with a magic voice. She mostly uses her voice to manipulate emotions but it’s powerful enough to levitate objects and break glass, and even bring down buildings and stuff. She has very colorful hair and very solid black geometric tattoos all over her body. She’s not normally a fighter type of character but she does appear as a peacock siren bard in the fantasy au and that comes with having wing arms and a big dramatic peacock tail. She is the only emotionally stable one usually but she’s not perfect and although it takes a lot to rile her up, she can lose her shit and no one should be within fifty miles of her when that happens.

Next, we have Ma’at Ramses who is a necromancer goth mom who adopts death kids that are ostracised from the normal magic organizations. She has a magic sword hilt that shifts into different weapons at will and a magic helmet that resembles an Egyptian pharaoh's crown that gives her extra abilities. She’s constantly in contact with the dead and her mission is to give them peace but more and more keep coming to her for help and no matter how much she works, she is never finished. She constantly feels the rage from the dead that need to be avenged and it takes tremendous control to not take it out on the people around her. Eventually, she figures out that those feelings are not her own and she can control how much they affect her and she becomes a much less angry person. She’s kinda morally gray as she has no qualms about things like murder of she decides that the person really deserves it. She really hates injustice and doesn’t just sit around for people change and you know, heavily bigoted politicians just disappear sometimes, that’s just how life is.

Next is Diana Schmitt, a mutant who can control the heat of objects (mostly metal and glass) and the molten outcome. She’s heavily scarred on half of her body including her face and she’s missing an arm and a leg that she replaced with layered metal and glass prosthetics. She’s trans and sapphic because I can’t make cishet characters to save my life. She uses her powers to make weapons and tools as she has big blacksmith energy. also, she's six feet tall and super buff. She's the whole gentle giant type and is super friendly. Her scars and limb loss are from a malicious attack with ice which causes her to hate any kind of cold and even makes ice a trauma trigger for her. She hates the winter and tries her best to avoid cold places. She is immune to incredibly high heat and has literally slept inside of a volcano with a magma blanket. cozy.

Lastly (I think) we have Guinevere (Gwen) Kaimana. She’s an actual mermaid. and a Pirate. She can control the sea and temporarily turn her tail into a skirt over fishnet tights covering human legs. When out of the water she has to take special care to be very hydrated. She can faint if lacking enough water in her body. She has Polynesian tattoos on her arm and torso that glow white in the dark but only when it’s very dark like when she’s very deep in the ocean. She wields dual scimitars (those curved pirate swords) and is bisexual. She has a very unearthly energy and is basically a myth to the people on land, but on the seas, she’s known as the Queen of the Seas and is feared by the people who don’t know her. She has big found family energy with her crew and mostly just focuses on saving sea life and causing trouble for the us military because she thinks it's funny. They tend to overreact and try to find her and “bring her to justice” but they can never find her, no matter how much they search. Before becoming a pirate she had spent several unaging decades in isolation in the ocean before she was willing to associate with people again. Sometimes she gets confused by current events and technology when she visits the land but she hates showing it.

#this ended up being a little long whoops #i kinda worked all morning on this. I woke up like an hour ago tho so not that long #ask gay #my ocs #ocs #marvelsonas #marvel ocs #marvel oc #Rosalia Scarlett Dawn #Andromeda Starling #Adisa Crow #Doctor Plague #Alexandria Iriklitis #Ma'at Ramses #My OC Phoenix #Diana Schmitt #Guinevere Kaimana #OCs #Anonymous

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