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shatteredatthealtarofwinchester · 3 years

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Umm, wait. It's more a 15x20 rant than an analysis. I'll call it... a ranalysis. 😏

I just saw J*reds last online panel again, where he called the finale "magical full circle storytelling". 15x20 is his "favourite episode ever" because he "is a fan of good storytelling". Uh-huh... Okay. So the following just was built on pure rage. This makes it more of a rant than an analysis. As usual. You guys know me.

Well. There are various possibilities here, Jared. Possibility A is, you are lying, what I do not believe. To lie that obvious you have to be a talented actor, which you are not. Possibility B is, you really think that way. You believe, the finale was "magical full circle storytelling" and you actually loved it, it was indeed your favourite episode. This again brings me to the only conclusion: You have no fucking idea about good storytelling, not even decent storytelling.

Lets look at every single ending, shall we?

Dean. We all know you think Deans death was a "success story." You think that Dean "ultimately gave his life for his number one on planet." I am sitting here, laughing in pain. First of all, let me say that Dean didn't died for Sam, Jared. He didn't took a bullet for Sam or sacrificed himself or whatsoever. He died in the most ridiculous accident I've ever seen. But lets go back to the very start.

Dean’s childhood was highly abusive. Dean was 4 years old when he saw his mother burning alive and learned that monsters are real. In that age he developed PTSD and stopped talking. Dean had a childhood with a father that was an alcoholic and physically and mentally abusive, who had believed that Dean had a “killer instinct". When Dean was about 6 years old, John forced him into a nurturing role for Sam. In the same age Dean was forced into the soldiers role as well when John taught him how to shoot and hunt. Dean had to obey orders without questioning. If he acted “out of line,” (aka something John didn’t like) John chewed him out or left them alone. Dean was trained to be Daddy’s blunt instrument. Dean gave up his own life to keep Sam safe, because he had no other choice. More than a brother Dean had to be a father and a mother to Sam. He suppressed everything, every psychological pain, every emotion, he just lived to protect Sam and to obey as Johns blunt soldier. Short: Dean gave up HIMSELF for Sam and John. Not because Dean wanted to, because he was forced into it! Dean hated himself, he was suicidal. He was convinced he isn’t worthy of anything, especially not being loved. Dean never had a life for his own, never had a choice, never had a chance, never had own original thoughts, never felt safe or loved. He was used to being left. He felt like he was nothing. Worthless. He was dead inside. Broken. You get what I mean, Jared? Since you own a mental health campaign, you should. And guess what Dean did? He kept fighting. Despite everything, he kept fighting. And his mindset slowly changed. He understood that his father was an abusive bastard, he unterstood that he was forced into a life he never wanted. He understood that he is more than that, that he is not like John. He changed. He opened up. He even wanted to retire. And now it gets interesting, because something happened that REALLY is the start of magical full circle storytelling. Something in Deans mind clicked while Cas' confession. His confession was fundamental to Dean to finally accept his own goodness and the value of his life and love, of his identity. It was the moment of breaking free of the structure that had controlled and corrupted him his entire life. It was the only way out of his abusive and traumatizing cage to experience something for his own the very first time. For the first time in his life he had a chance. A choice. The start of his very own life. Free will, baby! Well, no. Because exactly in that moment he stumbled into a nail and died. Do you even realize how dumb this is? Do you even realize what you did? Wait, it gets worse. Yeah, that's possible, even if you dont believe it. In heaven he goes right back to the life he has spent his whole journey learning to free himself from: Left only with the persons he had been forced, time and time again, to sacrifice his identity, goals, and soul for. None of the family, support, or love, nothing he has built or chosen for himself remains. This is not magical full circle storytelling, Jared. This is abysmal pointless butchering. This has NOTHING, not a single percent of magical or good storytelling! YOU call that magical? YOU call that a success? Seriously, what shit are you on? If it would've been full circle storytelling, there is not one single fucking possibility that Dean would've died in the end. I don't know whats going on in your twisted brain, but Deans death never was and never will be a success. To make it magical full circle storytelling, he MUST have been the one who survives and overcomes his trauma (and raise a certain someone from perdition.)

Sam. He's actually the one who kinda got the best ending, huh? I mean, it was fucking horrific, but it was the best if you compare it to the others. When Sam was young, he wanted a normal life far away from hunting, while the truth is, Sam always was more like John than Dean ever will be. Over time his mindset clearly changed. He even said: "When Dean came to get me at school, I told myself, one last job, you know, (...) it was always one more job and then I was gonna go back to law and to my life. I guess, I really understand now that THIS is my life. And I love it." Sam couldn't imagine a normal life anymore. He had the chances for that and he declined. He loved hunting. He loved working and making progress with the BMOL, he very much enjoyed being a MOL and even took the lead often. I can clearly picture Sam as the lead of a rebuilt version of the MOL, that would've made sense. What did Sam get? Right, the ending he didn't wanted anymore, but since we yeet every single development of every single character out of the window, Sam has to be Season 1 Sam again, BUT with a fancy party wig! And there he is! And what a happy life he lives, exactly what he wanted, woohoo! So much joy, so much fun! Oh look, there is BlurryWife™, who Jared made sure is not Eileen, because “Dean wouldn’t want Sam to be with Eileen”. But wait, didn't Dean wanted Sam to be with Eileen? Didn't Dean literally said: "If it was to work, Eileen, you know... She gets it, she gets us, she gets the life. You could do worse. And she could certainly do better, like SO much better. I'm happy for you, Sammy." Yeah, NO. This was just a writing AND acting AND producing mistake and had no matter at all. *cough* So... As you can see, magical storytelling strikes again. I can feel the magic, I can feel the full circle, it's... Amazing...

Castiel. Castiels story was magical, it was mindblowing. I've never in my entire life seen such a meaningful and deep storyline and I mean this. It's fucking massive. There is this blunt angel soldier, one of the post powerful forces, who was built to blindly obey, who lived for aeons of years, who wasn't supposed to feel anything, but he fell for a broken, suicidal, abused human who never felt loved or worthy the very moment he touched him. He fell so hard he rebelled against his own race, against his own family, against everything he had without any safety. He was the ONLY one in Chuck-knows-how-many universes who GREW outside of Chucks CONTROL! His love was so fucking massive, it couldn't be controlled by the God who built every-fucking-thing. Chuck built millions(?) of parallel universes, heaven, hell, life, death, purgatory, the empty, he created every single being, the light, darkness, every single angel, demon, leviathan, monster, animal, plant, sea, blade of grass, every centimeter of mountains, the four seasons, emotions, what the fuck ever. Everything you can ever think of, Chuck created it. And he controlled it. In every single one of his fucking millions of universes. But not Castiel.This is actually not possible. You can't outrun god. You can't outrun the one who creates, writes and controlles everything. But Cas did. Out of love. And not only that, you also imply that what happened between Dean and Cas was the only thing that was real. Everything else was corrupted, controlled, manipulated, written by Chuck. But what happened between Dean and Cas, he couldn't affect.

Seeing Cas standing there, crying, confessing his love to Dean actually even makes me think that Dean made Cas human. Dean completed Cas. Cas didn't simply said "I love you", he actually said "In all existing universes, in all millions, all aeons of years, you are my only happiness." And Cas completed Dean. He freed Dean. While Dean was used to being left, was used to feeling worthless and unlovable, Cas saw Dean exactly the way he is and chose to stay. With every obstacle, every difficulty he loved him even more and yes, freed him from the abusive structure that had controlled and corrupted him his entire life. Something that no one else could, not his parents, not Amara, not God, not even Sam. Beautiful, isn't it? Unique. Mindblowing. Pure. You enjoyed it? Let's fuck this up in 3...2...1...

Castiels story ended exactly the same way it started. A blunt angel who doesn't care about people and feelings, blindly carrying out instructions from a new God, obeying heaven. No progress. They threw away 12 years of character development and managed to give him the same stupid and senseless ending like they did with Dean. Dean died and Cas... Wasn't there?! WHAT!? There is no single fucking way Cas wouldn't save Dean or wouldn't be there when Dean enters heaven! There. Is. No. Fucking. Way! The way they represented Cas in the end doesn't only imply that Dean isn't important to Cas anymore, he even ended up exactly the same way as if Season 4-15 wouldn't have happened. The ending is exactly the same! He's with God in heaven, supporting him with instructions, not caring about anything else.

Okay, I got it. Summarizing you can say: Jareds "magical full circle storytelling" is to yeet 95% of the past 15 years. No other characters matter, the story itself doesn't matter, every single characters development doesn't matter, it even doesn't matter what the brothers really want, they don't get it anyway.

Okay. But that's not all. As if this wasn't bad enough, they didn't just butchered ... EVERYTHING, they also salted and burnt every single Mantra they ever stood for. I'll make these short, I promise!

Team Free Will. *snort* Dean couldn't escape his fate, he always believed he'll die on a hunt as Daddys blunt instrument and he did. He kept fighting to die exactly the way he felt he was "supposed to". Message? No matter how hard you keep fighting, no matter how long you'll keep it up, you can't escape your fate. Sam couldn't change his fate, he ended how he started. Cas couldn't change his fate, he ended how he started, same for Jack, he ended how he was supposed to. YEET THE FREE WILL, NONE OF THEM CAN CHANGE ANYTHING!

Family don't end with blood. The biggest lie that has ever been told. Do I even have to explain that? No need, right? Don't make me wanna throw up again, please. We all know that 15x20 blasted "Family don't end with blood" in millions of pieces.

Always keep fighting. THE AUDACITY to praise that while Dean is dying! After everything Dean has dealt with, It makes me wanna scream. Dean kept fighting, he always kept fighting, no matter how hard it was, no matter what forced him to his knees, he stood up again, and if he wasn't able to stand up, he crawled. He kept fighting no matter what, despite everything. His mindset changed. He wanted to live, he wanted to experience things, feelings and people differently or even for the first time. He changed. He wanted to retire, toes in the sand. He knew he earned it. Thats why he kept fighting. For what? To die the very first moment he had a free will. To die the very first moment he had a choice, had a life to build for himself. Always keep fighting, but the moment you come close to what you want, what you fought for, you die. It's been more than 3 months and I am having tears in my eyes while typing this. As for Dean, no matter how hard you fight, no matter how long you fight, you don't reach what you deserve anyway. Give up. As for Sam, AKF leeds to Emptiness. Grief. Psychological Trauma. Mental illness. Absolutely nothing worth fighting for.

I wanna go cry now, bye.

#jensen ackles #misha collins #j*red p*dalecki #spn #spnfandom #supernatural #spnfamily #dean winchester #castiel #destiel #deancas #dean #cas

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dereksmcgrath · 3 years

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I had said before that the number 108 can be unlucky. It wasn’t unlucky at all for My Hero Academia: Vigilantes. But 108 is kind of unlucky for this episode: not only are we focusing on the Villains, but we just aren’t giving their story the structure and emotional weight it deserves.

(I either opened with those remarks or just made a bunch of corny jokes about how “Meta Liberation Army” can be abbreviated as MLA--and I’m saving those jokes for a future review.)

“My Villain Academia,” My Hero Academia Episode 108 (Season 5, Episode 20)

An adaptation of Chapters 220, 221, 222, 223, and 224 of the manga, by Kohei Horikoshi, translated by Caleb Cook with lettering by John Hunt and available from Viz.

My Hero Academia is available to stream on Crunchyroll and Funimation.

Spoilers up to My Hero Academia Chapter 325.

When I teach literature, I refer to the plot as a problem: it is something that the protagonist is trying to solve. This problem can take various forms, but it is often as an antagonist that the protagonist confronts. When this episode has the Doctor refer to a “villain” as someone “who turns nonsense into action,” that’s kind of the point: the villain is here to get the plot rolling. Without them, you don’t have a hero, you don’t have a story.

It has been long accepted by a lot of fans and scholars that superheroes tend to uphold the status quo. I think the first time I gained awareness of this popular argument--although likely not the first time I encountered it--was Dr. Horrible’s mangled remark that “the status is not quo.” More recently, however, I have been reading academic books on superheroes, and not only does that argument persist--that superheroes represent law, order, and upholding traditional norms even in the face of new evidence or out of sheer obliviousness to the need for systemic change--but the argument has become that, if a superhero story does not have the heroes doing something to effect systemic change, then it’s not a good story. I may be misunderstanding that argument, but if I don’t, then it’s not an argument I can stand behind.

The argument is that superhero stories tend to reduce complex issues to having avatars for each side of the issue--the good guy and the bad guy--get into a fight, where we are focused on the spectacle rather than on seeing actual people engaging in the actual work needed to address problems not on the individual level--again, one good guy physically fighting one bad guy--but on a larger scope.

I am oversimplifying this argument, as even those same scholars will point out that, initially, of course there were superhero stories that had the protagonist taking the fight against the system. Superman is one of the ones named most frequently, whether in his initial comic book premiere doing what police and media would not to face down a corrupt senator (a sign of things to come in his later fights with Luthor and in Justice League Unlimited) or fighting the Klan (in the meta sense, fighting their analogue on the radio show and, more recently, literally in the comics). It kind of makes Superman look like one influence on the Peerless Thief in My Hero Academia, but we’ll get to him far later in these episodic reviews.

Even with that exception of Superman, it’s not hard for me to agree with the argument that heroes prop up the status quo. That has been the plot point for My Hero Academia and why this war against the villains has been incoming: a system that depended on just All Might, now depending on a wife-beating abusive father like Endeavor with his crimes not popularly known, has a level of corruption that cannot stand up with just one man’s shining example of honest goodness and integrity to be the Symbol of Peace. It was why I appreciated the manga eventually showing that, yes, there was an entire network of assassins within the Hero Public Safety Commission to keep All Might’s hands clean--and, in retrospect, while Lady Nagant was our first named example, given what Hawks ends up doing to Twice, deadly force may be frowned upon by law in MHA but has to have been something Hawks was told he had legal authority to do. (Also, as I will never stop pointing out, Endeavor unintentionally and unknowingly killed another Pro Hero in Vigilantes, and we’re just supposed to pretend that was fine.)

But going back to this academic argument, about how superhero stories tend to stick to one-on-one battles and don’t let the heroes effect systematic change, I’m ambivalent. There have been a range of superhero or superhero-adjacent stories that have the protagonist making on-page, on-screen, obvious work to not just get into fisticuffs with the bad guy. I already pointed out Superman’s first appearance and his fight against the Klan. I can also identify other examples, some hamfisted like Captain Planet, others more nuanced like Korra reaching out to Kuvira in The Legend of Korra. While the scholarship I read bristles at the idea of reducing these fights to just avatars for good and evil, I shrug and say that kind of comes with the territory of a superhero story. I hate justifying tropes: it’s like saying “this fanservice is acceptable because that’s part of the genre”--which leads to its own set of problems, especially when I hear fools defending sexualized fanservice that is just not needed for the story and is abusive by gender and representation. Heck, The Brave and the Bold animated series had Equinox and Batman battle as giants representing the avatars of chaos and order--which is confusing enough, with Equinox having a vaguely yin-yang motif that debunks any clean separation between chaos and order. And yet, here I am, arguing that this kind of fanservice of a hero and a villain beating each other up is to be expected: you have a debate about ideals of what a hero should do when you see Iron Man and Captain America each representing a side in a fight, whether the poorly handled comic book Civil War or the better film version, and even then, that film also lets the individual personalities get in the way of saying anything meaningful about government oversight and individual agency, ideas better handled in that other Captain America film, The Winter Soldier, and even then that film also gets stuck in just being about Steve and Bucky’s relationship.

All of this is me saying that, when you add a superhero to the fight, you’re going to feel disappointed that almost nothing systematically changes in its setting, not only because, as I’m hinting, these are stories about individuals fighting each other and not stories about the individual against society or nature, but also because a superhero can only change so much of their world for the better before that world no longer looks like our own or a new societal problem has to emerge to create the problem that is the plot itself for wherever the story goes next. Once a hero makes the setting into a utopia, either a new problem emerges to show the fiction of that story and that a dystopia is always married to a utopia, or the utopia is revealed to be hollow (Shigaraki’s word of the day) and fake. My Hero Academia already showed the utopia of a world where people get to live with their Quirks is fake, not only by (largely necessary) regulation of those Quirks but also, as we’ll see more with Spinner, Compress, Toga, Gigantomachia, and others, looking different, or being socially aware, or having disabilities, or being the “wrong” size, excluded you from that society.

What I’m trying to say is that, once you add superheroes into a story to fix the problem, you can’t show what systematic change looks like. How do you write a story where it makes sense that no hero came to save Tenko Shimura from becoming Tomura Shigaraki? What’s a story like My Hero Academia supposed to do to show the problems with a society, if you have superheroes who can fix those problems by beating up the bad guys?

Solution: You have the bad guys beat each other up.

In this corner, the League of Villains, people who were made outcasts because they did not fit in--which reveals the flaws of a society that is not accepting people who may not be able to change their past or their bodily conditions.

And in this corner, the Meta Liberation Army--which reveals how society breeds people in business, media, and politics who abuse laws and societal norms to elevate themselves and create a social Darwinist nightmare.

Granted, these are some foolish schmucks for starting up this fight in public, but I’ll address how the MLA just doesn’t work in a later episode review.

But for now, let the fight begin. No matter who wins, at least we see how society at large allowed these Villains to emerge--and we can either see All For One’s dictatorial forces get wrecked, or see Re-Destro’s fascistic oafs get wrecked.

Unfortunately, no matter who wins, the Pro Heroes are going to lose, too.

I am overly impressed with myself for realizing all of this. And I say “overly” not only because this is arrogant of me but also because I’m pretty sure just about every other person following this series already came to this conclusion: if you want to show actual systematic change, you have to show what the villains are up to, because they are the ones showing the holes in our society that need to be fixed. Either a villain exploits those holes to cause damage to people, or the villain is themselves representative of unfairness in the system and, by breaking the law to save themselves and others, are unfairly maligned as villains.

That being said, I’m not a big fan of the “[Insert villain’s name here] was right” arguments. Yes, Magneto is justified in his goals and ethics, and the debate is the means he takes to them, so his existence is to show why the X-Men are screwing up and need to be more radical. Yes, Killmonger is right that Wakanda’s isolationism is reckless and allows for travesties to persist, but his choices are largely out of individual desire for vengeance, so he’s an example that T’Challa can follow. Taken too far, though, and you get people who preach anti-establishment notions without having an alternative or are just trying to sound edgy rather than actually pointing to the actual problem: it’s someone who celebrates the Joker without recognizing that, no, you don’t want to be that asshole, or who celebrate villain-turned-hero Vegeta just because he looks cool and without appreciating what steps he took to change and what fall he experienced before he got to the point of being a villain.

In all these cases, if done poorly, you have the same tired trend of a villain existing only so long so that the hero changes for the better. It’s as tiresome as I unfortunately sometimes feel reading post after post celebrating how complex and sympathetic the League of Villains’ members can be when, still, a lot of them are just assholes using empty excuses to defend atrocious behavior (primarily, just All for One) or, for the most part, are people put into desperate situations (Shigaraki, Toga, Spinner, Dabi, Twice) who are doing the best they can (Twice, Spinner) even if their actions are not defensible (Toga) or also out of line (Shigaraki) due to their own refusal to seek the legitimate help they need to work through their issues (Dabi).

It’s hard to read posts online calling the League members sympathetic when we have not had a chance in the anime to know their full story. And as with the slow revelation that this setting is not really as welcoming of people of all shapes and sizes as initially hinted, so too do the villains’ backstories show that they were justified in some actions they took, except for those that led to deaths. Too bad none of that really pops up in a meaningful way in this episode that would rather tease out Shigaraki’s back story, keep dangling the obvious answer to who Dabi really is, and short-sells what should be a meaningful friendship between Twice and Giran but is just dropped as fast as Shigaraki takes off Twice’s mask. Jeez, Shigaraki, that is a dick move to Twice…

But I’m already on Page 4 of this rant, so let’s get to the episode already.

Pulling back the curtain yet again, these reviews tend to follow a pattern. Since I first wrote about the MHA anime, my process would be to first re-read the chapters, then watch the episode in Japanese, then watch the episode in English, so as to retrace my steps in how I first encountered most of these stories, as well as to see any patterns in the production process moving from manga to anime to localization. But with this episode, that practice was made nearly impossible given how prevalent the hostility towards this episode, this arc, and this season have been, especially when a friend shared numerous reactions from other viewers about this episode. Seriously, for all the whining I just did the previous four pages, you could read this person or this person who are much better at explaining why the introduction of Re-Destro to the anime sucks, for more than one reason.

So, I had a different approach: I already had the flaws to this episode shared with me by other viewers, then I listened to the English dub, then I re-read the chapters, then I watched the Japanese dub with English subtitles.

And, boy, am I grateful I took that approach, because this episode is a ton of talking--too much talking. For an anime adaptation that cut so much of Spinner’s Leonardo from Ninja Turtles narration, I’m shocked that they kept the boring parts of his narration and cut the only good parts, including the very opening that had a lot more action and gave us a reason to sympathize with these Villains.

I know I’m a snob regarding animation; I have expressed before how, despite my love for animated works, I tend to appreciate them more for what they do with storytelling rather than the spectacle of the visuals. I really dislike works where the value of the work is in the animation alone: I am here to see a story unfold, and if there is no narrative, no plot, no beginning-middle-and-end, then what I’m encountering is a museum piece, not a work of cinema. (Feel free to bash me for that hot take: I’m still railing against Patty Jenkins’s ridiculous argument from this week.)

And as with most forms of karmic punishment I experience, I pay the price: if I rail long enough about works that are only all about the animation and not the story, then my punishment is an episode where all we get is a lot of story and not much in the way of animation. Yet I can’t even say we got a story here, so much as back story, exposition, needless narration--it’s Blade Runner only bad. As much as I have loved how this anime’s storyboards stick so close to the manga panels, the pan over the League listening to Shigaraki’s vague back story felt like the least interesting way to handle this scene, especially when it excises so much of Spinner coming around from questioning Shigaraki to sympathizing with him. Who would have imagined cutting so much of Spinner’s initial narration and the opening from Chapter 220 would screw up how to adapt Shigaraki’s back story from Chapter 222.

The anime cuts how this arc begins in the manga: Chapter 220 starts with Spinner facing off against an extremist group that hates him for his reptilian appearance--a moment that would have garnered more sympathy from the audience for these Villains than this episode is exhorting. We needed a scene to get behind these villains and agree with them, before we are shocked to hear Shigaraki say what we have long expected, that he just wants to destroy everything and make everyone as miserable as he has felt, to wake us up that, no, you may sympathize with these outcasts (to use Twice’s one-word self-description), but you shouldn’t agree with Shigaraki’s goals. (I know Shigaraki relents somewhat when asked by Toga, but it’s hard to backtrack from “destroy it all” to “destroy it all but not the stuff my friends like.” How on Earth is Shigaraki going to destroy Izuku when Spinner somewhat admires the guy and Toga...well, yeah, best left unsaid.)

While watching this episode, I also was reviewing other topics about anime and manga I’m going to go into more detail about later this month, and one topic of discussion is the assumption that anime and manga, by their visual style and story tropes, especially shojo and shonen, tend to be about big expressions--emotional outpours in words, movements, facial expressions, and actions to more easily communicate what is happening, regardless of context.

I hate to keep repeating “ambivalent” in my reviews (another academic word I need to expunge from my lexicon for a bit), but I’m ambivalent about that argument, that anime and manga, especially shojo and shonen, are better at communicating. If your character is unreadable, that likely has an intentional reason: we don’t get much of a read on the Doctor in this episode, not helped by his mustache and glasses, but we also don’t get a read on what Shigaraki is up to.

This episode only heightens my regard, not just about anime, manga, shojo, or shonen, but in animation and comics at large, that not everything is readable in what a character is planning.

On the one hand, I do agree that visual works tend to make ideas easier to comprehend for some people who can engage with such visual works. As someone who teaches English literature and writing in a United States setting, I use comics in my teaching to cross language and cultural barriers, especially for students for whom English is not their primary language or who are the first in their family raised in the United States. And this teaching approach also helps in reverse: I include manga and anime in my teaching to show how not all details cross language and cultural barriers in a one-to-one correspondence, hence the challenges of translation and localization, and how all of us struggle to make ourselves understood within our own primary language to someone else who is fluent in that language, let alone trying to translate into another language or to present ourselves in a different set of cultural norms.

On the other hand, anime and manga are not a fixed genre. Yes, I agree that the images tend to emphasize big eyes, big expressions, and big motions--but that’s like saying all animation is Looney Tunes, or all animation is Disney, or is Dragon Ball, and so on. Likewise, as I’ve discussed elsewhere, shonen is more than just one type of storytelling, and the same goes for shojo. This arc of My Hero Academia is placing focus, after admittedly far too long, on the Villains as the protagonists--and their behavior pokes holes in the idea that things are obvious, when the Villains are themselves such liars, so crafty, have their own hidden agendas, are keeping secrets from each other. It’s as if their behavior is a commentary on this plot and how BONES is adapting it: the Villains are keeping secrets, so this plot is going to keep its secrets for just who Re-Destro and the Meta Liberation Army are, what their personalities are like, and what Shigaraki and the Doctor have in mind for getting what he wants. We’re even kept in the dark as to Shigaraki’s full back story; we’re in the same position he is, knowing just little bits and able to make assumptions from a handful of visual cues and memories, without fully knowing who the hell Tenko is. Add to that Spinner’s struggles to narrate all of this and to get into Toga’s mind and Shigaraki’s mind, as well as Dabi’s own secrets and agenda with Hawks, and we have a story that blows up the notion that anime and manga are easier for reading a character’s mindset: no, they are not always easier, not when the creators deliberately mislead the audience or keep them in the dark for a surprise.

By keeping so much of the audience in the dark, so that we become aware of how deceitful villains can be, and we are put into Shigaraki’s place of not knowing where he came from. This should be a set of brilliant choices by BONES to adapt this arc in this manner. But the problem is, no, almost none of this gets anywhere close to brilliant. It’s not brilliant--it’s frustrating, because we already know what is going to happen. You can just pull up the manga at low cost with a Viz account and read all of this in the order it was originally presented and get the answers ahead of time. And if you’ve been reading the manga all along, you already know how this arc ends, and you know stuff from the next set of arcs so that you do know already what Shigaraki’s back story is, what Dabi was really up to, who survives, who dies. You even learn more about Compress’s back story--stuff that really should have been hinted at much earlier in the manga, and could have been hinted in this adaptation but as of this episode has not.

Maybe that is why the anime removes Re-Destro murdering his assistant: it’s such an odd moment that it is challenging for me to get a read on Re-Destro, as he alternates in the manga between being very friendly and devoted to his comrades but also violent and heartless.

It may be obvious that I didn’t like much of this episode. I think when I stopped taking this episode seriously was when I heard the voices. Like I said, I tend to start with the Japanese dub first before getting to the English dub. And I have nothing at all against English dubs: I would not be listening to them as much as I have, often first before I ever hear the Japanese, and I would not be a fan of so many English-speaking actors in dubs if I had any animosity to the craft, their work, and the benefit they provide for creating a larger audience for these stories. And nothing against Larry Brantley and Sonny Strait, but some of this casting feels off. I wasn’t able to take this episode seriously as soon as I heard the voice distortion that was used for Re-Destro’s phone call: that took me out of the story. If I had the chance for localization, I would really need Twice or someone to call out how freaking ridiculous that Mickey Mouse voice sounded. You have freaking Sonny Strait here: use the Krillin voice, use the Chibi Ragnarok voice, use the Usopp voice--use something, really go bizarre here, it’s just a voice distortion device! And as I said, nothing against Strait, but when I hear Re-Destro when I read the manga, that’s not the voice I have in mind. For right now, HIroaki Hirata in the Japanese dub is closer to that smoothness I expected for this character. But I have no doubt Strait will do excellent as Re-Destro’s empowered form: think Strait’s role in The Intruder II from Toonami. It’s just that Re-Destro in the English dub is lacking that odd refinement I was expecting.

Granted, it’s the same problem for me when I hear Brantley as Spinner: I am making unfair assumptions that don’t suit the goals of the creators when it comes to this character. It is sadly not as obvious in this episode as it is in the manga: this arc in the manga starts with Horikoshi invoking Laird and Eastman’s Teenage Mutant Ninja Turtles by having Spinner, who is already a sword-wielding reptilian martial artist, narrating just like how Leonardo narrating at the beginning of the very first issue of TMNT. I wanted a voice for the English dub that is like Leonardo’s, a little higher pitch and more youthful, like what Brian Tochi brought in the live-action Turtles film or what Cam Clarke and Michael Sinterniklaas bring in the animated versions. I think, for the Japanese dub, Ryo Iwasaki’s performance as Spinner is very close to what I expected. But that also may seem too obvious: Spinner may be young, but giving him an older-sounding voice can belie his inexperience, youthfulness, and naivete, similar to how people make assumptions about him by his reptilian appearance. The anime is putting me into my place--I think of Spinner one way other than who he really is, so I’m no better than the people around him who have discriminated against him for his physical appearance.

Just as I have a set of assumptions that unfairly influence how I would cast Spinner, I also think Re-Destro should have sounded more refined and less graveley in the English dub. But my expectations belie that, just the Joker whom he resembles, Re-Destro puts on this cultured facade to hide that he is just another violent gangster thug, someone who would kill his own assistant. I know I cited examples above about how complex Re-Destro is, but it’s hard for me to see him as sympathetic just because he’s crying over something he did out of his own volition: he coldly killed his office assistant Miyashita, his tears and kind words don’t suddenly make this a warm and cuddly death, we don’t get to think of him as our woobie. It only makes it more irritating that BONES so far has cut not only that scene of Re-Destro killing Miyashita but also Re-Destro’s TV commercial: it would clue us in that the reason he has that gravelly voice is because, no matter how much he tries to present himself on TV, he is not that kind of a man.

But since I invoked the Joker comparison to Re-Destro, yeah, I’m disappointed we didn’t get Troy Baker as Re-Destro, as unlikely as I imagine that would be to happen, regardless of Baker’s previous work with Funimation. It does lend a bit more to conspiracy theories on my part, though, given casting director Colleen Clinkenbeard telling Twitter followers to stop expecting Mark Hamill in MHA, it’s never happening--we can’t even get Troy Baker doing his Mark Hamill Joker.

(I’m not being fair to Baker: I’m not saying his Joker is at all bad--it is not, he has been excellent as Joker, especially playing him and Batman in the Ninja Turtles crossover film, but it is obvious Baker is performing the kind of Joker that came out of Hamill, so I’m trying to say he’s doing the “Hamill Joker,” rather than the “Nicholson Joker,” the “Ledger Joker,” or the “Caesar Romero Joker”).

It’s also a challenge to sympathize with these characters when we aren’t getting what this arc should give them: a re-introduction. I hate approaching this episode in a post-James Gunn The Suicide Squad world, but seeing how much MHA owes to not The Suicide Squad of the comics but that motif in so many superhero comics, there is that missed opportunity to reacquaint the audience with who are the members of the League of Villains. So, where the hell is my freeze-frame re-introduction to each League member? There was that fan theory a long time ago that Giran was really Present Mic in disguise: imagine doing Present Mic’s introduction of characters by name, Quirk, and pithy comment, only it’s Giran in the announcer seat this time.

(Don’t even get me started on how annoying it is to have Izuku handling the post-credit preview: give that to Spinner.)

Again, maybe it is brilliant for BONES not to include some re-introduction scenes, whether narrated by Giran or happening naturally in conversation between these characters. These Villains barely know each other’s back story, so there’s no artifice where they would believably share their back stories to each other in conversation in this context. And as I said, Shigaraki does not know enough about his own past, and Dabi is hiding his real identity. But when we’re stuck with Spinner as our half-hearted narrator, who seems not to know why he and Toga are still here with Stain being gone, and when Toga is this dull in her answer about what keeps her going after Stain’s arrest, and when Spinner himself seems not to know what he’s still doing here, all of that does not communicate a reason for us to keep going with this story.

I know this arc is going to get better, storywise at least, just based on how it went in the manga. I can only hope that the animation can capture the chaos that the original manga illustrations showed. But I am trying to think what a new viewer is going to do if this is their introduction to this series. I’m not invoking the Episode 7 Rule, I’m not doing a hypothetical experiment to gauge which episodes are the best to bring a newbie into this series--I am asking, honestly, if a fan was already into this series, and was watching it one Saturday morning, and a friend or roommate or relative saw them watching, they would be utterly lost about why they should care about this. Even the explanation for why Twice is indebted to Giran is presented as such an afterthought that does disservice to a potentially emotional moment, to what is supposed to be a pretty deep friendship, as deep as it can be for a weapons trader like Giran and an outcast-turned-criminal like Twice, so that, when Twice helps rescue Giran, we feel that emotional payoff.

It is honestly shocking that, for all the throwbacks, recaps, and flashbacks we get, including how Giran’s fingers match up to previous places where the League fought, that this still leaves a new viewer in the dark. And the problem lies at the feet of MHA arriving at a fifth-season slump: the series has gone on so long that things feel lazy and making far too many assumptions on what knowledge the audience is bringing. You’re not getting a bigger audience if you keep appealing to the diehard fans and the people reading the manga. After all, why would you keep doing ridiculous recaps and flashbacks if the fans already know what happened?

But speaking of the recaps and flashbacks, that should have been how this episode redeemed itself. As I said last time, if you re-worked the order of episodes to start with the Oboro Shirakumo story, that would be more shocking. But what if this episode could have been the very first episode of the season, and following the trend of previous seasons, make it a recap episode? We already had Izuku narrating a clip show, Class 1A at the pool, a photojournalist visiting the UA Dorms--it would be so much more interesting seeing “League of Villains camping in the woods while in the background Shigaraki gets squished by a giant.” Have the Villains tell campfire stories about how they got here: it would be a great excuse to re-use the animation and save on the budget. You could fit in a few gags, as Toga starts telling a really gruesome story but gets distracted by all the blood in it, while Twice’s story bounces between sugar-sweet happy and grim-and-dark chaos, while Compress and Spinner are stuck trying to keep them focused. It’d be a hell of a lot more interesting than how BONES somehow screwed up a potentially emotional volatile moment between Izuku and Amajiki that would put into question whether Izuku is going to have to kill a Villain and just how devastated Amajiki feels after Mirio lost his Quirk.

And speaking of whether Izuku is going to have to kill a Villain: obviously, this arc is setting up how much more dangerous Shigaraki is than UA gave him credit. Back in Season 2, I hated how Nezu and UA staff referred to him as a “man-child,” given the connotations that have surrounded masculinity and being a man. I wrote that before 2016; in this post-2016 atmosphere, and the increased prevalence of toxic masculinity, I am, once again, that annoying word ambivalent. I am likewise ambivalent how well this series has shown Shigaraki to be able to form the plan he does by episode’s end. We’re only told by Spinner how much faster Shigaraki is getting and how much slower Gigantomachia has become--but the animation doesn’t show that. And we’re being told how great Shigaraki’s plan is--when it sounds ridiculous.

By cutting so much of Spinner’s narration from the manga, we also don’t get a scene where Spinner confronts Shigaraki to ask him what is his plan. Up to that point, Shigaraki has said that, with Kurogiri gone over the last month and the computers at the old League hideout destroyed, they can’t reach the Doctor. Spinner is insistent: what is the plan? Shigaraki responds that he just told them--as Gigantomachia crashes through their hideout. The other characters explain for readers like me who aren’t following: Shigaraki just said Kurogiri was gone; to contact the Doctor, Kurogiri sought Gigantomachia; Gigantomachia would sniff out where Shigaraki is and bring him to the Doctor. Brilliant--that shows more attention to Shigaraki’s planning and scheming, and now, it’s not even here in the episode to make me think this guy is that smart. (This episode also had Shigaraki reveal his plan to have Gigantomachia attack the MLA, whereas it was Spinner who predicted that was going to be Shigaraki’s plan--so, again, we’re not letting Spinner stand out as smarter than we expected, either.)

I know Shigaraki is supposed to be our chessmaster, given his association with gaming, especially when he was faking his ignorance about shogi to lower Overhaul’s guard before defeating him and stealing his Quirk-cancelling bullets. But I’m having the same problem I had when following All For One throughout this anime: it just feels like these two antagonists are getting ahead out of sheer luck and because everyone else is a fool, not because either of them are that great as villains. Give me a Xanatos, give me a Luthor, give me a Norman Osborne (not Clone Saga Osborne, a different one). Show me Shigaraki is more than a pawn for All For One and the Doctor, because I don’t feel anything here, not even when we’re supposed to feel that Shigaraki has some legitimate concern for All For One that just isn’t getting communicated to me, whether by my stubbornness or because the content is not giving the animators and actors what they deserve. Eric Vale can sell the hell out of a scene, but Shigaraki’s talk about All For One is not giving that opportunity to the actor.

My remarks this time are a lot more disorganized and doesn’t really arrive at any conclusion. I have more to say about how this arc works and doesn’t work, especially when it comes to how ridiculous the MLA comes across in underestimating the League, but we’ll get to that next time.

#my hero academia #shigaraki #league of villains #meta liberation army #spinner #long post #mha spoilers

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night-filled-mountain · 3 years

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Captivity and Escape in Critical Role

So this post has been sitting in my drafts for about half a year. It’s about a persistent theme I noticed throughout campaign 2, which I’m sure others have noticed and written about before, but parallels and recurring themes have always been my Thing, and I couldn’t let it go. And with last week’s episode, and the campaign finale airing tonight, and the dominance of this theme being more glaringly obvious than ever, I thought I’d just give myself a treat and finish up a giant meta post. For old times’ sake.

So, just for the heck of it, here’s an exhaustive exploration of a single through-line of campaign 2 since the very beginning: captivity, and escaping or being freed from it.

Let’s start by taking a quick look at everyone’s backstories, the things that happened to them before the campaign even started, and how they were ultimately resolved.

FJORD: Entered unknowingly and unwillingly into a pact with Uk’otoa, which bound him to perform services he never agreed to in exchange for powers he never asked for. Fjord did not know how he got into this pact or how to get out of it. He makes his escape when he pitches his sword into a lava river and pledges himself to the Wildmother.

JESTER: Spent the majority of her life “locked in her room” (or at least hidden from sight) until the consequences of one of her pranks forcibly liberated her into the wider world. While Jester loves her mother dearly and thinks of her long “captivity” as being for her own protection, its negative effects on her--loneliness, insecurity, a lack of worldly experience and social awareness--were still apparent, and she spends much of the campaign working through them.

BEAU: Her parents had her kidnapped by monks. It could be argued that even before the kidnapping, she was a prisoner to her father’s “over-protective” tendencies and her parents’ expectations when it came to her career, behavior, gender role, etc. But most significantly, she was very much kidnapped by monks, and made her escape from the Cobalt Soul shortly before we met her.

CALEB: Where to start? First he suffered coercion and abuse at the hands of Trent (a form of captivity); then he was made to torture and execute prisoners; then he spent eleven years literally imprisoned in an asylum, and had to kill and steal in order to escape; and four and a half years later, he met Nott when they were both thrown in jail (and had to engineer their own escape once again). Caleb’s ordeals ultimately made him a prisoner of his own guilt and fear, and escaping that prison has been the heart of his storyline.

VETH/NOTT: Besides the aforementioned stint in jail, the catalyst for her entire adventuring career was being captured by goblins along with her family--and then, after engineering the escape of her husband and son, being imprisoned in the wrong body (and subsequently enslaved!). The desire to escape from this second imprisonment was her driving motivation through much of the campaign. With Caleb’s help (and Essek’s, and Jester’s), she ultimately succeeds.

MOLLY: His first memory was of clawing his way out of a grave, which is just about as extreme a form of captivity and escape as you can get. More subtly, he was also a prisoner to the expectations placed on his body--to the life that body once lived, which he could not remember and refused to claim. Arguably (and tragically), his escape from this particular prison is his own death...until Cree resurrects Lucien, Mollymauk fragment and all. Then he presumably becomes a prisoner much like Yasha was, subsumed body and soul by a mind and a will that are not his own. Until last week.

... (incoherent sobbing)

Until last week.

YASHA: She was a prisoner to her clan’s laws and expectations. Her brief attempt to escape this prison through a forbidden marriage ended tragically, and then she was forced to make a second, literal escape (fleeing into the desert)--only to be (presumably) possessed by Obann, imprisoned inside her own mind, and forced to do his bidding until the Storm Lord liberated her once again.

CADUCEUS: When the gang first meet him, he’s literally a prisoner of his own fear (and/or inertia)--though his whole family has left the Blooming Grove, he’s been too afraid or hesitant to brave the corruption of the Savalirwood without companionship, and spent years isolated in the family temple as a result. The Mighty Nein (or rather, Caleb, Nott, Beau, Keg, and Nila) initiate his escape.

***

And that’s just the backstories! Now let’s take a look at each of the places the Mighty Nein have visited since they came together, and the story arcs therein.

***

TROSTENWALD - CARNIVAL ARC: This arc’s entire goal is to free the (future) Mighty Nein and the other carnies from jail or house arrest. (Much later, the M9 come back to pay Gustav’s debt and liberate him as well.) And remember that Beau is especially sympathetic to Toya’s predicament because she, too, was once a young girl held somewhere against her will.

ALFIELD - GNOLL ARC: This arc’s entire goal is to free the citizens of Alfield who have been kidnapped by gnolls to feed to their manticore leader (and to kill off the gnolls and manticore to keep it from happening again).

ZADASH: The Mighty Nein’s first undertaking in Zadash is to kill off the giant spiders in the sewer. In the process, they free a halfling imprisoned in a spiderweb, which leads them to the Gentleman and all his future quests.

Aside from that, their biggest job in Zadash this time around is the High Richter heist--which, yes, is a mercenary/political job that goes terribly wrong, but why does it go terribly wrong? Because Ulog, the M9′s NPC ally at the time, is so furious over his wife being wrongfully imprisoned by the High Richter that he impulsively blows up both her and himself. And arguably the most poignant moment in the heist’s aftermath is Caleb speaking to the next High Richter, Dolan, and ensuring that Ulog’s wife will be freed.

Also, let’s not forget the drow the M9 meet in the sewer. The one they capture, interrogate, and ultimately...let go. Yes, he’s killed shortly afterward and his beacon falls into their hands, but I think it’s very important to remember that the decision they make, when holding a captive terrorist from an “enemy” nation, is to return his stolen artifact to him and let him walk away free.

LABENDA SWAMP/BERLEBEN: The most memorable events during this interlude are: (1.) The M9 literally freeing Kiri from the swamp, where she is stuck in the mud and at the mercy of crocodiles, and (2.) Bowlgate, a.k.a. Caleb and Beau’s tense confrontation over what to do with Calianna, which is once again fueled on Beau’s side by her sympathy for a young woman held against her will. (Caleb proposes that Cali spend the night with the M9, which she did not intend, so they can use spells to determine her truthfulness the next day.)

HUPPERDOOK: This one’s obvious: The M9 fight a deadly automaton to free two gnomes from prison and reunite them with their children (largely to prevent said children from being taken to an orphanage against their will).

GLORY RUN ROAD/SHADYCREEK RUN - IRON SHEPHERDS ARC: ...Even more obvious. The sole goal of the remaining M9 members (and Nila) throughout this arc is to free their friends from slavery. They end up slaughtering all the slavers and freeing several other captives as well.

LUSIDIAN OCEAN - PIRATE ARC: Here’s where things get really interesting. Because this whole arc is also about captivity and freedom, isn’t it?

It’s about whether or not to free a little old captive named Uk’otoa!

I haven’t given nearly enough thought to how this arc fits in with all the others thematically, considering its central lesson is that freeing this particular captive would be a very bad thing. I do think it’s significant that:

(1.) The beginning of this arc, which leaves the whole party feeling so bad and icky, involves them quite inadvertently taking a captive of their own--and one whom they don’t treat very well. (And still don’t, for that matter...poor Marius.)

(2.) Soon after that incident, the M9 are themselves effectively taken captive by Avantika and her crew. This situation doesn’t last nearly as long as many audience members (and quite possibly Matt, and quite possibly the players themselves!) thought it would, because they panic on Darktow, go all Wall of Fire, and free themselves in a huge, climactic, desperate battle. The Mighty Nein do not take well to captivity.

Anyhow, they follow all this up with...

FELDERWIN/XHORHAS - YEZA ARC: ...another very straightforward quest to free a captive. Not only is this arc all about rescuing Yeza from a Xhorhasian dungeon, but after Caleb returns the beacon, after the Bright Queen of Xhorhas offers the Mighty Nein anything they want...all they ask her for is to let them go.

BAZZOXAN & BEYOND - OBANN ARC: ...By now, you know where I’m going with this, right? The entire arc is about freeing Yasha from Obann, who has her imprisoned inside her own body, inside her own mind. There’s a reason That Moment in the cathedral hit so hard, right? “And as you close your eyes, you see yourself breaking the shackles. You see the influence no longer holding any sway over your soul. There's nothing but the storm, vengeance, and hope.”

(Bonus: In the middle of the above arc, we get the HAPPY FUN BALL - RESCUING YUSSA ARC, which, once again, is devoted to freeing a captive.)

KAMORDAH/CYRIOS MOUNTAINS - ISHARNAI ARC: Aimed entirely at freeing Nott from the body in which she was imprisoned. Beau also has a bit of a freedom arc here: confronting the parents who imprisoned her figuratively and literally, turning her back on them (possibly for good), and then confronting a major source of the expectations and superstitions they shackled her with: Isharnai, who is neutralized by Jester’s cupcake.

THE MENAGERIE - CLAY ARC: Aimed entirely at freeing Caduceus’s family, who are imprisoned in perhaps the most literal way possible, being turned to stone. (The M9 also manage to liberate the Stone family while they’re at it.)

RUMBLECUSP - TRAVELER CON: Two great liberations take place here. First, all the residents of the Village of Vo are freed from Vokodo’s influence, their memories restored, their blind devotion dispelled, able once again to choose the course of their own lives. Second, the followers of the Traveler are freed from the deception he’s imposed on them, the cult he’s roped them into. Thanks to the Moonweaver’s interference, they, too, are free to make informed decisions. And I think we can also safely say that Artagan is freed from them, from the false “god” role he managed to box himself into, and he’s happier for it.

EISELCROSS - SOMNOVEM ARC: ...And this is it, folks. This is why I decided to finish this post today. Because I was openly not feeling the Eiselcross arc as an endgame. The hard slog through the elements just wasn’t doing it for me, or the frequent combat, or the increasingly complex lore, or the traditionally heroic quest to save the world from being swallowed by a monstrous city.

...Until last week. Until Lucien’s defeat. And Molly’s oh-so-improbable resurrection.

When I heard all the voices of the Somnovem whispering “Thank you” as their individual souls were freed from the Lovecraftian hivemind...when I heard Jester sobbing that at least Molly’s soul wasn’t “trapped” inside a monstrous Lucien anymore...when Cad’s Divine Intervention succeeded, and Mollymauk Tealeaf opened his eyes--his two plain old natural eyes--unburdened by Lucien and his Somnovem eyes and all of his dark baggage for the first time--I was finally able to embrace this as the ending.

Because it’s not about saving the world. That’s just a bonus. It’s about saving a friend. Freeing a friend. Freeing captives, wherever they find them. Whether from Crown’s Guard, gnolls, and giant spiders, or from royal dungeons; whether from ruthless enemies or from their own families; whether from eldritch abominations or from the forces that chain their own minds.

In the end, the Mighty Nein--and the people whose lives they touch--belong to no one and nothing that they do not choose to belong to. They belong to themselves, to the people they most sincerely love, to the gods and causes they have chosen freely. And that has always, always been my favorite kind of story.

And I can’t wait for tonight.

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chaos-of-the-abyss · 3 years

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anonymous: Am I the only one who really doesn’t like that Meatbun chose to make a member of a brutalized race the villain? I feel like it feeds into that message of revolutionaries who want justice being doomed to be corrupted by the power getting to their heads and turn into evil tyrants.

This is an interesting question anon! Thank you for this ask.

First of all, I understand completely where you’re coming from. I’m always iffy when a main antagonist is a member of a brutalized, discriminated race whose ultimate goal is to get his/her people to safety. I don’t, as a general rule, sit very comfortably with the antagonist being someone who wants to end discrimination based on race against his/her people, or any people. Like, nope. I’m also extremely leery of that message of “revolutionaries who want social justice go bad”, and my wariness toward seeing a main antagonist with the motivation of ending some kind of oppression is an extension of that. 2ha, to a certain degree, does press those buttons, because just the fact of a member of an oppressed people being in an antagonistic position is... meh. I wish we’d at least seen the perspective of a non-villainous Butterfly-Boned Beauty Feast. (Of course, this is just personal taste - others might not feel the same way.)

However! There’s a reason why that doesn’t turn me off from the story. I would really dislike it if Meatbun made out Shi Mei’s desire to save his people as a bad thing, or if she had that desire gradually be warped into something less sympathetic - say, an appetite for destruction and vengeance. But she didn’t do either of those things, not at all. Although she rightfully condemns the damage he did to innocent people because of that desire, the desire itself is painted in a very sympathetic light. I would go as far as to say that the fact that Hua Binan’s resolve to end the oppression of his people was truly a good thing is why Meatbun gives him such a peaceful send-off despite the many terrible things he’s done. I mean, it’s not peaceful in-universe, since he’s literally squashed, but it’s a dignified death. He’s not crying, or screaming, or having a Villainous Breakdown over the fact that he has to die. Instead he’s... unhesitant in literally defying cosmic laws so that his people can get to safety, and the text is comparing his actions to that of his mother, who sacrificed her life to give him time to escape. (Off on a tangent, but I cannot help but laugh disbelievingly every time I reread Hua Binan’s death. Like, this man said, “Hey guys, I’m going to fight the demon guardian upholding a law of the universe, hold on a minute.” No consideration, no weighing of options, no nothing. Just “That’s what I’m gonna do then!” I mentioned in another post that despite his villainy I cannot help but respect the sheer audacity that Shi Mei has, and... yeah, I’m going to have to admit that the actions Hua Binan took leading up to his death display that same audacity.)

If I was choosing something to contrast the narrative tone of Hua Binan’s death with, I’d bring up Yagami Light, from Death Note. (I’m sticking to manga canon here, not anime.) He’s absolutely losing his composure, unable to face the fact that he’s been defeated and he has to die, and is crawling all over the ground desperately for a way to save himself. He then proceeds to start begging Ryuk to help him, and goes completely ballistic when Ryuk instead writes his name in his Death Note.

Hua Binan goes in almost the exact opposite fashion; he is not losing his composure, he’s unflinching at the knowledge that these actions mean his own death, and he’s not trying to save himself - he’s giving his life to save the other Butterfly-Boned Beauty Feasts. I mean, he literally keeps holding on despite being in enormous pain to make sure everyone gets through! At no point during his death does the text say or imply that he regrets sacrificing himself for the other Butterfly-Boned Beauty Feasts. I also really like how there is no thought in his mind as he’s being crushed that isn’t related to his people - most notably there’s nothing about Chu Wanning, whom he is supposedly in love with. I think it’s driving in that Hua Binan’s ultimate priority, despite what kind of feelings he might have towards anyone else, has always been his people. Nothing else will ever matter to him as much as his goal to get the Butterfly-Boned Beauty Feasts to safety. (Although, mind you, that’s not necessarily a good thing - just look at all the devastation and death he caused in pursuit of that goal.) And like I said, I think that by giving him a heroic death, Meatbun was respecting that, if nothing else, his determination to stop the suffering of his brutalized people was truly genuine, and truly commendable.

That’s what sets this apart, for me, from the message, “Revolutionaries who want to overturn deep-rooted social injustices will go bad because they are corrupted by the power they have.” Hua Binan is not corrupted by power! His desire to save his people never changes, it’s never gradually distorted into something megalomaniacal the way that “cautionary tales” warn us will happen to revolutionaries. It is not the warping of his goal to end an injustice that makes him a villain - because that remains pure and unchanging, from start to finish. Rather, it’s the amount of innocent people he hurt and killed to achieve that goal. The fact that he perpetuates a cycle of abuse - dehumanization and brutalization is what he and his people suffer, and he responds in kind, by creating and executing a master plan hinged on dehumanizing and brutalizing others. That’s what Meatbun is condemning him for, and that’s why he’s the villain. And I really appreciate that she, in my opinion, makes it very clear that his goal itself was and remains a good thing. As mentioned above, the way I see it, the relative dignity of Hua Binan’s death was an acknowledgement the fact that there was nothing inherently wrong with his desire to save his people, that it was in fact a heroic desire. Because of that nuance, I’m not as put off as I usually am at the idea of the main villain being the member of an oppressed race, and I think Meatbun avoided the “cautionary tale” trope of having a revolutionary seeking justice becoming warped with power.

#2ha #2ha meta #2ha spoilers #shi mei #hua binan #asks

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nestable · 3 years

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Feminism in ACOTAR

(This is a bit long so bare with me)

As a politics student and general member of the public who's curious about feminist themes, I've read a lot of feminist writings which have informed my opinion in saying that none of the acotar books can be described as feminist.

I've noticed that the big motivator behind describing the books as feminist is feyres appointment of High lady. Though that may be pivotal in prythian history, we cant ignore the fact that it is still a fairly patriachal society. Having a few women in places of power like mor, amren, feyre etc. Is not enough because women don't grow up on an island and are also influenced by patriachal views or mindsets. In short, just because someone is a woman and is in a position of power, doesnt mean that they will cater to the needs of women or are feminist. Women, especially white women(this is important because sjms writes white feminism) have often gotten into positions of power and actually ignored women and done the same that their male predecessors have done and often threw other women under the bus in order to retain their tokenism status. And the main flaw of white feminism which is the reason why it coined the term 'white feminism' is that it doesnt encompass all the intersectionalities that women reside in and only focus on a western model of what it means to be a woman and anything outside of that is backward and 'barbaric. We see this in the judgement and disregarding of POC's experiences and outlooks on life because they are different to theirs. There are more than enough examples of the white women in the series judging the illyrians which are seen by the fandom as POC's and how they maliciously drag their customs through the mud. Instead of getting these views from illyrian women themselves, we get them from white women who arent connected to that culture whatsoever and who have nothing to say except judgement and critique instead of actually helping.

We see this with the white characters views of illyrian cultures and their conclusion of the condition of women without even having a single conversation with illyrian women. Illyrian women in this set up have no agency and no voice and that leaves the women of the IC to speak for them which is counterproductive. This is wrong in that many western cultures have misinterpreted different cultures and ignored the women in those societies as being disenfranchised and have used this as an excuse to invade and colonize under the guise of liberating women when in actual fact they dont care about the women at all, and are only concerned in reaping the benefits of that culture and keeping them under their control. An example of this is rhys ignoring the treatment of illyrian women but reaping the benefit of having illyrians fight in his wars.

Feyre as high lady

It's unfair to judge feyres actions as high lady as yet because we've barely seen her act, but from the little that we know, she follows Rhys' every action and decision without question. And rhys hasn't done anything for the improvement of women's position socially or economically at all (we all know the state of the illyrian camps) in all the 500 yrs he's been high lord. Apart from Rhys, the inner circle has 2 women in the highest leadership positions and even they havent done anything and have even ignored the plight of women under their jurisdiction, (mor with Hewn city) I dont even think amren cares about anything besides her jewels tbh. So it's fair to assume that feyre will follow in those very footsteps. She already has biased and low views on the illyrians and people who reside in hewn city to the point where she participates in the 'pimp and whore' act that she puts on t deal with them. And we've never seen her speak to illyrian women so to her their voices and autonomy dont matter.

Male feminism in the IC

The only male who can be seen as being feminist in the series is Cassian because aside from simply declaring that wing clipping is illegal, he actually does the ground work to ensure it doesn't happen by offering the women to train with him. Though this is a weak cure for the issues the women face in Illyria, it's a start and far more work than anything the other characters have done in the name of women empowerment.

Another so called feminist figure in the series is rhysand. Why he's described as such defeats me, but I'll go through some points to prove that hes nothing of the sort.

1. He created a library for sexual assault survivors.

Though this is a nice effort, it can't be described as feminism because he doesnt extend the same courtesy to the other women in his territory and is only concerned with women in Velaris. Supporting women who worship you isnt feminism isnt feminism either and we know that the entirety of Velaris see the IC as blameless gods. Based on mors history, its obvious that the women in hewn city are suffering just as much if not more but hes forsaken them to live under mors parents/abusers rule. And creating a safe house for sexual assault survivors isnt as much feminism as it is human decency. Especially considering how much money hes got.

2. Banning illyrian wing clipping

Wing clipping is still a pandemic in the illyrian camps meaning that he didnt put enough provisions to ensure that it stops. Passing a law and ensuring that it is followed are two different things and rhys clearly dowsnt know the distinction. An additional point regarding illyrian women is that it was mentioned in acofas that they were joining the men in rebelling, and if that doesnt say anything about their feelings with him being high lord and how he doesnt cater to them, then I dont know what does. This also speaks to the point of the assumption that women of color dont have agency in their own societies. He said something like the men 'manipulated' the women into joining their rebellion, which insinuates that they can't think for themselves and are completely voiceless and this is a factor of whit feminism, the belief that WOC colour cant speak for themselves and are meek and susetable to being controlled or manipulated. It is a huge possibility that the women can't really express their opinions because they are suppressed by their men, however we dont see rhys interacting with any women and getting their opinion on things. He assumes that they are forced into everything and though we havent gotten the book yet I'm gonna say this is false. The reason being if rhys was such a good high lord and cared for women's issues, why would the women side with their 'abusive' men instead of their so called benevolent high lord?

3. Rhys appointed women in his IC

First of all, appointing women based on merit and qualifications is feminism, not appointing family members and you underaged bride just because 'you love her'. Though mor and amren may be qualified, and that's a massive 'maybe', they haven't done anything to improve the lives of women. Like their high lord they are complacent and Hewn city and illyria are more than enough to prove this. What rhys has essentially done is nepotism and corruption and no one can convince me otherwise.

Going further on the inner circle women, rhys was willing to sacrifice these very women to achieve his goal and this is self serving and anti feminist. The first being abusing feyre UTM and then using her as bait for the attor, then later making a deal with eris even though he knows his history with mor. If anyone believes that these actions are remotely feminist or excusable, then feminism is not for you and need help because its abusive and patriachal.

In conclusion rhys isnt feminist, mor isnt feminist, amren isnt feminist, feyre isnt feminist, azriel isnt even in the conversation and cassian is the only one scratching the surface. Also, white feminism is an exclusive and limited way to portray and execute feminism, women getting leadership positions based on their proximity to men just advances the false notion that women can only succeed if they 'sleep' their way to the top and just because a woman is in a leadership space, thag doesnt make that state of affairs inherently feminist because women are also carriers of patriarchy.

I tried to sum up my points but for more on white feminism, feminist intersectionalites and how being female doesnt make a person feminist, I advice you read Bell Hooks' writings because she touches on these topics in far better ways than I can.

#acotar #acowar #acomaf #anti inner circle #anti rhysand #anti feyre #my take on feminism #stop caling female representation feminism #anti sjm #sjm critical

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linkspooky · 3 years

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I wonder what your thoughts are regarding Kamo Sr, especially regarding his goals compared to his host's and Gojo's

It’s kind of hard to give an opinion on Kamo Sr.’s actual character because he’s not established yet? There’s more we don’t know than we know about him. We know he spent 1,000 years making deals for the sake of the change of the world, we know he cares more about cursed energy than individual people, we know he’s absolutely ruthless in his methods of bringing about change, but also that change seems to be just a recreation of the heian era he once lived in, but we don’t really know why he does these things? Geto has both a goal, and an established motivation for those goals. So far we’ve only seen Kamo Sr. in terms of his goals, we know what he’s doing, but not why he’s doing it.

However, since you asked specifically in pertains to his goals I can discuss what his goals are in the broad scheme of things. To understand his goal you have to compare it to Geto, Gojo, and also Yuki Tsukumo.

1. The Kids Aren’t Alright

Geto and Gojo share the same primary goal, to protect young sorcerers so they never have to go through the same trauma that destroyed their youth. However, they have opposite ways of going about it. They both view sorcerery society as something that is corrupt and destroys individual lives, but they place the blame in different areas.

Gojo blames it on the elders on top that hold power in their society. He believes if he can raise students as allies who are strong enough to replace them, then the new regime will replace the old and will get better.

Geto believes the problem lies in the uncaring masses. That a minority (in this case sorcerers) is being oppressed in order to protect a majority of peopel who don’t even know about their struggle.That the masses are blind to the fact that they create curses, and because of this sorcerers have to needlessly sacrifice their lives over and over again in an unchanging system.

They’re both wrong. Like, Gojo is not trying to kill a bunch of people obviously but he’s only addressing half the problem. He believes if he raises children as political allies to replace the elders with a new, better regime things will improve politically and the previous generation will stop oppressing the new generation but he sort of misses out on the fact that he’s still using children as tools.

But Gojo’s like, no they’re my tools, I’ll treat them well, because I’m the strongest when I send them into battle as long as they’re also strong they’ll be just fine. (Joke).

What I mean to say is, basically what Gojo teaches his students is being stronger is what will fix your problems, when Gojo himself knows that doesn’t work. He says after losing Geto “Being strong isn’t enough to save people.” Gojo doesn’t know how to teach his students cooperativeness or getting along with others. He knows that’s what he’s missing but thinks the solution is in raising others to be strong as his, not like... teaching people to come together.

You can look at how the students fight in the Shibuya Arc as an example of this, all of Gojo’s students, run off on their own, try to be strong indivudally and fail. Yuji loses to Choso because he was fighting on their own, Megumi flips out and does a suicide attack, Nobara slips up in a fight against Mahito and gets her face blown off. They also didn’t really listen to other people, Nobara was told to stay back by an adult concerned for her well being because she would get hurt and she recklessly charged in. Megumi advised Yuji not to run off or be reckless, but Yuji did anyway and Sukuna rampaged. Gojo knows strength but he doesn’t know cooperativeness, and he doesn’t seem to understand how complex society’s various abuses can get, it’s not just a bunch of corrupt elders on top, it’s familial abuse, it’s corrupt clan politics, it’s disabled people like Kokichi not getting the help they needed and being used as tools. Gojo’s solution is just, if I raise these kids to be strong enough, then they wont’ be affected by the corruption of the world around them.

Geto’s philosophy is more wrong (obviously), but he at least picks up on the fact of how wrong it is to be using sorcerers as disposable tools. Geto values cooperativeness, and the strength of the bonds between sorcerers. Geto loves empathy, he loves the connections between people and believse that’s what makes people stronger. He calls the people he’s helped his family. I mean, you can tell the difference between what Geto and Gojo value from the way they treat Megumi and Nanako + Mimiko.

Geto raises them as his two daughters. Gojo shows up, offers his protection, gives them money, and then has them live mostly alone. Geto isn’t perfect either but he did offer himself as a substitute family. Also Geto doesn’t predicate his help to Nanako and Mimiko on the fact that they have to be allies to him growing up. Gojo offers his help to Megumi on the condition that, when you grow up you have to be a political ally to my side. I mean he ends up using his family as tools as well, but Geto even directly pulls them out of harm’s way and orders them to retreat, whereas Gojo sent his students as backup to the fight against Yuta and Geto on the premise that they would get hurt, and it would motivate Yuta to fight.

They’re just different in the way they see people in treat people, Geto doesn’t want sorcerers to be used as tools, Gojo is like, what if I made sorcerers into stronger tools, hmmm.... then they wouldn’t get hurt.

Something Gojo doesn’t seem to realize, because he views himself as a tool ultimately too. However, even if Geto were to accomplish his goal of eliminating everyone but sorcerers, young sorcerers would still continue to die because the sorcery world is still politically corrupt.

Gojo idealizes indivudal strength and believes that if he raises people to be individually strong enough, they’ll replace the old regime with something better. (That’s wrong.) Geto idealizes sorcers as a whole community, and believes that if the problem of curses were removed from the world, that Sorcers as a superior species to humans would all be able to come together and make a more ideal world. (That’s also wrong.)

Geto and Gojo both agree on the same idea, that sorcery society should be fixed so that the youth will not have to keep suffering the same mistakes as their predecessors, that no one will have to live the childhood that Geto and Gojo did, but they both have half complete methods for bringing about this fix.

I spent so long on elaborating on that because I wanted to establish, Geto and Gojo, in their own way both care about young sorcerers and would fight the world in order to protect them. Yuki and Kamo Sr. both don’t care about individual people at all. They’re very much the world > people.

2. Who Cares About Them Kids?

I think the fact that Yuki Tsukumo purposefully sat on her hands while people were fighting and dying, waited until the last possible moment to intervene, and then when Yuji was left in the aftermath didn’t really offer that much of a helping hand just sort of walked away shows that she’s not really that hung up on the suffering of individual people.

Both Yuki and Kamo are so focused on cursed energy, that they don’t really pay attention to individual people. They believe the way to change the world lies entirely in cursed energy, ignoring the plights of individual people. You know, even though the world is made up of people.

Yuki’s not outwardly malicious, she’s just careless. The senseless loss of life in the Shibuya incident doesn’t really bother her the way it does people like Yuji, because that’s not where her focus is. It’s not like one of them is the good mad scientist and one of them is the bad one. It’s more like Yuki is lawful because she at least seems to abide by some rules, whereas Kamo Sr. is chaotic because, he purposefully promotes chaos as a way of finding the ideal answer, and also he willfully breaks all of society’s taboos.

When she brings up Toji Zenin she’s not really interested in him as a person, she just thinks he’s a cool science experiment that he wants to study. I once thought Yuki Might have been manipulating Geto but, I was wrong on that front. I don’t think she’s the kind of person who would purposefully manipulate someone to that extent because of the way she views individual people, they’re just not interesting enough. What she’s interested in above all else is cursed energy. The fact that Geto eventually was corrupted didn’t even register to her, because she’s not focused on his individual well being. He’s one piece in a big game she is playing (this is just my guess of course we have nothing on her).

So while opposite Kamo Sr., both Tsukumo and him sound eerily alike, because they both prioritize cursed energy over people.

They have different methodology, but their ideals are the same.

I think Tsukumo at least is an idealist in the grand scheme of things that she doesn’t want to introduce more unncessary suffering into the world to achieve her results, and also is worried about the consequences of her action on a large scale.

But at the same time, like I said she’s not an ally of any one individual. She’s not on anybody’s side. She’s not really sympathetic to Yuji or his plight considering she just, wanders off, because her concern is with the world.

Now to finally get into Kamo Sr.’s methodology, there’s an interesting paradox between his ideals and his method. He says he wants to bring out the potential of human beings, but we’ve estalbished again and again Kamo doesn’t actually care about the welfare of individual human beings.

I thik it’s imporant to show the way he treated Choso and his family. He dismissed Choso and his brothers as failures, before they were even born, and then abadnoned him.

Then he diagnoses the fact that they were wrong because they were a failed creation. That’s like, objectively wrong here. Choso and the others never reached their potential, because he didn’t stick around to see their potential. I think the reason they failed is because you abandoned them about five seconds after they created.

Kamo Sr. wants to experiment with people to force them to grow and reach their full potential, but he also doesn’t really care about what happens to them. He wants to see individual potential, but ignores individuals and looks away from them. See, his methods are at odds with his ideals.

Kamo Sr. also tries to introduce chaos in order to witness that potential, but he like... at the same time is a complete control freak. These ideas conflict each other. He wants to witness chaos to see what will happen, but he always has to be in control. He has to be the one to have a hand in the creation for chaos. His idea of making chaos is, spending 1,000 years making binding vows that he controls, and he releases. A binding vow is represented by chains, that’s like, the opposite of freedom.

Not only that but his directly stated world he wants to create, is a contradiction. He wants to create a new world, because he believes the safety of the modern age has caused sorcery to stagnate as a whole. Which is why he prefers the chaotic heian era, because the danger and constant fighting pushed sorcers to their peak, the so-called golden age of sorcery.

However, his idea for creating a new world comes from... an over idealization of the past, and a desire to hold onto the old ways. His ideals might be to create something new, but his methods are just, the same old thing. Traditionalism. The past was better. Things should be like they were in the past.

This all leads to the fact that Kamo Sr. isn’t actually creating a new world, not really, he’s hitting a reset button on the world and undoing 1,000 years of progress because he thought the Heian era was better.

Kamo Sr. claims to be something else, but he’s actually no different than the elders who currently hold power in the Sorcery World. He’s sacrificing the young people, out of some idealization of the past and a desire to return to how things used to be, when things in the past were never really that good. He says he’s for change, but his actions are actively resisting change by trying to push the world back 1,000 years, because the chaotic heian era was just so much better with its lack of universal medical care, and indoor plumbing.

#Anonymous #tsukumo yuki #geto suguru #gojo satoru #kamo noritoshi #jjk meta #metasks #jujtsu kaisen theory #jujutsu kaisen analysis #jujutsu kaisen meta

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arakiincel · 2 years

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Elaborate please im curious

long rant below... also spoilers for both series ofc

i'll start by acknowledging the similarities between light and eli, because while they are not the same character, there are some things about them that are one and the same. both eli and light are prideful people, they hate losing and would do anything to win in the end. they both have motives for their killing that seem justified in their eyes, but to us it's so naive to consider in the first place. light wants to kill criminals so he can create a perfect world, but never stops to consider that maybe his focuses should be on the reasons why people break the law in order for them to survive in the world. eli's motivations are much more obviously wrong, but that has more to do with him being pitted as the villain in the series. with both characters, the perspective at which they are seen is crucial. that's why so many people hate eli in vicious and start to sympathize with him in vengeful. victor was always an unreliable narrator when it came to eli, he was to blinded by the rage and betrayal he felt towards him, and unconsciously villainous him.

but even if you look at surface level at the two of them, you can clearly see how incredibly different they are. light repeatedly throughout the series would call himself "the God of the new world" and thinks that once his goal of eliminating all the criminals from the world is completed, he will take it upon himself to rule the world himself as it's rightful king. in eli's view, that is blasphemy. eli is devoutly religious, and for him to proclaim himself a "god" would be to directly go against the religious beliefs that are so intertwined with his character. he does call himself an avenging angel though, and thinks he is the only "pure" EO to exist since his abilities are not inherently violent and therefore it's his job to exterminate all of the other EOs and to purify them, so to speak. both light and eli may have some sort of motivations that seem religious at first glance, but light's are clearly more of a "i'm carrying out my will, which is divine with my power" and eli's is "i'm carrying out the will of god, since he has gifted me this power."

eli's childhood also shaped his character so much, and that's why even if vengeful had it's flaws, it was still important to the storyline. we got the backstory for eli that we were always itching for. he no longer became a twisted villain who thought he was a hero for killing EOs, we started to understand why he was the way he was. both eli and light had their own form of corruption, but the wild differences in what they were amplified the differences in both characters. for light, his corrupter was the death note, and by extension ryuk. of course the groundwork for him was already laid down, it wasn't as if the death note forced you do kill people. it was just the forbidden fruit on the tree: you gaze at it and if you want hard enough you will reach out and take a bite. it was his own free will that lead him to killing. this isn't any excuse for eli of course, he in the end made the conscious decision himself to start killing, but there were so many factors in his life that pushed him into that type of headspace. the constant abuse he endured from his father, as he was constantly told he had the devil in him and was unholy, even as he was just a child. the many people he ended up loving that would always end up dead. it took a toll on his psyche as he sought solace in the thing that hurt him but also saved him: faith.

so yes, they both made the conscious decision to kill people in the name of the greater good, their motivations and lives were so different to shape their characters. it honestly seems like a disgrace to me to say that they are one and the same when both have their own nuances to them that make them so wildly different from each other.

#anyways calling all death note fans please read vicious pls pls pls #asks #diana #thank you for letting me write all this lol i didn't mean to write so much i just love both dn and vicious so much #death note #vicious #vengeful #villains series

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hafanforever · 4 years

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Tyrant Terror

So I know it’s no surprise to my closest friends and fellow Disney fans on Tumblr that I have a strong, deep affinity for villains, including those by Disney. And over the last several months, the more I wrote about King Runeard in my Frozen II analyses, the more I realized what made him a tyrant, albeit a secret one, and that led me to think about other villains in the Disney animated canon who were tyrants.

The thing is, while most historical tyrants were people of royalty, you don’t necessarily have to be a monarch in order to be a tyrant. The definition of a tyrant isn’t limited to being a KING or QUEEN who is openly cruel, hostile, harsh, uncaring, oppressive, persecuting, and unjust towards the people they rule. I mean, that is one way to express tyranny, and probably the most famous way it is and has been done. But what it really means for a person to be called a tyrant is being in a position of power, authority, and/or control over other people and MISUSING, to the point of ABUSING, that position, and often for that tyrant's own selfish desires rather than in the best interest of the people being ruled by the tyrant.

So from Snow White and the Seven Dwarfs to Frozen II, there are a handful of tyrannical antagonists who are indeed monarchs, such as the Queen of Hearts, Prince John, and Scar, but also plenty others who are not. There are tyrants who are corrupt government officials, such as Governor Ratcliffe, Frollo, and Bellwether, and even those who wield magic, such as Maleficent, Ursula, and Jafar. And like the villainous monarchs, the non-monarch villains prove themselves as tyrants all because they abuse their positions of power, magic or non-magic power, and authority that they have over other characters. In fact, there are even a couple of heroic characters who start off more as protagonist villains because they display tyrannical behavior before they become better people. On the contrary, the main antagonist enemies of these tyrant heroes serve as darker reflections of what the latter characters could have become had they not learned the error of their ways.

Below is my list of all the villains from Walt Disney Animation Studios that I perceive as tyrants, from monarchs to government officials to sorcerers, and what scenes in their respective movies depict them displaying tyrannical behavior. I even listed villains that would have become tyrants had they succeeded in their longterm goals.

Monarchs

The Evil Queen: Though we never see her actively governing her kingdom on screen, the abuse that the evil queen displays in her authority over Snow White by dressing her stepdaughter in rags and forcing her to work as a maid in an attempt to make her (Snow White) unattractive makes her a tyrant for sure. Furthermore, the way she mocks the skeletal remains of a prisoner in her dungeon suggests the queen is indeed a cruel, tyrannical ruler.

Queen of Hearts: If we want to consider the epitome of a true tyrant that is a monarch from Disney, it can be safely assumed that that role belongs to the Queen of Hearts. While every resident of Wonderland is insane in some way, the Queen is the most dangerous one of all by being the ruler of the land. An egotist extraordinaire, she loves to get her way, insisting that “All ways are MY ways!” and enjoys hearing the words “Yes, Your Majesty”. The Queen outwardly abuses her authority and power over her subjects by becoming furious over even the smallest of matters, during which she loses her literally explosive temper and flies into violent rages. She is also extremely irrational and unjust in making decisions, primarily by utilizing executions as her only and immediate solution to any problem, especially whenever she feels someone has wronged her, while also refusing to let the individuals she wants beheaded explain their sides of the stories. Enraged upon seeing her white roses painted red, when she misses a shot in croquet, and when she becomes the target of a prank caused by the Cheshire Cat, the Queen sentences those she deems responsible to death by beheading. All of this proves just how much she persecutes and oppresses the residents of Wonderland, instilling only fear and intimidation into their hearts. (A pun that is VERY much intended by me, the Queen of Puns! 😆😆😆)

Prince John: While possessing a short temper that isn’t nearly as explosive and violent as that of the Queen of Hearts, Prince John is displayed to be extremely incompetent as the ruler of England during the time that King Richard is off fighting in the Crusades. Stingy and greedy, the prince continually finds ways to rob and swindle his people in pursuit of wealth for himself. John shows absolutely no care that the harsh laws he decrees to gain more money drive the citizens of Nottingham into poverty and starvation, and he even cruelly mocks them on their poor states by saying, “Rob the poor to feed the rich!”. After the villagers start making fun of him with the song “The Phony King of England”, John punishes them by further increasing the tax payments. Soon everyone in Nottingham is stripped of their money and they are put in prison due to their inability to pay their taxes.

Horned King: Even though the Queen of Hearts projects herself as the ideal example of a royal tyrant, she is far less evil and scary than the Horned King. A skeletal creature with green, rotting flesh, the Horned King is completely frightening in appearance and in personality. Malicious, cruel, malevolent, sinister, power-hungry, megalomaniacal, ruthless, and merciless, he is the epitome of a tyrant who is nothing but purely and completely evil. His goal is to find the infamous Black Cauldron and use its powers to unleash an army of immortal warriors called the Cauldron Born in order to become immortal and conquer the world.

Scar: Denied a legitimate chance to succeed Mufasa as the King of the Pride Lands once Simba is born, Scar schemes to have both of them killed to become king. After murdering Mufasa and believing that Simba has been killed as well, Scar ascends to the throne. However, because he allows the hyenas unrestricted hunting rights in the Pride Lands, their overeating leads to a shortage of food, and a drought leads to other animal herds moving away. Ultimately, these events turn the kingdom into a barren wasteland under Scar’s reign, leaving it completely devoid of green vegetation, water, and food sources. Incredibly lazy and incompetent as a ruler, and caring about nothing except the power and authority that being king gives him, Scar refuses to accept that his allowance of the hyenas overeating is what leads to the destruction of the Pride Lands. He instead blames it on Sarabi and the other lionesses since the hyenas complained to him that they refuse to go hunt. When she suggests they leave Pride Rock to survive, Scar obstinately rejects the idea, not at all caring that he has essentially sentenced them to death. He argues that his place as king puts him in the right for whatever he decides to do: “I am the king! I can do whatever I want!”

King Runeard: In his life, Runeard openly presented himself as a peaceful, generous leader to the people of Arendelle AND the Northuldra. But Elsa discovers from his snowy manifestation in Ahtohallan that he did not trust the Northuldra just because they followed magic. Despite his kingdom having seen him as a benevolent ruler, the face the figure of Runeard makes as he sneers "of a king!" implies that only really cared about himself as well the power and authority he had in being a king. Therefore, he secretly misused and abused it whenever the opportunity came along. This is displayed perfectly when Runeard had the dam constructed in the Enchanted Forest, presenting it as a gift to the Northuldra. He claimed that it would strengthen their land, but admitted only to the second-in-command that the dam’s effects would be just the opposite. This was all part of Runeard’s subtle plan to destroy the Northuldra, as he feared they would try to usurp him and take over Arendelle using their magical ties.

Government Officials/Authority Figures

Lady Tremaine: Like the evil queen before her, Lady Tremaine has control and authority over Cinderella once the latter’s father dies, and misuses it by turning Cinderella into her servant. Day after day for ten years, Lady Tremaine orders and bosses Cinderella around, forces her to do every single bit of housework and menial task for her and the former’s daughters, and subjects the poor girl to an endless cycle of abuse and torment. When Cinderella is accused by Anastasia of putting Gus under the latter’s teacup, her stepmother refuses to let her explain the truth and unfairly punishes her with extra chores. Later, Lady Tremaine falsely promises Cinderella she may attend the ball if she finds a suitable dress and finishes her chores, but gives her chore after chore to do to keep her from working on her dress. After Cinderella appears wearing the dress her mouse and bird friends fixed up for her, Lady Tremaine subtly and cruelly manipulates Drizella and Anastasia into destroying it so that she can appear to be fair in her side of the bargain (”If you can find something suitable to wear”) while simultaneously keeping Cinderella from going to the ball in the first place. The following morning, when she realizes Cinderella was the mysterious girl who danced with the prince at the ball, Lady Tremaine follows her stepdaughter up to her room and locks her in to prevent her from trying on the glass slipper when the Duke arrives with it.

Sheriff of Nottingham: Despite not being the main antagonist of Robin Hood, the Sheriff of Nottingham is as much of a tyrant over the town as Prince John is to it and the entirety of England. This is because he is abusive, ruthless, and completely unsympathetic towards the people’s poverty and continually demands that they pay their taxes, regardless of what other problems they may have that hinders them from doing so. It is because of the Sheriff’s harsh decree of taxes, and then by that of Prince John once the latter takes up residence in Nottingham, that the town’s citizens are driven into poverty. The cruel, immoral way the Sheriff collects taxes includes forcing out the coins Otto had hidden in his leg cast, not caring that his act was causing the blacksmith pain from his broken leg, confiscating the one farthing Skippy had been given for his birthday and insincerely wishing him a happy birthday, and taking the single farthing that was in the Friar Tuck’s church's poor box and laughing as he did it.

Ratigan: A notorious crime lord, Ratigan is the leader of a gang of thugs comprised primarily of mice, but also including a bat named Fidget, who is his second-in-command. Although they willingly help their boss with his crimes, they also participate out of fear for their own lives. Ratigan is an abusive tyrant to his minions and threatens to feed them to his cat Felicia if they ever do something that angers him, even if it occurs unintentionally. This is shown after one of his drunken thugs calls him a rat during "The World’s Greatest Criminal Mind”, and Ratigan threatens his other minions with the same fate if they do not keep singing. Ratigan’s latest scheme is to take over London by murdering the Mouse Queen during her Diamond Jubilee celebration and secretly replacing her with a lifelike robot. He and his thugs (who are disguised as royal guards) infiltrate Buckingham Palace and kidnap the Queen, who is taken to be fed to Felicia by Fidget. As the Diamond Jubilee takes place, the Robot Queen names Ratigan as her new "Royal Consort", and Ratigan, dressed in an ornate robe, immediately presents himself in front of the gathered citizens of Mousedom, terrifying them. He then proceeds to read over his long list of tyrannical laws, one of which is a heavy tax policy for people he deems "parasites", including the elderly, infirm, and children.

Governor Ratcliffe: A completely unscrupulous and greedy man, Ratcliffe leads John Smith and other sailors on an expedition to Virginia to find gold, but he secretly plans to keep all discovered riches for himself. Upon their arrival to America, he forces all of the settlers to dig around their encampment, but refuses to do any manual labor himself out of his own sheer laziness. When no gold turns up in the searches, Ratcliffe becomes greedily convinced that it is because the Native Americans are hoarding it. He refuses to believe John's claim that there is no gold around the land, claiming that the Powhatans’ land is his land for the taking and that he makes the laws. After John is captured by the Powhatans, as they believed he murdered Kocoum, Ratcliffe takes it as the opportunity to take the non-existent gold from them, but claiming to his men that it is a rescue mission.

Judge Claude Frollo: Perhaps the darkest and most malevolent of all Disney Villains in animation (aside from the Horned King), Frollo uses his position as the Minister of Justice in the city of Paris to enrich himself and persecute anyone and everyone he considers inferior. He especially holds a deep-seated hatred for the gypsies and plots to eradicate them from the city. Despite his dark deeds, Frollo refuses to find any fault within himself and he truly believes he is a good person who is only trying to rid the world of sin and malice. Any time he commits a crime or is about to do one, he makes excuses to justify them, saying he is doing it in the eyes of God and that his victims are the ones who are really at fault. After chasing and murdering Quasimodo’s mother since he believed that the bundle she was carrying was stolen goods, Frollo attempts to murder Quasimodo since he believes the latter’s deformity makes him an unholy demon. Years later, after trapping Esmeralda in Notre Dame and upon discovering that she has escaped, he launches a ruthless manhunt around the city to find her, burning down the houses of anyone suspected of sheltering gypsies (including an innocent miller and his family, who survive thanks to Phoebus’s intervention) and interrogating gypsies who are captured. During the climax, Frollo makes the excuse that Esmeralda has proven herself to be a witch and will be executed by burned at the stake as her sentence.

Hades: The reluctant ruler of the Underworld and Lord of the Dead, Hades abuses his authoritative role by subjecting his lackeys Pain and Panic to harsh mistreatment whenever they fail a task assigned to them and any other time they do or say something that angers their boss. The two imps only put up with Hades’s abuse not so much out of loyalty to him, but out of deep fear for him. When he discovers that the two did not succeed in killing Hercules as a baby, Hades furiously grabs both Pain and Panic by their necks and chokes them as he demands they explain themselves. Later, after Hercules becomes a famous hero in Thebes, Pain and Panic adorn themselves with some of the hero’s merchandise, much to their boss’s complete ire.

Shan Yu: The ruthless yet respected leader of the Hun army, Shan Yu is an extremely dark, merciless, and dangerous individual determined to take control of China. His thought-to-be impossible feat of getting through the Great Wall to invade China soon makes him notorious and feared throughout the entire country. In his journey to the Imperial City, Shan Yu and his army destroy one village, then slaughter the entire Imperial Army and residents in another village at the Tung Shao Pass in the mountains. He and five of his elite soldiers are the only ones who survive a snow avalanche caused by Mulan. When the group arrives at the Imperial City and take control of the palace, Shan Yu orders the Emperor to bow to him, and decides to kill him when the latter adamantly refuses to do so.

Turbo: Initially believed to be the ruler of the game Sugar Rush, King Candy is secretly Turbo, a racer from the old game TurboTime who was believed to have died after his game was permanently unplugged. Having stolen the throne from Vanellope Von Schweetz, the true ruler, Turbo turns her into a glitch and makes himself the ruler of her kingdom. While he is viewed as eccentric and flamboyant, yet jovial and benevolent, to his subjects, Turbo is extremely obsessive and possessive of his new royal status. He continuously lusts for power and authority and goes to great lengths to secretly abuse his position, not just by allowing the other racers to ruthlessly torment Vanellope, but especially by keeping Vanellope from racing so that she cannot regain the role he had stolen from her.

Bellwether: The epitome of the famous phrase “a wolf in sheep’s clothing”, Dawn Bellwether pretends to be sweet, meek, and friendly to successfully hide her true prejudiced, ruthless, embittered nature. Initially the overworked assistant mayor of Zootopia to its mayor Leodore Lionheart, Bellwether secretly hates him and all predators, viewing them as nothing more than savage, dangerous monsters. In her scheme to overthrow him, take control of the city, and drive all predators out of Zootopia, Bellwether becomes the leader of a secret organization of sheep terrorists who create a serum from night howlers to turn predators feral. This would give the illusion that they were biologically reverting back to their "primitive savage ways" and eventually be regarded as too dangerous for society, allowing only prey animals to take up the entire population. However, in her goal to become the mayor of Zootopia, rather than subjecting Lionheart to becoming savage, Bellwether instead develops her plot to ensure that he is removed from office and his positive reputation amongst the citizens is ruined, allowing her to rise to power in his place.

Magic Users

Maleficent: Known as The Mistress of All Evil, Maleficent is a ruthless tyrant who rules her own subjects at her home, the Forbidden Mountain. Using her dark magic, she continuously abuses her power and authority over her minions, particularly whenever they display incompetence and stupidity. This is shown when Maleficent flies into a rage and attacks them with her magic upon realizing that, over the last 16 years in their search for Aurora, they were only looking for a baby, not realizing in their idiocy that Aurora would be growing up.

Ursula: Known for her dark reputation as a sea witch, Ursula was banished from Atlantica by Triton. She explains in “Poor Unfortunate Souls” that she uses her magic to help merfolk attain their deepest desires and only imprisons them if they can’t keep their side of the bargain. However, after she takes Ariel’s voice away and turns the latter into a human to try and win Eric’s heart, Ursula reveals she has no intention of letting Ariel follow through with kissing Eric to remain human. She proves herself to be a tyrant because all she really does is backstab the merpeople with whom she makes deals in order to ensure that only HER desires are met! When she bargains with Triton so he will surrender himself to her in exchange for Ariel’s freedom, Ursula steals his crown and trident, then grows to giant size, declaring herself the ruler of the entire ocean.

Jafar: Unbeknownst to the Sultan of Agrabah, his Royal Vizier Jafar plots to take control of the kingdom, and he needs the Genie of the lamp from the Cave of Wonders to pull off this feat. Once the lamp is in his possession, Jafar succeeds with his first to become sultan. But after Jasmine and her father refuse to bow to him, he wishes to become the most powerful sorcerer in the world to have an even greater amount of power. During his brief reign, Jafar proves himself to be a tyrant by turning Agrabah into a dystopian wasteland, dressing the Sultan as a living marionette and allowing him to be abused by Iago, and making Jasmine his own slave girl.

Tyrants-Turned-Heroes

The Beast: From the time he is cursed and until he finally starts to soften, the spoiled behavior the prince had before his curse remains. He is aggressive, rude, impatient, and frequently and easily loses his temper when something annoys or irritates him. Primarily due to his short temper, the Beast acts like a tyrant towards his servants because he is mean and cruel to them as he gives them orders, which makes them deeply afraid of him. Only on some occasions do they openly rebel against him or talk back to him, such as Mrs. Potts ordering the Beast to act more like a gentleman around Belle, and both her and Lumiere deciding to feed Belle despite being told that she was not allowed to eat unless she ate with the Beast.

Kuzco: In the beginning, Kuzco is very arrogant, lazy, selfish, and self-absorbed, viewing himself as superior to all simply for being the emperor. He rules his empire completely without the best interest of his people and always seeks to have his way, never showing any concern over the chances things could turn out badly for other people involved. This is shown when he sets his sights on building his summer home of Kuzcotopia on the top of the hill where Pacha, Pacha’s family, and other villagers reside. Since the plan will only benefit himself, Kuzco shows absolutely no care or concern that destroying Pacha’s village to build Kuzcotopia will render the residents homeless.

Would-Be Tyrants

Gaston: From what I described about him in “Bride and Prejudice” with his growing obsession with Belle and his low, inferior views of women, there is no doubt in my mind that, had Gaston succeeded in marrying Belle and starting a family with her, he would have run his household like a tyrant. He would be very controlling to the point of being physically abusive to his wife in order to get her to obey every single one of his commands and orders. Like many of the tyrants I listed above, Gaston would undoubtedly use fear and intimidation to keep his wife in her proper place of being beneath him, and he would instill these same feelings on to his own children.

Yzma: Her ire drawn after Kuzco remorselessly fires her, a furious Yzma decides to kill him so that she can take over the empire. While Kuzco is initially selfish, callous, and uncaring towards his staff and people living in his empire, he learns to change his ways by the end of the film. Had Yzma succeeded in her goal, she would have been far more of a selfish, ruthless tyrant than Kuzco was at first. This is evident during her introduction scene, which is one of many times she governs the empire whenever Kuzco is not present. As a peasant complains to her that he and his family are suffering from limited food sources, Yzma spitefully says his problem is of no concern to her, and that the man should have realized this ahead of time.

Hans: While taking over as temporary ruler of Arendelle in both Elsa and Anna’s absence, Hans wins the hearts of the people by acting as a kind, caring, benevolent ruler during the harsh conditions brought on by Elsa’s magical winter. Though he reveals his true, dark nature to Anna and his plot to take control of Arendelle, the fact that he earned the trust and respect of the Arendellians suggest that Hans could truly have been a very worthy ruler. However, now that we have Frozen II and it revealed that Runeard was actually a malevolent tyrant behind the same kind of benevolent facade that Hans used, there is no doubt in my mind that had he succeeded in stealing Arendelle’s throne, Hans also would have become a ruthless, power-hungry, selfish tyrant in secret.

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aion-rsa · 3 years

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Squid Game’s Scathing Critique of Capitalism

https://ift.tt/3kOEMpF

This Squid Game article contains MAJOR spoilers.

From the very first game of ddakji out in the real world with Train to Busan actor Gong Yoo, Squid Game poses the question: how far would you go for money? How much of your body, your life, would you trade to keep the wolves at bay and to get to live the life you’ve always dreamed? Once you start, could you stop, even if you wanted to? And in the end, would it even be worth it? While Squid Game depicts an attempt to answer these questions taken to the extreme, they are the same essential questions posed to everyone living under capitalism: What kind of job, what terrible hours, what back-breaking labor, what level of abuse, what work/life imbalance will we tolerate in exchange for what we need or want to live? Unlike many examples of this genre, Squid Game is set in our contemporary reality, which makes its scathing critique of capitalism less of a metaphor for the world we live in and more of a literal depiction of life under capitalism.

Squid Game’s Workers

At the most basic level, the entire competition within Squid Game would not exist without extreme financial distress creating a ready pool of players. It’s no coincidence that Gi-hun’s hard times started when he lost his job, followed by violence against the workers who went on strike. Strike-breakers and physical violence against striking workers may feel like an antiquated idea to an American audience. South Korea, however, has something of an anti-labor reputation, with only 10% of its workers in unions and laws limiting unions to negotiating pay, among other restrictions. In the US, the anti-labor fight is alive and well, though transformed, where it takes the shape of the deceptively named “Right to Work” laws, which benefit corporations and make it harder for unions to operate.

As noted in our review, (most of) the players choose to leave and then willingly return to the arena, which separates Squid Game from other entries in the genre like the Hunger Games series and Escape Room. This element of volition contributes to the series’ primary critical goal. As Mi-nyeo and others brought up early on, they’re getting killed in the real world too, but at least inside they might actually get something for their troubles.

As an anti-capitalist parable, the only ways to fight back or upend the game in some small way are through acts of solidarity or by turning down the allure of the cash. The final clause in the game’s consent form states that the game can end if a majority of players agree to do so. After the brutal Red Light, Green Light massacre in the first, they do exactly that. The election might as well be a union vote. It’s shocking that the contract for the game included an escape clause at all, but it seems the host and his ilk enjoy at least allowing the illusion of free will if nothing else. The players who didn’t return after the first vote to leave the game, though unseen in this narrative, are perhaps the wisest of all.

Squid Game’s Most Heartbreaking Hour is Also Its Best

By Kayti Burt

Squid Game Ending Explained

By Kayti Burt

During tug of war, Gi-hun’s team surprises everyone by winning. Their teamwork, unity of purpose, and superior strategy help them defeat a stronger adversary, which is a basic principle of labor organizing, albeit usually not at the expense of the lives of other workers. Player 1 (Il-nam) and Player 240 (Ji-yeong) each find their own way to beat the game by essentially backing out of the competition during marbles. In exchange for friendship and choosing the circumstances of their own deaths, Ji-yeong and Il-nam each make their own, ethically sound choice under this miserable system. Il-nam gets an asterisk since he was never going to die, but he still found a choice beyond merely “kill” or “be killed” by teaching his Gganbu one “last” lesson and helping him continue on in the game.

In the end, Gi-hun confounds the VIPs and the Front Man by coming to the precipice of victory and simply walking away. Under capitalism, this group of incredibly rich men simply could not understand how someone could come so close to claiming their prize, and choose not to. But for Gi-hun, human life always had greater value. Gi-hun followed (Player 67) Sae-byeok’s advice and stayed true to himself, refusing to actively take anyone’s life, especially not the life of his friend.

Squid Game’s Ruling Class

Since the competition only exists because of the worst aspects of capitalism, it’s not surprising that in the end, it is itself a capitalist endeavor. Ultra-wealthy VIPs, who mostly seem to be white, Western men, spectate for a price and bet on the game. In their luxury accommodations, they lounge on silent human “furniture” and mistreat service staff. In one notable example, a VIP threatens to kill a server (who the audience knows to be undercover cop Hwang Jun-ho) if he doesn’t remove his mask, even though the VIP knows it would cost the server his life.

Perhaps most enraging of all is what Player 1, who turns out to actually be the Host, has to say to Gi-hun a year after the game ends. It all circles back to the game’s existential connection to economics; on the one hand, there is the unshakeable link to a population in which a significant portion of people suffer from dire financial woes. On the other hand, there is the Host and his cronies, the ultra-rich who are so bored from their megarich lives that they decided to bet on deadly human bloodsport for fun just so they could feel something again, as though they were betting on horses.

In spite of the enormous gulf between the two, the Host attempts to draw comparisons between the ultra-wealthy and the extreme poor, saying both are miserable. His little joke denies the reality of hunger, early death, trauma, and many other ways that being poor is actively harmful, both physically and mentally. It’s the kind of slow death that makes risking a quick one in the arena seem reasonable. He and his buddies were just kind of bored. Moreover, the Host denies the role of economic coercion in players taking part in the game, insisting that everyone was there of their own free will. But what free will can there be for people who owe millions, with families at home to care for and creditors at their back, when someone comes along and offers a solution, even a dangerous one? Anyone who has taken a dodgy job offer to get away from a worse one, or because they’re unemployed and the rent and college loans are due, knows that there is a limit to how truly free our choices can be when we need money, especially if there’s little to no safety net.

Why Are Squid Game’s English-Language Actors So Bad?

By Kayti Burt

Best Squid Game Doll Sightings

By Kayti Burt

Throughout the series, it is clear that someone had to be funding Squid Game at a high level. Unlike science fiction or fantasy takes, the show is grounded in our current reality, so the large-scale, high-tech obstacles and the island locale must have cost a pretty penny. Of course for any who see it as unrealistic, consider the example of Jeffrey Epstein, a man who bought an island from the US government and ran a sexual abuse and human trafficking ring not entirely disimilar (though far more pedestrian in its purpose) from this one.

The Host is able to pay for everything because he works in – you guessed it – banking. It’s a profession where he gained wealth by moving capital around. Given the Korean debt crisis – South Korea has the highest household debt in the world, both in size and growth – his profession makes him a worthy villain, in the same way the Lehman Brothers were after the 2008 crash. The bank executive calls in Gi-hun to offer him investment products and services, because of course someone with 45 billion won can accrue significantly more money passively, and who wouldn’t want that? Gi-hun’s decision to walk away is a callback to his earlier attempt to walk away from Squid Game when millions of dollars was within his grasp.

Throughout the series, the people running the game actively pit the players against one another in much the same way capitalism pits workers against one another. Whether they’re giving the players less food to encourage a fight overnight, the daily influx of cash every time another player dies, or giving them knives for the evening, the mysterious people pulling the strings want the players to fight each other like crabs in a barrel so they can’t work together to figure out what’s going on or take on the guys in red jumpsuits. Though there are notable examples of the players working together to succeed, it is always within the rules of the system. It is never treated as a viable or likely option for the players to team up and take the blood money literally hanging over their heads or to prevent death, merely to redirect it or choose how they will die. No, to win that, they must play the Squid Game’s rules.

In our society, this kind of worker-vs-worker rhetoric takes the form of employers telling workers their workload is harder or they can’t go on vacation or get a raise because of fellow employees who leave or go on maternity leave.. In reality, these are all normal aspects of managing a business that employers should plan for, and their failure to do so is not the fault of their workers. Much like in Squid Game, it benefits managers and owners if workers are too busy being mad at each other to have time or energy to fight the system and those who make unjust rules in the first place.

Squid Game’s Managers

The Front Man insists the game is fair, gruesomely hanging the dead bodies of those involved in the organ harvesting scheme because they traded medical knowledge for advanced intel on the game. However, like capitalism, there are many ways that the system is clearly rigged, no matter what the people at the top insist. There’s the obvious corruption in the organ harvesting ring, but even at its “purest” form, the game is not equitable. Sometimes the managers and soldiers in red jumpsuits stand by when unfair things happen, like Deok-su and his cronies stealing food. At other times, the people in charge intervene in player squabbles, like enforcing nonviolence during marbles and elections but encouraging violence at other times. They especially set things up to their own advantage, such as cutting the lights so the players couldn’t see the glass in the penultimate game, or the way they set up the election. Everyone knew how everyone else voted, they shared the total amount of money immediately beforehand, in an attempt to sway votes, calling to mind Amazon’s scare tactics before the recent unionization vote.

Culture

Squid Game Competitions, As Played By BTS

By Kayti Burt

Movies

Squid Game: Best Deadly Competition TV Shows & Movies to Watch Next

By Kayti Burt and 3 others

Ultimately, much like any manager/employer, the Front Man’s insistence on fairness has nothing to do with the actual value of equality, but rather the capitalist need to ensure betters are happy with the stakes and their chance at a favorable outcome.

Even the workers, soldiers and managers in red jumpsuits, who seem to be in charge, are ultimately only in power (and alive) so long as they serve the needs of the system. Like so many low-level managers, many wield their tiny amount of power ruthlessly, shooting players with impunity or running their organ harvesting side gig. It soon becomes clear that they’re as expendable as players, if not moreso, and the Front Man shoots them without hesitating. A player asks (and it’s too bad we never learned) what “they” did to the people in red jumpsuits to get them to run this game, but it’s not too hard to guess. They seem to be very young men, who likely needed money and wouldn’t be missed if they never returned.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The biggest trick capitalism ever pulled was convincing workers it’s a zero-sum game, that anything we want but don’t have is the fault of someone else who “took it” from us. Within the game, that means every player was a living obstacle to the money, and that Gi-hun should kill his childhood friend to succeed and celebrate when he’s done. But as we see after he “wins,” even without taking Sang-woo’s life himself, the money isn’t worth it. The greater success would have been both men walking out of the arena alive.

The post Squid Game’s Scathing Critique of Capitalism appeared first on Den of Geek.

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maidmvricn · 3 years

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( lex scott davis. thirty. cis woman. she/her. ) the story of ROBIN HOOD now lives in the soul of MARION GREENWOOD, aged THIRTY years. they’re a LOCAL, having been in woodvale for THIRTY YEARS in the NORTH as an EXECUTIVE ASSISTANT TO THE MAYOR & COUNCIL. and yeah, they definitely have the vibes of MAID MARIAN with the powers of ANIMAL SOUL, don’t you think? @folkloremsintro

ABOUT

TW: death, prostitution

marion was born into a life of relative prestige and privilege, primarily on account of her familial political ties and law-serving in the form of cops or lawyers. the greenwoods, meant to lead by example and protect their public image by any means, did their level best to live up to reputation in every way except for where it counted: when the doors were closed. addiction and corruption ran rampant through her family line, the usual understanding of power in wealth turning even the best of her brethren crooked in some form or another.

and so it should come as little surprise that marion’s life itself, despite appearances, was far from perfect.

her mother was a prostitute, primarily serving men of great religion or connection, and thus her mother in name only, as her father refused to take on the shame of marrying a woman he considered beneath him. less so upon discovering her .. condition, the news of her pregnancy in their steady time together ( at his request, as surely no man was allowed to touch what was his ) hardly bringing the joy she wished. his father, a former chief of police, would surely never let him hear the end of it should he even consider otherwise, and instead encouraged a union between his son and a family friend — a woman with the proper connections, a decent standing. and this woman, this eleanor, would present herself accordingly — marion herself long under the impression that eleanor was of blood relation until she uncovered otherwise and chose to keep this secret, and others she may have discovered, well into her years. even at their sudden passing — a situation claimed as poor circumstance, a matter of wrong place, wrong time to cover up any possible scandal — when she would come into the guardianship of her uncle john and fall into his darker world of manipulation and treachery. she kept their lies to herself. she maintained their pristine image. because it was expected. and marion would do little else beyond what was expected — even these days. at least on the surface. to shame her father otherwise, her family publicly, was a death sentence and frankly, rather impractical. there were better ways to maneuver, she’d learn, better ways to break the trend of corruption and betrayal her family had encouraged.

she had come to the decision, rather early in her years, in fact, to fight them from the inside. them, and all the others like them that had disenfranchised those that counted on them and abused the power bestowed upon them. because they were wrong. when marion heard the stories of those of lesser means than she, who only wished for better for themselves and those around, she listened. she learned. she’d bide her time, work her way through, and pursue what mattered.

the journey to that goal? of lesser importance.

ABILITY

ANIMAL SOUL — possesses the soul of an animal within her human body, permitting her animal-like capabilities, however, this has a limited scope. she can only mimic one creature at a time and her actual size only allows for so much. she also cannot physically transform into these creatures and the longer she chooses to impersonate them, the more setbacks she incurs. this includes things like prolonged sensitivity to ultrasonic waves or easily triggered rage, becoming more animal than human.

SPECIFIC SOULS

WOLF — powerful bite, enhanced endurance, enhanced senses (smell, hearing and sight), enhanced strength, enhanced tracking, tracking evasion, temperature regulation, predator instinct

FELINE — claw retraction, enhanced agility, enhanced balance, climbing, enhanced flexibility, enhanced leap, enhanced senses, enhanced speed, darkness adaptation, night vision, enhanced stealth

AVIAN — aerial adaptation, aerial combat mastery, atmospheric adaptation, wing manifestation, environmental adaptation, enhanced agility

BAT — echolocation, wallcrawling, enhanced hearing, enhanced smell, hibernation, sonic scream, darkness adaptation

SNAKE — camouflage, constriction, crushing, scale manifestation, elasticity, enhanced regeneration, enhanced smell, poison generation, prehensile tongue

TURTLE — dermal armor, enhanced endurance, enhanced durability, defense mode, prey instincts

SHARK — aquatic adaptation, aquatic breathing, powerful bite, enhanced endurance, feral mind, speed swimming

MONKEY — enhanced agility, enhanced balance, climbing, enhanced combat, enhanced endurance, enhanced strength, prehensile tail, adoptive muscle memory

HARE — burrowing, enhanced agility, enhanced hearing, enhanced leap, enhanced speed, enhanced stealth, luck

HEADCANONS

her parents passed when she was younger in age. she’s been in the custody of her uncle since and their relationship is a little messy, frankly. there have been no confirmations regarding what’s occurred or why regarding her parents, just that it was spun as a sad set of events on account of the family buying silence. considering where and how they were found, however, marion has her own opinions on the matter of her father and his wife’s passing

her uncle’s connections, in part, secured her current position with the mayor and council, allowing her access to those she otherwise wouldn’t be able to pursue

marion is a philanthropist and activist, volunteering her time to those in need, utilizing her wealth to support causes that matter, and raising her voice to speak out for those that cannot, albeit in subtler fashions. unless her uncle believes the publicity might be of some use

marion is also a huge workaholic

very lois lane meets sawyer of cats don't dance, if that gives you an idea of personality

despite her appearance as an upstanding individual, marion has often broken laws in the services of others and has a terrible trend for pursuing those most would consider questionable, at best. romantically or otherwise

marion is a talented archer and fencer and a decent kickboxer. her father wanted a son, and upon discovering she was not this, decided it was still worthwhile to instill in her proper methods of protection. no child of his would be weak in any sense

WANTED

the rich and well-off, the connected, the political

though i'll likely be placing a wc separately, a guy of gisborne would be lovely

the criminally inclined? or just those questionable or unconventional sorts frankly. specifically in exes or even odd associates

those she’s secretly supported in some fashion

those that know of or are connected to her uncle or robin, for that matter

any and all, truly. i’m quite flexible and love all ideas

#folklorems.intro

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