#especially if they are seriously considering attempting to revive the series - this sort of thing is great for drumming up interest | Explore Tumblr Posts and Blogs

basketballandtextbooks · 4 years

Note

Speaking of analyses, what's your interpretation of Kenny? (I feel like he's the one character that really doesn't get talked about in the same manner as other characters. Sure, he gets praised often for being a good boi and there's discussions/theories of his curse, his homelife, sex... But as far as him as a WHOLE, as a person, I don't tend to see that a lot. I think that's why his fanon interpretations feel like a disconnection: He's quiet, his hood being down doesn't mean he'll "talk more")

To even begin delving into all of the aspects of Kenny’s personality, we’ll first have to divide up subsections to how he behaves in certain circumstances, ascertain his motives for doing so, and then finally combine all of that information into a cohesive assessment of his thoughts, feelings, and agendas. And as a bonus, I’d like to discuss how these traits would most likely change and develop over time. All that said, I just really like his character so instead of doing all that fancy essay work, I’m just going to babble about him. We’ll start with what is both the most and least important aspect to Kenny; his relationship with death.

Death has haunted Kenny for his entire life so far as we, the viewers, are able to tell. The current in-series explanation for his ceaseless bouts of death involves his parents in a cthulhu cult before he was even born. The details here are vague, but the implication that leaves us with is that this is a lifelong affliction. Flashbacks as early as preschool support this theory as we’ve seen Kenny die in a firecracker accident back then. Kenny’s feelings towards death are made clear in several lines and yet more nonverbal cues. He’s scared of death. It’s painful and he hates it. Even knowing he’ll come back, or at least assuming he’ll come back, that doesn’t stop him from screaming, running, crying out, hiding, and outright declaring how painful and unpleasant he finds death. This at least tells us one thing about Kenny’s personality going forward that will be important to understanding further aspects: He hates pain. He’s had plenty of pain, pain beyond what a normal person could ever imagine, and he hates it. One conjecture we can make from this knowledge is he’s extremely unlikely to self-harm in a violent or painful way, such as cutting or punching himself. He has shown a brief interest in pain for sexual pleasure though, as seen with his stint of asphyxiation for masturbation. The attempt killed him but we never get a follow up on whether or not he found it enjoyable, therefore it can be read as either “Kenny enjoys pain for pleasure, specifically asphyxiation” or “Kenny tried pain for pleasure once and as it resulted in his death, he doesn’t want to do it again” or “Kenny will try anything sexual at least once”. Among these readings, the third is most likely the most accurate while the first two can be entirely up to the opinion of the interpreter. They have equal canonicity behind them.

His hatred of death and pain has led him to become bitter and angry towards the people around him on many occasions. For example, when Kyle was dying Kenny was incapable of feeling sympathy for Stan’s sadness over it when Stan was so consistently apathetic towards his own death. It’s clear that Kenny doesn’t want Kyle to die and cares about the well-being of all of his friends (sacrificing his life for them on many occasions) but it was particularly painful to listen to Stan talk about how sad he was that a friend of his was dying in the hospital. If we pay attention to the timeline, this happens before Kenny dies in the hospital and Stan refuses to visit him, which would solidify every feeling of resentment he felt when Stan was worried over Kyle. During that time, Stan had had no trouble visiting Kyle in the hospital so from Kenny’s perspective, Stan just didn’t care. Still, he clearly cares for Stan and his other friends which is why we hear the repeated “Where’s Stan?” that breaks our hearts every damn time. It’s worth noting that Kenny has a teddy bear in the hospital that is never seen before or since, it’s very likely a bear from the hospital gift shop given to him by one of his visitors. So either Chef, his parents, or Kyle bought him the bear. A personal favorite headcanon of mine is that Kevin stole the bear for him but there is absolutely no evidence to support that hypothesis. Logically the culprit is either Chef or Kyle, considering the McCormick’s money troubles, and it would be very in character of Sheila to insist he buy something for his friend at the gift shop. Another thing to note is that Kyle is the only one of his friends, aside from Cartman, who visits him in his hospital room. Butters sends a card and there are visible gifts that build over time. We know for a fact during the episode where Kyle was dying that the teacher would have the students make cards for a sick classmate, so the card and gifts are most likely a byproduct of that. It is worth noting that while Kenny was dying such a slow and painful death, Kyle was the only one who was able to stay at his side. Stan found it too painful to watch him die and Eric was off on his mission to ‘save’ Kenny. I believe this impacted the way Kenny viewed his friends in the future, distancing himself from Eric and opening up to Stan less and less. His relationship with Kyle remains dubious and the other kids in his class he keeps an emotional distance between.

One cannot address the issues of this episode without also delving into the issues regarding the length of his death and revival. It’s implicit in the show that Kenny has no idea how long he will be dead for, a few hours or a few years, and there is very little consistency in how he is revived. Most frequently he revives via a literal rebirth (one notable instance of this causing his mother to have a miscarriage), but he’s also had instances of reviving back into his own corpse or literally appearing out of thin air. This leads us to the explanation that he doesn’t know how long he’ll be dead, where he’ll go, or how he’ll revive. This loss of control in his life causes him to put a significant distance between himself and anyone he might care about, for fear that his condition would ruin any chances of maintaining the relationship.

This is especially apparent in his complicated relationship with Cartman (which we will address in more detail later). During his extended period of death, Cartman was the driving force in finding a ‘Kenny replacement’ and Kenny’s self-proclaimed BFF. Both Stan and Kyle joined these attempts cheerfully, but Cartman was the most determined. He tried with both Tweek and Butters, succeeding in finding a best friend in Butters and making Butters an on-again-off-again addition to the ‘main four’ while also maintaining a close (and complicated) friendship to Cartman. Butters was compared to Kenny on several occasions during this transition and showed both agitation and resentment over the comparison. Eventually putting Kenny up on a pedestal as someone ‘great’ because of all the times the guys assured him that “Kenny would do it if he were here”.

It’s worth noting that the two individuals within canon who clearly and canonically remember Kenny’s deaths are Cartman and Timmy. While an explanation for Timmy’s knowledge is still left up in the air, there are a few potential explanations for Cartman’s retained memories. One explanation that I normally prescribe to is that Cartman has Kenny’s eyes and by taking a body-part of Kenny’s, he can now see Kenny’s deaths. This explanation isn’t perfect, as Cartman showed signs of understanding Kenny’s condition prior to that episode, but its one potential explanation. Understanding his condition could have been a basis for the initial development of their friendship or it could have been a secret shared when they were still close that Eric was naïve enough to believe. Although, Eric’s understanding of Kenny’s condition could very easily be an explanation for his own apathy towards other people's deaths (like how he murdered Scott’s parents). Ever since he could remember, his best friend had died and come back, at the age of 8 or 9, how could he possibly have a complete understanding that Kenny’s case wasn’t normal. He could have very well expected Scott’s parents to return the next day the same way Kenny did. While it’s also possible he committed those murders knowing full well that their deaths were permanent, it is still hard to believe that he’d even be capable of taking death seriously after seeing Kenny die so many times.

Continuing further, Kenny’s fear of death does not make him cowardly, quite the contrary. Some stand out sacrifices that he made while scared would be during the meteor shower trilogy (he owed nothing to those people and still gave his life to protect them) and during the hunt for Eric’s parentage, sacrificing his life to save the hospital. He was scared both times and they were ultimately selfless acts. What makes them stand out even more though is how dependent his friends were on him during both instances. They had full and complete faith and trust that Kenny would save the day. Even without cognitively remembering Kenny’s condition, they still trust him with their lives and know he’s the sort of person who would save them.

It’s very likely that this is a reason that Kenny grew into a more and more protective person as the seasons go by, in a way this faith that he’d save them is some of the purest positive feedback he gets from his asshole friends. Whether intentional or not, there was a part of Kenny and his friends who viewed him as a protector above all else. These sorts of implicit expectations can really affect a person’s development. It is most likely due to a combo of this aforementioned expectation and Kenny’s growing cynicism about his own deaths, that he accepts the role so whole-heartedly.

Kenny has a strong association with drugs from early seasons, where rumors of him sniffing paint were prevalent and an instance of him snorting alien coke occurred. His hedonistic personality and inability to die seemingly leading him to believe that he was invincible. And therefore he doesn’t need to worry about the negative effects of recreational drug use. This all changed after the events of major boobage. It should be evidence alone that by the end of major boobage, all rumors about Kenny and drugs ended and he was never again referenced to indulge in recreational substances, especially considering their earlier prevalence, but the series goes even further to show us that he not only got clean, stayed clean, but has developed a dislike for recreational and addictive substances.

Kenny would never do recreational drugs of any kind as a teen or adult and he is unlikely to drink alcohol either. It is very likely he dislikes weed, meth, and beer in particular. Kenny exhibited addictive behavior during Major Boobage and he was addicted to cheesing. However at the end of Major Boobage, Kenny stated firmly that he did not want to be addicted, would quit immediately, and he decided firmly to avoid drugs henceforth. His entire character arc for the episode was learning that he did not like the recreational use of drugs. It’s interesting that the fans interpret this episode as proof he would do drugs considering the entire plot of the episode was about his character growth in that specific regard. It’s like watching an episode where Stan learns to accept his gay dog and saying he will always be homophobic and never change because he started the episode not accepting his gay dog. It’s boggling.

However it is worth noting that Kenny relapsed at the very end of the episode by 'getting high on life'. While this could be evidence that he’d ‘never’ get clean (again disregarding all other evidence to the contrary) but it actually shows something that is quite telling for his ability to stay sober. His friends were quick to help him and pull him back from it. This alludes to him continuing to have support from friends and family during recovery. Recovery is a hard and difficult thing that is nearly impossible without a support network. This is a shockingly optimistic moment when understood through the lens of how difficult it is to fight for sobriety.

However the evidence that Kenny has chosen to stay clean doesn’t stop there. Aside from all rumors about him sniffing paint and other implications dying down all together, we have an extremely telling scene with his parents in a later season. During the superhero trilogy Mysterion startles his parents while they are getting high (specifically on weed). His parents state, fearfully, that Mysterion has been threatening them to stay off drugs and attempt to hide the pot from him, knowing he wouldn’t approve. This is telling in a few ways but one that is significant is that Kenny hated his parents' use of drugs, including ‘harmless drugs’ such as marijuana so much that he would go as far as to threaten them. We very rarely see an outright aggressive or threatening Kenny and we almost never see him show any ill will towards his family. Kenny is shown over the course of the series to be very fond of his family. His hatred of recreational drug use would have to be quite intense for him to go as far as to threaten his parents. The implied subtext of this scene is that Kenny considered what they were doing to be an extremely bad thing. So bad that he would threaten people he loves enough to terrify them that badly. This shows that since the Major Boobage episode, Kenny's attitude towards drugs has definitely grown negative. Moreso, the threat of staying off drugs was paired with the threat to ‘treat their children better’, leaving the heavy implication that he views those two as linked.

Even further evidence provided for Kenny’s continued sobriety and dislike of recreational abuse of addictive substances. During The Poor Kid, when Kenny was out of options with his foster family, he resorted to providing them with alcohol. Showing that he firmly believes that the best way to destroy people is to give them addictive products like alcohol. Further evidence that he feels negatively towards the drugs and alcohol. It’s played off as a joke in the episode but it’s clear that Kenny has strongly associated alcohol with destroying people.

Despite drugs and alcohol playing a major role in several plot lines that follow, Kenny is never shown to have an interest in them. As stated above, in early seasons he’d happily snort alien coke and now he never so much as approaches drugs positively. It’s extremely indicative that this change and interest in sobriety is long-lasting.

Finally we also see Kenny joining Stan's band that he created out of frustration with his situation on Tegridy Farms. Stan has grown to hate weed and what it represents and it is currently causing his family life to be much worse than usual. Kenny, as shown in episodes like The Scoots, loves his friends a lot Stan included. Watching his friend in so much pain can only cause him to view the substance as even worse. It is very likely that while they were working on the band and practicing he heard Stan's complaints as well. Kenny is actively watching as marijuana tears the Marsh family apart. He also watched Stan’s struggles with alcoholism and Stan’s fathers struggles with addiction as yet further examples of how these substances can destroy lives.

During TFBW game, there is a drug subplot that Mysterion actively works to put a stop to. Again, never once part-taking in drugs and actively fighting against their spread in his city. It doesn’t get any more blatant that that. Kenny is far more likely to join the DEA than he is to get high behind the gym. Kenny would never indulge in recreational drug use, specifically meth, weed, and beer, because of his experience watching them ruin families and strain friendships. As well as his own experience with drugs when he decided that he did not want to live that kind of lifestyle.

There’s a bit more evidence that delves into the realm of headcanon, but it is a logical extension of deductive reasoning based on the canon content we are provided with so I will include it as well. We know that Kenny and Satan developed a friendly relationship during Bigger, Longer, and Uncut. We also saw Satan give Stan a very simplified and child friendly lecture on addiction, as though he’d given the same lecture before. While there is no evidence of this, it isn’t a stretch to imagine the person he’d previously helped through their addictive tendencies was Kenny.

To be clear, this isn’t an anti-drug PSA. I don’t care what characters do or don’t do drugs, this is merely establishing that for Kenny specifically with the character arc he’s had, it is very unlikely and borderline insulting to his struggles for sobriety. However Kenny’s connections to drugs also open up some interesting relationship details as well.

During the major boobage episode in particular all of his friends join forces to get Kenny clean, Kyle in particular spear-heading the effort. Stan was there and Butters was there but neither showed as much passion or commitment for assisting Kenny’s progress to sobriety as Kyle did. Even putting his own neck on the line by hiding a cat in his room (with Sheila Broflovski as a mother, is he suicidal?). It’s yet another case, like with the Kenny Dies episode, where all his friends offer very passive support and Kyle offers a very aggressive and consistent support. It’s shown a pattern thus far of Kyle feeling in some way responsible for Kenny’s wellbeing. Which could be explained by a few things, Kyle’s obsessive and passionate personality or perhaps he feels subconsciously guilty for all the times he’s left Kenny for dead. Really we have no way of knowing why he’s doing this but we do know he’s starting to develop a pattern of protectiveness towards Kenny. What’s even more interesting is during both instances Kenny is too far gone to notice. During Kenny Dies he’s frequently asking for Stan and during this episode he’s angry and belligerent that Kyle is taking away his high. Making both tasks thankless endeavors on Kyle’s part (which is also a little unusual because Kyle loves to be praised for his hard work). Kenny’s relationship with Eric is at a low during this episode, Eric caring more about cats than his old BFF and Kenny now knowing that Eric won’t even make an emotionally dishonest attempt to be there for him. I would be interested to see how Kenny in specific felt about Eric facilitating the drug trade during TFBW considering his sobriety and the fact that Eric was never there for him through it. Butters and Stan just don’t stand out as particularly good or bad friends during this episode, they’re just sort of there and listening to Kyle’s instructions.

However, it’s worth noting that when there were rumors about Kenny getting high in early seasons, Eric was a mentioned accomplice, which makes it even more interesting to think about how Kenny’s sobriety might have solidified the growing rift between the two. Perhaps they used to be the kind of friends who got high behind the gym together and now Kenny won’t and Eric thinks he’s a pussy with sand in his vagina. It’s just an interesting nugget of characterization to explore. How specifically did Kenny’s sobriety impact his relationship with Eric? It’s an engaging question I wish more fans would ask because I would love to see the potential answers and hypotheses’. It’s also worth noting that after Stan’s own struggles with sobriety and addiction in later seasons, it’s possible that Kenny could have become Stan’s sponsor or perhaps that the two of them connect over this unique struggle in their lives that their other friends wouldn’t have as complete an understanding of.

There’s a lot and a little to be said about Kenny and his relationship to his siblings. The clearest picture we get of his relationships with them is his obsessive protectiveness of Karen, even going so far as to deny her own wants and needs (as seen in the TFBW dlc) in order to protect her from all perceived danger. Even if the danger is as mundane as ‘being lame’. But to get a better idea of his relationship with his siblings, I’d like to start from the beginning.

Namely, before Karen even existed within the narrative. In the early seasons with Kevin and Kenny as the only two McCormick children, we see a passive and friendly relationship (a stark contrast to the Marsh family siblings). Kevin does nothing aggressive towards his brother and he is seen peacefully playing with Kenny as well. While this does not make it impossible that Kevin isn’t a friendly sibling, from the context we see him in for the early seasons, there’s no reason to assume he isn’t a kind older brother to Kenny.

Which brings us to the impossibility of Karen’s birth. As stated above, Kenny revives most frequently through rebirth and he dies far too frequently to allow Carol a successful pregnancy. And we know that, to Kenny’s knowledge, he was the youngest McCormick child during the episode that confirmed he gives his mother miscarriages. He tried to give her a miscarriage before doing so on accident, hating the idea of having a younger sibling more than anything.

This is something that also lends to the idea that Kevin is a kind older sibling and that he is fond of his parents, regardless of their flaws. It’s explicit within the episode that Kenny doesn’t want a younger sibling because he doesn’t want to share that love. He wants Kevin to spoil him and his parents to spoil him and he doesn’t want to lose that to someone younger and cuter. Perhaps his attachment to being spoiled could be because he’s so relied upon by his friends as a protector that he is loath to lose the one type relationship he has in his life that places him as someone to be protected rather than doing the protecting. This is conjecture, but it would make sense with the characterization we’ve seen thus far.

But how did Karen come into being? The ongoing theory in fanon is that she was born during the year Kenny was dead and his friends replaced him but going through the aging timeline, it’s unlikely he was dead a full year (more likely only a few months) and even if the timeline matched up, Karen is six years old when she is first introduced, only 3 years younger than Kenny. Which means she had to have been born long before this incident. Another ongoing theory is that she’s adopted or a foster child, but those are relatively unlikely as well. The McCormick household has a fucking meth lab in the back yard. There is no adoption agency that is going to give them a child. And this theory ignores her clear resemblance to both Kevin and Stuart.

This is why I believe the most likely source of Karen is through a third party and Stuart. There are no adoption hoops to jump through if Stuart is her biological father and it explains the familial resemblance. It’s not difficult to believe Carol would accept her as her own due to how desperately she wanted another child.

As for how Karen was conceived, that’s up for interpretation. She could have been a product of infidelity or a case of someone else carrying her for the McCormick’s as Carol is effectively baron. I will say that Stuart’s infidelity is more likely purely because of the age. If they’d asked someone to carry Karen to term for them, Karen should have started living with them when Kenny was three and yet, she doesn’t join the family until the age of six. There could be a myriad of reasons for this that can be left entirely up to the interpretation of the viewer but the only logical way for Karen to exist as she does is that she is Kenny’s half sister.

When Karen showed up, Kenny clearly grew immediately attached and began to mature quickly. Taking part in less shenanigans, taking responsibility for her well-being, protecting her from bullies, playing with her in his free time. Kenny didn’t want to be an older brother but when push came to shove, he accepted the responsibility whole-heartedly and fully embraced his younger sister. Even more meaningfully, he didn’t care about whether or not she was fully blood related and treated her as a sister just the same. It’s possible one of the reasons he didn’t see any need for blood to create familial ties is growing up with Kyle and Ike nearby and knowing that it wasn’t blood that made them brothers. It’s also possible that he just has too much integrity to treat her as anything less than his baby sister.

One thing that should be noted about children Kenny’s age is modeling. Children, especially under the age of ten, are extremely susceptible to the behavior modeled for them. For example, children who have older siblings who mistreat them are far more likely to mistreat their own younger siblings. It’s a monkey-see, monkey-do time of life. Therefore I would like to present with this as my evidence that Kevin was just as kind and protective as Kenny is to Karen. He’s at an age where he models what he sees around him, treats others how he is treated. The other sibling relationships he’s close to is Kyle and Ike, which while loving took awhile and is significantly less overtly affectionate at times, and of course the Marsh siblings who have an overtly negative relationship until very recently in canon.

Meaning it’s possible he modeled how to treat a younger sibling after how Kyle treats Ike but it’s difficult to imagine him playing kick the baby with Karen. It’s more likely that he grew up with a protective older brother who spoiled him and he is now passing down the behavior that he received.

In short the McCormick siblings have a complicated but interesting relationship. There’s a lot to be said about how while Kenny was being conceived (with Stuart and Carol constantly getting high at a cult and subsequently arrested) that Kevin was only three years old and he wouldn’t have been able to fend for himself at this time. He might have attached onto Kenny so strongly out of loneliness over the severe neglect his parents subjected him to.

It’s worth mentioning that one place Kenny remains determined to indulge is with his hobbies, specifically with magic the gathering, his psp, and nascar. Kenny has for the majority of his characterization been defined by his hedonism. Doing what felt good, when it felt good. It’s why he has such a striking and intriguing character arc over the course of the series. Going from a pure hearted and selfless hedonist (an interesting combo in itself) into a more mature and more reserved individual who denies himself those simple easy pleasures (such as drugs).

But he still has a desire for escapism and so he pursues his hobbies with a passion and protective zeal that can be alarmingly violent. He doesn’t just love his hobbies and desire to indulge in them, but he also wants them to be respected and he despises a mockery being made of them. He doesn’t just enjoy them, he becomes masters at them. He pours all of his passion into being an amazing Magic player, into achieving the highest score in his favorite game, into murdering the one who mocked Nascar.

Wait, that last one doesn’t quite belong. We’re going to put a pin in that one for further exploration in the Cartman section, but it’s worth mentioning that his passion for that sport is so intense that he would be willing to commit murder. While the characters in South Park are outright murderous by nature, Kenny is one of the least homicidal in town (it’s a relative term) and as such, his turn to homicidal rage in defense of his hobby is notable.

He knows Cartman, he knows this is probably a phase and Cartman will get over it, if it was any other circumstance he’d probably be laughing his ass off at home that Cartman was making an idiot of himself on live TV and driving a vagisil car while eating the cream. It’s objectively hilarious and something that Kenny would normally have laughed at and moved on. He’s shown discomfort with Cartman’s escapades before but he’s never taken it so personally. Even when it was a direct attack against Kenny.

There is a part of Kenny that just can’t tolerate his hobbies being so openly mocked and made a sham of. Even during cock magic, he felt deeply uncomfortable with the spectacle the game he loved was turning into, doing everything he could in his limited capacity to continue to treat it seriously and play with integrity. Kenny loves his hobbies with a passion that we don’t see from him for much else.

One potential explanation for this is the emotional distance he has with other people that I alluded to before. He has a lot of love to give and a passionate personality but he dies. All the time. No one remembers, those that do only use his death for their own gain, and while he’s dead even his closest and dearest friends will attempt to replace him or actively resent him. People can replace him. People can betray him.

Playing cards? They have no autonomy. They can’t change after his death; they just wait for him in his room until his revival. Nascar? Sure, he might miss a few races but he can always catch up or just watch new content. Kenny has found an outlet for all the love that bubbles up inside of him that doesn’t rely on people who he’s learned to mistrust.

There is also something to be said about his addictive personality and it’s very possible that he uses his hobbies as a replacement for drugs. Indulging in healthier hobbies in an attempt to replace the ones he now views so negatively. A strong support of this theory is that before Kenny’s sobriety he was less passionate about hobbies and after his sobriety, he is clearly and consistently more obsessive about his hobbies. (further evidence of his continued sobriety, fucking fight me fanon. don’t even tell me you do it for the angst, a struggle for sobriety is way more angsty than a momentary high. ya’ll just want him to do drugs/alcohol because you do and you kin him.)

Kenny’s love for his hobbies is quickly becoming a defining trait but also it’s worth noting that his hobbies are social in nature. He didn’t pick up drawing or writing or origami, things he’s shown an interest for in early seasons, he picked up Magic and Gaming and Nascar, all three when indulged as hobbies are inherently social. You watch Nascar with people, you play Magic with people, especially in this day and age, you play videogames with people.

Even though he’s given up on connecting with people on a deeper level and puts a distance between himself and others, he still pursues hobbies that connect him to them. This indicates that he could still be trying to reach out to others and wants a deeper connection. But on his own terms. He doesn’t select hobbies that the others are already into to attract them to him, he’s pursuing hobbies he likes. Stubborn and selective boy. I haven’t listed all of his talents, skills, and hobbies here, mind you, just the ones relevant to my points (meaning I left out details about his passion for singing because that appears to be a natural talent and sports because he enjoys them but shows no real passion for them)

I’ve probably put off talking about his friendships for too long at this point but a part of me wanted to save this for last, as so much of what there is to say about his friendships with others is indicated in other segments. But the as this is an entirely unstructured attempt at explaining my thoughts and headcanons about Kenny McCormick, I don’t believe it matters the order I go in so here is an overview of his relationships with a few key individuals in his life.

We’re going to start with Kelly. Not because she’s the most influential or most important, but because her impact on his personality is striking in a way that I have to wonder why more people don’t address it. Prior to meeting Kelly he didn’t have as much resentment towards his friends over his condition and after meeting her, for reasons that will become obvious soon, the seeds of pain grow into something larger.

For those of you who are largely unfamiliar with her, she is Kenny’s first girlfriend. She developed an immediate attraction towards him and began to pursue him with a hesitant intensity. Kenny, as he does with most people who approach him so passionately, treats this with confusion and hesitance. She’s hyper logical, goes at her own pace, and treats the fact that Kenny would like her as a matter of course.

Her pursuit of Kenny isn’t what’s most notable but it is worth noting how he responds to someone pursuing him. It’s the confusion that strikes me the most, he’s not used to being treated like something special, and he doesn’t know how to reply. It’s a far cry from the smooth talking flirty Kenny of fanon. Kenny is far more likely to respond with hesitant interest, confusion, and eventual flustered flattery to a romantic pursuit based on how we’ve seen him respond in canon. This isn’t to say he couldn’t develop a more flirtatious personality with age, but it’s worth noting that within canon we don’t see a hint of that as of yet.

The impact that Kelly truly makes on Kenny’s personality isn’t a romantic one though. Although it is my belief that he will grow to view it and gestures like it as romantic ones in the future, but that’s a headcanon digression. Her contribution to his development is simple:

She saves his life.

While no one else would, no one else tried, no one else thought it was possible. It’s very likely that his friends all have a sense of subconscious learned helplessness in regards to Kenny’s death and therefore don’t fight it because, to them, it’s an inevitability and Kelly was only able to do this because she was not previously exposed to the multitude of Kenny deaths.

But the fact is that a person claimed to care about him, wanted to date him, and then when the worst thing about his life was going to happen again, she saved him. In this moment Kenny associated on some level caring about him to saving him. The fact that Kelly saved him meant she cared and by extension, the fact that no one else saves him or even holds him in his dying moments, means that they do not care about him.

Let’s return to that moment of lost empathy and sympathy when Stan was grieving Kyle’s illness. Perhaps on some level he’d just grown to understand that Stan wasn’t the sort to try helping his friends when they’re in mortal peril, made an exception that it’s not that Stan didn’t care, it’s just that Stan wasn’t the type to try saving another person’s life. Or grieve. Sure, it frames Stan as an awful person but to Kenny, Stan being an inherently cruel person was far less painful than the horrible knowledge that Stan did care. He just didn’t care about Kenny. In this moment he’s able to see the moment that Kelly saved him, because she cared about him, and all the moments that neither Stan nor his other friends even tried to save him. To add insult to injury, he dies right then and there and Stan still doesn’t care.

He’s left with the horrible implication that his worst fears about his friends are right. It’s not that they don’t remember because they can’t, it’s that they just don’t give a fuck about him. It’s terrifying, worse than even the prospect of a friend dying.

Which is another matter, as Kenny is semi-frequent in the underworld(s), it’s difficult for him to fully empathize with the idea of Kyle dying. Normally the terror of a loved one dying is that you’ll never see them again, but for Kenny it’s likely he’d still see Kyle every Tuesday. While he words to protect his friends and clearly loves his friends, when they’re lives are in peril like this, it’s sometimes difficult for him to empathize. He doesn’t want them to die but there’s a bitter part of him that’s unable to grieve if they do.

Kelly’s selfless and kind act, one that showed Kenny a moment of what it was like to feel loved, left such a terrible lasting impact that we can see seasons and seasons later. "ALL THE TIME! I die all the time! And you assholes NEVER remember!! Remember! Try and fucking remember!"

Now this can’t be entirely attributed to Kelly, obviously, but I think she’s an important contributing factor to his descent into bitterness that is entirely under-explored. And I also find the way he continues to pursue the relationship with her after she’s left back to her home state to be really telling about how loyal he is within a relationship. Even with his own financial and logistical issues in dating a person who lives so far away, he does his best to visit her whenever he can. She clearly meant a lot to him and it will forever taunt me that we never got an onscreen breakup. It’s also notable that he shows the same level of respectful loyalty to Tammy while dating her. This showcases a clear pattern of treating his significant others with kindness, patience, loyalty, and respect.

Now that I’ve spent ages talking about a girl most fans don’t even remember existed, let’s start in on Stan. Stan seems to hold a special importance to Kenny, it’s difficult to say exactly why (but I’m sure if I dig more I can find out) but moreso than Eric, Kyle, or Butters, Kenny seeks out Stan’s approval in one way or another. It’s very subtle, sort of a ‘blink and miss it’ thing but it can be blatant. The aforementioned moments regarding Kyle’s hospitalization and his own hospitalization. In more subtle moments, we can see Kenny gravitate towards Stan while Kyle and Cartman have their tiffs.

One possible explanation for his attachment to Stan is his horrified “oh my god, they killed Kenny!” frequently by the time Kyle has joined in with “you bastards!”, Kenny is already too dead to hear it. So it’s possible that he puts a lot of weight on their friendship because he views Stan as one of the few people who react to his death at all.

(I can’t help but wonder how gleeful Kenny must have felt that Stan chose his side during the Black Friday trilogy)

Regardless of the reason, Stan appears to be the one among them that Kenny has distanced himself the most from. He’s shown to be very compassionate in most situations but in later seasons when Stan is struggling, Kenny is frequently distant or unresponsive towards it. This seems to be mending in the most recent seasons, with episodes where it shows that they’re fond of one another but even then, there’s an undeniable rift. Despite being Stan’s friend for longer and what most would consider closer to him, during the band episode Stan interacted more with Butters and Jimmy than he did Kenny.

This is also possibly explained by Kenny’s under-explored shyness (something I don’t know if I’ll even get the chance to dig into because I’ve already been going on for so long and I’m barely through half of the things I want to talk about). But I believe that Kenny has put some emotional distance between himself and Stan due to the moments that led him to believe that Stan does not ‘care’. One example of this is during the Cthulhu trilogy, when he explodes in response to his friends questioning, he gets upset with Stan’s reactions but only explodes to Kyle’s, despite their questions being equally ‘offensive’. Perhaps he’s put up more emotional walls with Stan and he’s more prepared for him to be insensitive than he is with Kyle.

Kyle is a complicated relationship to define. On one hand they’ve both had moments of cool apathy towards one another (Kyle during ookie-mouth and Kenny during Cherokee Hair Tampons), although both of those situations are easily understood under the lens of the other stressors. Kyle claimed to “not care about Kenny” but it was only in response to being asked to spit in one another’s mouths. Kyle is a canonical germaphobe (in weirdly most regards other than poop, which he is strangely very comfortable with) and being asked to let someone else spit in your mouth would be trying even if you had no issue with germs. As for Kenny’s moment, as explained above, he was far more concerned with the implications of what it meant for his friendship with Stan at that moment. And not entirely unreasonably.

Kyle’s strange because despite not being Kenny’s closest friend by any stretch of the imagination, he’s been there for Kenny during most of his pivotal character moments in one capacity or another. In a way, Kyle is the one constant in his life. He holds Kenny as he dies in Wing, he stays by his side in Kenny Dies, he fights for his sobriety in Major Boobage, he invites him to become a Jew Scout in Jewbilee, helping him out in The Coon, there are weirdly numerous examples of their friendship and yet there is no explicit focus on it. It’s also worth noting that among all his friends, Kyle was the one Kenny chose to view the meteor shower with and this was during a time where he was still objectively closest to Cartman. And the same can be said for the Coon episode, Kyle was the one Kenny went to for help.

It’s difficult to define their relationship because while they have a strong pattern of a deep and supportive friendship, they also never even attempt to be one another’s ‘favorite’. Although Kyle does seem to be the most protective of Kenny among the main boys (this is of course only a relative, the bar is really low). For example, despite all the boys having lice in Licecapades, Kyle was the only one who came forward to save Kenny from the sock bath. It would take a whole other essay to fully dissect how their relationship works but to simplify it, it appears that they rely on one another.

During Jewbilee, Kyle has complete baseless faith that Kenny will save them. There’s no reason for this other than he just knows that Kenny will. Moses is captured, an all powerful figure, and Kyle still thinks his parka wearing little friend has got this covered. Conversely Kenny comes to Kyle when he needs help, like with Mysterion’s “You’re the smartest kid I know”. It’s just interesting how much they rely on one another and never make a big deal of it. Their friendship is based on an understated mutual trust.

Cartman on the other hand takes any and all trust, and throws it in the bin. If Kyle requires an essay to explain, Kenny’s relationship with Cartman needs a dissertation. That said, I’ll make an attempt to keep this short and to the point. Eric and Kenny do seem to at one point have shared a mutually beneficial friendship, with both of them liking Kyle and Stan more than they liked one another but still clinging to one another in a strange and desperate loneliness. One of the ways they bonded over the course of their friendship was a similar sense of humor. They both enjoyed crude and childish jokes more than either Kyle or Stan did and therefore they were able to indulge in them with one another. The trouble was that Eric had a malicious edge to his humor and Kenny did not. Eric was willing to take things farther than Kenny ever was, potentially purely to prove to the world that he would. A perfect microcosm of why this aspect of their friendship fell apart is found in How To Eat With Your Butt. They both found the ‘butt’ school picture to be hilarious in the beginning but when real people were looking for their son, Kenny dropped the joke immediately but Eric pushed further. These sorts of moments increased in frequency, leading Kenny to pity Eric above all else and Eric to both love and despise Kenny in equal measure.

Eric was still the person Kenny reached out to more than most people, like during Bigger, Longer, and Uncut, but the strain on their friendship began to show more and more and then… Kenny died. Eric knows about Kenny’s deaths, possibly the entire reason he spent all his time trying to make a clone Shakey’s rather than actually saving Kenny’s life. But more time passed between this death than any other and Eric, who has abandonment issues but that’s a whole can of beans to explain, decided he needed to replace Kenny. The trouble was his first attempt, Butters, wasn’t the same. Neither was his second attempt in Tweek. And while Butters did eventually replace Kenny as Cartman’s ‘best friend’, it still wasn’t the same. Eric had lost that friendship for good and still longing for a taste of it, he’ll often still seek out Kenny’s opinion on things. Kenny meanwhile came back to life (we’re going to skip over the sharing a body possession arc, not because it isn’t relevant but because it’s just WAY too much to cover in a short span of time) and found that his best and worst friend had replaced him. In some ways it was a relief, being Cartman’s number 1 friend (especially when Cartman clearly wanted Stan and Kyle’s approval more) was never a great role. But at the same time, being replaced is never a pleasant feeling and it really bloomed that horrible terror that had begun to grow with Kelly and Stan. His friends don’t actually love him, he’s replaceable, they don’t need him. He begins to close off more and more through this and starts to focus his attention on spiting Cartman in small ways (like as Mysterion). He can’t help but be a little resentful and a little uncomfortable.

This discomfort can also explain a lot of why Kenny appears so uncomfortable around Butters during Going Native, not wanting to be called Butters’ best friend and not wanting to go on the trip with him to begin with. Overall Kenny seems to veer from apathetic to Butters to uncomfortable with him. There’s no single scene in the show where he actually seems to show any affection towards Butters. He was forced to go on the trip during Going Native, he had to listen to Butters call Nascar ‘stupid’ endlessly with Cartman, and he just… doesn’t spend time with Butters. They’re seen in the background together, but so are Clyde and Kenny or Annie and Kenny. This isn’t to say Butters has had no impact on his life, but even when he’s on a trip to Hawaii with Butters, he spends his free time writing letters back to his friends or hanging out at a bar alone instead of spending it with Butters. Butters does seem to hold a certain level of affection for Kenny though, whether this is due to Cartman’s influence (the constant comparisons that put Kenny one pedestal as the ‘best’ kind of friend) or due to an actual affection for Kenny, that’s up for debate. I lean towards the former because it’s more consistent with Butters’ overall characterization and it also gives the progression of their relationship a… progression. In the latter interpretation Butters’ fondness for Kenny seems to spring from nowhere within the scenes we’re provided with. In the former, Butters’ fondness is based on his own insecurities and the significant trauma that Kyle, Stan, and Cartman put him through. There really isn’t anything worth dissecting with the Fun Times With Weapons incident, Kenny doesn’t appear to be particularly apologetic nor does he do anything to protect Butters from the hell that follows. Strangely Stan seems to be the most obsessed with getting Butters’ help, although in the most misguided ways possible. Furthermore, during the Cthulhu trilogy Butters is imprisoned and forced to eat his own poop to survive throughout the entirety of it and Kenny just… didn’t care at all. The initial imprisonment was clearly Cartman’s doing but even after Cartman was kicked out and Kenny assumed leadership, he made no effort to free or protect Butters. Whether this was out of resentment or apathy is left up to interpretation. Put plainly, Butters and Kenny do have a strange connection although that connecting piece appears to just be Cartman and without Eric, that bond is nearly nonexistent. (istg if i get another message calling me a bunny hater… guys, im not being mean or an anti, this isn’t about ships, this is about talking about how kenny actually feels and behaves towards other characters within canon. and no, kenny did not invite him to game night. it was very clearly a joke that no one invited him… that said, if someone did invite him, it’s more likely to have been kyle who invited him due to kyle’s response when butters first entered the house)

Kenny also has some interesting relationships with the secondary cast that is worth mentioning (Craig, Timmy, and Bradley in particular) but I’m not sure how long I’ve been typing for so we’ll put a pin in that.

Fuck, I had a lot more bulletpoints I wanted to get to in order to expand fully on his character and I haven’t even gotten to the ‘conclusions’ section but my fingers fucking hurt. Here are the bullet points I didn’t get to, if you’re really curious feel free to ask for more details on any of them:

Anger issues

Mischief

Wisdom and foolishness

Growth

Prostitution

Sex

Parents

Work

Protective

Shyness / Quiet / timidity

Loyalty

Resentment

Hedonism

Pride and poverty

#Anonymous #meta #this is why people shouldn't ask about my favorite characters or ships #i have lots to say #too much to say #ugh i probably should have waited until the end to address the butters thing #writing it just reminded me of the shit anons #and then i just lost my steam #sad caws

22 notes · View notes

itsswimmingtragedycollection · 5 years

Text

The Dumpster Fire that is ‘The Order’

First of all, why is his show labeled as a horror? My humble guess is that it was intended for younger audiences?? I genuinely wanna know. Because, even if it was for teens, some blood and a few dead bodies does not a horror make. Secondly, what the fuck? And I truly mean that. I mean, the idea itself doesn’t sound bad at all. A college student joins a secret society and finds out his supposedly evil dad is the head of it? He’s also in a werewolf club that fights that same secret society? Sign me tf up. But the execution just takes a really weird turn. From the get go, you kinda aren’t sure if the show wants to be takes seriously or not. And that question is never answered. Literally in the opening scene the letter changes from ‘we regret to inform you’ to ‘congratulations’ in front of Jack’s eyes and he has absolutely no reaction whatsoever to that peculiar development, which kind of screams ‘not to be taken seriously’ similarly to the whole ‘My evil dad killed my mom so naturally I’m gonna join a secret society, become someone important and powerful and eventually use that power to fight him.’ Who on earth plots a revenge along those lines? But then a second later, the plot falls back in the supernatural drama category. To top it all off there’s a whole lot of ‘woke humor’ which most of the time comes across as cringe worthy edginess we’re all happy we outgrew after HS. But, even if you could somehow get pas the not-so-subtle jumps from complete absurdity to realism, there’s nothing else to hold on to. No character, no relationship, no plot line we’re offered is strong enough to pull us in. In fact. one of the most annoying things about The Order is that basically no character has a personality. I am 8 episodes deep (and I don’t intend to finish it because that’s how boring it is) and I still don’t know anything substantial about anyone. And can we take a second to just look at Jake’s relationship with Alyssa? What even is that? Are they flirting are they not, does he really like her or is she a means to an end, is she into him or his dad, why are they kissing and why does it look so uncomfortable, did they just cast two people with the least chemistry on purpose or is bad writing/directing? So many questions. If we draw a parallel between Jack’s progress with her and him being on board with the wolves, it makes even less sense. He needs how many episodes to decide to try and kiss her, but when it comes to dedicating your whole life to fighting bad magic, you go from ‘no way, you’re all insane, you made me kill an innocent man’ to ‘I pledge my life to the cause’ within two seconds. Speaking of things that make no sense, I have to mention Jack’s ‘friendship’ with Amir. Don’t get me wrong, I get that we meet people and think to ourselves how that could grow into a beautiful friendship, but acting as if someone you just met is really your friend, and that odd flashback to like one beer they shared, when Amir was found dead, is just... I don’t even know what to say. The Order as an organization is equally puzzling. Who are they? Why are they? What’s the purpose, what’s the goal, the mission? I can’t settle for just a group of magic users who follow strict hierarchies but kinda all look out for themselves and don’t really like each other that much. And occasionally sacrifice goats. And change people’s memories.(And they can revive a golem and ask it who made it, but the fact that Jack, who found out about magic like yesterday, sabotaged their spell somehow goes right over their magical heads. ) But essentially it’s for the good of the whole wide world.????????????? And the masks are what makes me think an 8yo came up with the whole concept. If you thought the werewolf knights are any less confusing, think again. They hear noises when ‘bad magic’ happens and solve it by killing anything that moves. Heroes. Also, how do they know what they are supposed to do if they refuse to read anything? I mean, that’s not how a secret society, since that’s more or less what they are, works. Someone has to tell you, show you, teach you. Sure, you have the wolves inside you, but if you don’t know they speak a certain language, it’s fairly certain you don’t know a whole lot. And why is there only four of you? How can four knights take down an organization as big as The Order? Especially since their preferred method is violent murder, something that is not very subtle and does not go unnoticed for long, which basically ensures the rage of the entire Order falling on their heads before they even begin their so called mission. Once again: ????????????????? And what even does ‘bad magic’ mean? The term is so vague and abstract that I have a hard time understanding how can you form an organization that fights something barely defined. All magic can potentially be bad magic. What are the guidelines here? Help me comprehend. The show also has a very odd relationship towards death. One can sort of ‘forgive’ the wizards and the wolves for being chill about it, but if someone was targeting and butchering people on your campus, wouldn’t you be at least a bit worried? We don’t see any students panicking, we saw one police officer, there were no measures taken by the college, unless you count turning Amir’s death into a bike accident. And just when you start getting used to being casual about it, Jack has a whole meltdown over killing someone the first time he turned. And then also his professor. But even that meltdown is not very convincing, since most of what he does is just screaming ‘I KILLED AN INNOCENT MAN!!!’ into the void, without a much deeper attempt to deal with that. Which is why I don’t get why the show even made an issue out of it. I also don’t get Jack’s grandpa. Like not even a little bit. Because if you think about it, it’s not * that * unimaginable that a little boy would come up with the idea of joining a secret society to avenge his mother’s death, but it is * very * odd to imagine an old ass grown up who not only thinks it’s a good idea to direct your whole young life towards revenge, but encourages it to a point of making a detailed plan on how to do that, and basically spends your entire childhood grooming you to become a little rage fueled bundle of psychological damage. All of this is only scratching the surface of the mess that is The fucking Order, because the show is a giant entangled coil of nonsense and I barely knew where to start. It’s fair to say that the biggest buzzkill is failure to pick a direction and stick with it. You don’t have to look that close to see some of the influences. The biggest one being, obviously, The Magicians, followed by some Teen Wolf, there’s even elements from Scream Queens, a bit of Buffy, a pinch of the Craft, etc. Almost like someone decided to look up successful shows in the supernatural/fantasy/horror genre and just smash them all up together in hopes of making something appealing to the largest audience possible. Personally, as a * very big * fan of before mentioned The Magicians, I get the feeling that Netflix wanted to make something that could rival it, but better. Because TM is, dare I say so, one of the best, if not the best, shows of the decade. I honestly have not seen anything like it, that has the same platform, in literally a decade. If you have, please let me know.

Whit the BDE, edgy, but in a good way, humor, strong political views, strong female characters, fun twist and turns that actually do manage to mix absurd with normal life in a magical, no pun intended, way, sexuality representation, but not in a ‘we just want to please the gays so they give us the views’ way, great male characters we wish we saw more of, compelling character development and so on. Tho the most likable aspect of the series is probably the take on overdone story lines, where they twist the narrative just enough for it to become actually relatable. We all are tired of super special chosen ones who save the world because they are soo special and specially chosen by gods to save the world and all the dumb boring unspecial people with their pure hearts and strong characters. And also find true love. You see attempts at this within The Order on every turn, except that it doesn’t work nearly as well for them, precisely because they went for that AND MORE. More wouldn’t even be a bad thing if it was’t so all over the place that it just comes off as ‘WE WANT EVERYONE TO LIKE THIS, GIVE US ALL THE VIEWS, ALL OF THEM.’ I am very much inclined to think this is what happened, considering other stuff Netflix has put out there. (Mostly referring to endlessly stupid shit like YOU, which only has the intention of being controversial and attention grabbing, for the views. Tho they do have some fun shit too, don’t get me wrong.) So I guess what I’m trying to say is, the though of making something like TM, is not a bad one, I’m all for it, but you actually have to put a shit ton more imagination into it if you want it to work out. But that’s just my opinion.

#the order #netflix #jake manley #sarah grey #the magicians #teen wolf #syfy #hale appleman #jason ralph #social commentary

26 notes · View notes

atsushishelteredinmoonlitjasmine · 5 years

Text

KH3 Grievances and Blessings

As of this date, April 8th, 2019, today marks the end of my KH3 journey. I'm recording the date because I know there's DLC for KH3 coming out within the coming months and I don't know whether it'll be plot-related or just gameplay patches/changes (Like Critical Mode). Regardless, I wanted to write down my thoughts and feelings towards KH3 because, like many others, I had been awaiting the release of this game for a long time (Though not as long as others) and, as soon as the game was released in Japan, I blacklisted/muted KH3 tags so as to not be spoiled. It took me over two months since the worldwide release on January 29th to see what KH3 had to offer and, while the main story part ended on April 4th, today was the true end to everything else.

Now I want to make two things clear. First off, I never played KH3. I watched an LP of it, due to money and I didn't wanna wait months for this game. That's also why it took this long for me to write this. Secondly, as of the time writing this, I haven't read the Ultimania outside of some unrelated details since, before April 4th, I made doubly sure to avoid spoilers because I still wanted to be surprised at the ending, despite my predictions of it. If there are some things I bring up in this that are answered in the Ultimania, then link me those.

I'll also be going through practically every aspect of KH3 I can think of, such as the graphics, the gameplay, the story, etc. However, to keep things organized, I'll talk about the main story towards the end of this, since that's where I believe I'll have the most to talk about. Think of it as if the first half was the minor stuff and the second half the major. I'll even mark where it splits off so as to make it easier to know where to skip to.

Listed below are KH3 spoilers, so if you don't want to get spoiled, now's your chance to stop reading. Otherwise, here are my thoughts!

Let's start with the graphics. They are simply gorgeous, sometimes even breathtaking. As many people have pointed out, the in-game graphics are on the same quality level as the old-school FMVs from the older KH games. Even when the cutscenes go to pre-rendered, they are super beautiful. The only complaints I have are, in pre-rendered cutscenes, character models tend to look weird in certain shots. It's a minor complaint but I feel like the characters come off as being... shiny, if that makes sense. I know one of the complaints for 0.2 was that Aqua looked plastic and it seems like, in an attempt to stray away from that end of the spectrum, they made everyone look shiny. Again, that's only in the pre-rendered cutscenes, not in-game itself so... Another complaint was that, in the beginning with Sora and co. heading off to and their visit to Olympus Colosseum, it's easy to tell that they were using the 0.2 graphics because Sora looked exactly plastic. Afterwards, they switched to the current graphics but it's still kinda jarring, in a way. I feel like it may have been to save money, considering the big amount of money they spent on everything else.

Secondly, gameplay. The gameplay, overall, seems solid. It's using the KH2 combat, combined with the BBS shotlocks, Links/Summons, Keyblade transformations, DDD's Flowmotion, and Attractions. However, it also feels overwhelming to have that many gameplay styles/mechanics stuffed into one game. I feel like Nomura was trying to do the same thing that Sakurai (Creator of Smash) did with Smash Ultimate by taking the positive aspects of the previous games' combat and stuffing them into this game, almost as if it were a love letter to the KH fandom. I'm not saying that that's a bad thing, I just think it was clumsily handled.

This leads into a mini-point I had about the difficulty. As I said earlier, Critical Mode, which has been a difficulty setting since KH2 (I believe?), wasn't included in this game, which was considered weird. The LPer I watched KH3 from had played the previous KH games on the hardest difficulty and he believed he'd play KH3 on Critical. Because of this exclusion, he played on Proud Mode and this was absolutely the easiest KH game. It is so easy to overlevel, it is hard to die unless you're purposefully playing terrible or turned on "No Experience", and some gameplay mechanics, I feel, break gameplay. Attractions in particular are ridiculously gamebreaking, due to the insane amounts of invincibility frames and power some of them have. Speaking of it being hard to die, overleveling goes hand-in-hand with that but the fact that you can buy Kupo Coins from the Moogle shops makes Proud Mode a joke. To explain what Kupo Coins are, they are one-use items that basically make it to where it instantly revives you if/when your HP drops to 0 and you can buy many of these coins. They're essentially get-out-of-jail-free coins which, if you're playing on Hard Mode, shouldn't be a thing. There's also a minigame where you can cook all sorts of meals that can grant you any kind of boosts with Remy from Ratatouille. The stat boosts from even the simplest of meals are ridiculous and they also make dying hard to do. I understand that the crew wanted to make KH3 welcoming to newcomers but I feel this is going a little too far in not making the players feel frustrated each time they die in Proud Mode.

Thirdly, the non-original worlds. It's hard to decide whether or not I like them. On the one hand, they're the largest they've ever been, they're expansive, and the crew were able to successfully capture the look of each movie they adapted. On the other, the stories can be hit or miss, they throw tons of enemies at you (which absolutely contributes to the overleveling I mentioned), and they don't serve much of a purpose in the main story outside of fanservice. Some of the worlds were an absolute delight, such as the Tangled and Monsters Inc worlds, while others were a slog to get through, such as the Frozen and Big Hero 6 worlds. This is merely my opinion so don't take it too seriously. The way they decided to go about the stories within each world was to either: 1, be a Cliffnotes version of that world, or 2, create an original story set after the events of the movie. The first way was not a good decision because, out of all the new worlds they revealed for this game, I only watched Hercules, Toy Story, Monsters Inc, and Tangled, so when the LPer I watched headed to the other worlds that weren't mentioned, I was thoroughly confused. The second way could be pretty hit or miss, because I remember getting tired of the Toy Story world towards the end but I enjoyed the story of the Monsters Inc, due to how cute it was. Going back to what I mean by these worlds not serving a purpose, I don't think it's out of the realm of possibility to say these were meant for the express purpose of padding. The reason given for exploring these worlds is so Sora can learn the Power of Waking and, if he doesn't learn it in that world, he'll go to the next and rinse, repeat. I won't go into detail in this section but I'll explain more about it when I get to the story section.

Fourthly, the music. This is probably the one of the few aspects that stayed consistently good. Although I could tell there were more pieces of music that I had heard in other games, Yoko Shimomura still made it fresh by reorechestrating those. I'll give her some slack with those because I can imagine that, with how far into the series KH is and how many themes to keep track of, it was probably easier to remix existing songs than make an entirely new soundtrack. Still, there were some new pieces of music (Most of which from the aforementioned worlds) that I liked. The Toy Story fight music is an absolute bop and the Monsters Inc world music is so whimsical and fun. There were some really nice mashups as well, such as the Other Promise/Vector to the Heavens mashup and Oscuritia de Xehanort. I haven't had a chance to listen to all of the soundtrack yet so these were just the ones from the top of my head.

Fifthly, the voice acting. This is just a personal thing for me, since I want to become a voice actor someday and I like to observe/take mental notes whenever voice acting is involved. The voice acting in of itself is good. Sora was his absolute best in this game, especially in that one scene we ALL know from the trailer and it broke my heart hearing that in-game. Mostly everyone was good, too, aside from some weird line deliveries and voices not fitting some characters. However, I have to point out how... weird the voice-acting is with Terra, Aqua, and Xehanort. Xehanort was probably the weirdest because I'm so used to Leonard Nimoy's Xehanort that this one was kinda jarring. Rutger Hauer is the new VA and... I know he doesn't have the same raspy, gravelly voice Leonard Nimoy had but I feel his Xehanort just doesn't fit the character as much, especially since I noticed Xehanort sounded like he had a very slight Irish accent in this game. Rutger Hauer is Dutch so I don't know how I heard Irish but I'm gonna chalk that up to never hearing a Dutch person speak before. Terra's definitely the best acting out of these three but compared to the other two, it's not much. While it's not bad, I still prefer his 0.2 performance since it seemed like he put effort into that. Terra seems to share the same problem I have with Aqua in that he never raises his voice up above being low. It's hard to tell if he does because they only got Jason Dohring in for two scenes (the Wayfinder Trio reunion and the stupid Xehanort redemption scene), despite being a main character. Aqua was in more than two scenes but her voice acting was kinda the worst, which kills me because she's my queen. For some reason, her voice never goes up above low talking and I don't know if it's just me but she constantly sounds as if she's being cut off. Like, the sound mixing for Aqua makes it sound as if she's cut out at the end for each of her sentences. This was a problem that was present in 0.2 but I brushed that off since I figured 0.2 was not considered a full game by itself. I don't know whether or not it's Willa Holland herself or the voice director for both games but Aqua can be allowed to be emotional other than angry, raise her voice, and not be cut off.

Oh boy, the sixth point. Let me start off by saying this is merely a personal gripe I have and it's fine if people disagree with me or even don't see what I'm saying. I'm just stating this because I talked about this issue on my Livetweet Thread and I want to bring this up. Now... there are instances in this game where Sora express self-doubt or have other characters express worry for Sora (and Aqua for one time) to Donald, Goofy, and Mickey. Each time this was brought up, we had them saying the answer of "they're strong so they're okay". Normally, I wouldn't really be offended at this if it was for one or two times. KH3, however, has this happen several times and... let's just say I got a little testy. The characters this answer was said to or about were Aqua, Sora, and Elsa (as far as I can remember), all of whom I can safely say have issues with their mental health. Sora's the only one I can't definitively say (outside of headcanon territory) but even then... Sora has problems with his self-worth and his sense of strength, Aqua, for all we know, probably has depression and POSSIBLY PTSD, and Elsa definitely has depression and self-image issues. To the Disney characters, any time these issues are brought up, they somehow correlate physical strength with mental fortitude and think that answer is perfectly okay to say. I'm probably reading way too much into this but the way I take it, each time they say that answer, it comes off as Sora/Aqua/Elsa are being weak and need to get over it. The first example I'll bring up of this is when Riku and Mickey are in the RoD trying to save Aqua the first time and Riku expresses worry for Aqua, who's been in this hellhole for 11 years at this point. Mickey just says she'll be fine because she's strong, which baffles me because how does he not remember how Aqua was the last time they met? She was straight up about to succumb to the darkness when he saved her the first time and when she said to him she wasn't sure how much longer she'd be able to ward off the darkness, he just said she'll be okay. Like, she has been stuck in this hell for over a decade, being tormented and having to fight for her life constantly, all the while losing hope she may get out. The one time she's finally close enough to get out, it's snatched away from her. No wonder she was pissed off at Mickey for leaving her when they met again! The second example is any time Sora was expressing doubt in himself over being strong enough and he had Donald and Goofy say he'd be fine. This, to me, made it seem like they were placing such high expectations on Sora to be strong that he wasn't allowed to have moments of emotional vulnerability which I wouldn't be surprised contributed to the worsening of the self-doubt and the culmination of that despair scene. Again, I know it seems like I'm reading too much into this but this was something that legit made me angry. As someone who relates to Sora's self-worth issues and Aqua's depression, I don't think someone telling me that I'll be fine because I was strong constantly would make me feel better. If anything, I'd probably feel worse because I'd be too afraid to appear being weak around that person lest I betray their expectation of me being strong that I keep my feelings of weakness to myself until I eventually broke down. To give benefit to the Disney characters, I believe they were genuinely saying what they thought was best in those kinds of situations. Hell, maybe they even thought that, by saying that, the character would believe them and think they were silly for thinking they were worthless. But I don't believe the Disney characters are good role models for the importance of mental health, given their track record. Still, this was a personal gripe of mine and everyone is free to disagree with me on this. I don't even know if I made any sense in this but I tried.

Now we move on to the major stuff. This next half will mainly include my opinions on the story, the characters, how they were handled, etc. and everyone is free to disagree with me on any of those. I should also warn that any of the next sections may be lengthy, though it wouldn't be me if they weren't. There may also be some instances where I talk about how I would've rewritten some scenes, since there were some that desperately needed to be rewritten or re-edited or whatever else (which will be marked with *). However, I'll write those up in a separate thing because this entire post is mainly for my thoughts on KH3 as a whole and not just certain scenes. Besides, I don't want to bog this post down even further so...

Where to start? Well, I think it may be good to start with the plot and its loose threads. KH3 seems to have a problem with introducing plot threads and then dropping them off with no resolution, meaning they'll either be answered in the upcoming DLC or in the next game (Release dates unknown on both options). We have Maleficent and Pete looking for a black box (A significant thing in KHX, if you've watched Back Cover), the complete drop-off of Vexen and Demyx, the new seven Princesses of Heart, Subject X, the reveal that some of the New Organization members were Keyblade Wielders from the past, the whole thing of the heroes coming back after dying, and possibly other threads I cannot remember for the life of me. Again, I understand that these threads may be picked up in either the DLC or the next game but we don't know when either of those will be released. In a game that's supposed to bring answers to the many questions that were brought up in previous games, we still end up with many other questions that haven't been answered.

Let's go back to my mention of the non-original worlds serving no purpose other than fanservice. As stated in the beginning, Sora needs to learn the Power of Waking so that he can find and save Aqua in the RoD and, later on, awaken Ventus's heart so it'll return to his body sleeping in Castle Oblivion/Land of Departure. However, every time he reaches the end of a world, he still hasn't learned the Power of Waking and so goes to another world to see if he'll learn it there and rinse, repeat. In the newly-returned Land of Departure, it's stated that Sora had the Power of Waking in him all along, which made the trips to the worlds completely pointless. As someone pointed out in their review of KH3, while the Disney worlds in previous games served little more than fanservice, they at least had a goal in which the protagonists needed to fulfill, such as locking and unlocking the worlds, finding lost friends, and defeating those that pose a threat. In KH3, while the goal has been to learn the Power of Waking, it ultimately becomes meaningless upon revealing that Sora had the power within him all along.

Speaking of which, this leads into another thing that legitimately made me angry. We are never told what the Power of Waking is or what it does, only that it is essential to saving Aqua and Ventus. I had to learn from the comments section on YouTube what the Power of Waking was and it still wasn't fully explained what it was. Whenever Sora would be in Yen Sid's tower, Yen Sid would keep telling him that he needed the Power of Waking to venture into the RoD and everyone chastising Sora for being too impulsive and I'm just sitting there like "If you probably told him what the fucking power was, he'd probably have an easier time trying to learn it". It's one of those things where, if Sora were under my writing control, I'd have him slowly getting more and more frustrated over being told to learn something he doesn't understand and isn't being told on what it is that he'd eventually snap. I have some personal experience with that so maybe it's my bias talking.

Next thing I wanted to bring up was my thoughts and feelings towards the third act and the ending. I'll start from the Anti-Aqua stuff to the scenes right before the ending first. Anti-Aqua, while one of the best fights in KH3 (if you're not overleveled and using Attractions), is very quick. I mean, you do battle her a bit as Riku then switch over to Sora to full-on fight her and then she's saved but that sequence doesn't last long. It goes from Aqua calling out Mickey for abandoning her to fighting her to saving her then going off to save Ventus. Even the way she succumbed to darkness wasn't very... climatic. Earlier in the game, Ansem SoD surprises Ansem the Wise and Aqua as they're sitting on the Dark Beach from Blank Points and, after a pretty pitiful fight between Aqua and Ansem SoD (Totally understandable, though), she gets hit with a Dark Ball and falls into the dark ocean as the darkness consumes her. When I first watched the trailer revealing Anti-Aqua, I had a different idea in mind for how Aqua succumbed to the darkness* and the canon kinda disappointed me with how quick it came and went. Moving on, Sora, Aqua, and Disney (Dolan and Gooby) arrive at Castle Oblivion/Land of Departure to save Ventus and then Vanitas shows up. Aqua's only playable during the fight with Vanitas and she's taken out of the action as soon as he threatens Ven. Cue Sora learning the Power of Waking, saving Ven, Ven about ready to kick Vani's ass, and Sora and Ven meet for the first time. Then we move to Yen Sid's tower where everyone has a little chat and prepare for the fight tomorrow. Nice little scenes ensue (Riku meeting with Repliku, Sora and Kairi FINALLY becoming a couple, Aqua and Ven talking about how they'll save Terra, Lea and Saix eating atop the clocktower) then it's off to the Keyblade Graveyard! After an awesome fight with 10000 Heartless and shit, everyone fucking dies. You think it's a joke, no, everyone straight up dies! Terranort manages to take out Ven, Lea, and almost Kairi as well before Dolan pulls out the Zettaflare and vanquishes his ass. A Demon Tide comes into the mix and after becoming a cyclone, kills everyone except Sora and Riku because they were hit with the Stick of Incompetence. Sora and Riku join soon after and we meet with Chirithy in Purgatory! Sora abuses the Power of Waking to bring everyone back from the dead with Kairi's help (BTW, that's the only useful thing she does in this game) and somehow they forget that they died then proceed to almost die again immediately afterwards! Lingering Will shows up with next to no reason why, keeps Terranort busy while everyone fights the Demon Tide again until the power of Union Cross defeats it once and for all. Many New Organization fights later and Kairi getting the Damsel in Distress treatment YET AGAIN to only die later and Sora finally fights Xehanort. Even then, Xehanort manages to corrupt Kingdom Hearts but he's then used as a time portal for Sora and Disney to go to Scala ad Caelum to fight him there. Xehanort manages to forge the X-blade and actually kills Sora before he revives again with the power of friendship to defeat his wrinkly, veiny old ass. Xehanort then gets hit with a dose of Creator's Pet syndrome, which causes him to somehow be fucking redeemed as he goes to the KH equivalent of Heaven with good ol' brother Eraqus. Sora then decides to abuse the Power of Waking once more to save Kairi and, after he successfully brings her back, gets hit with the Thanos snap and disappears. In Secret Endings, the Foretellers come back, Xigbar is revealed to be Luxu, and Sora and Riku are in Shibuya and Shinjuku respectively, probably about ready to play the Reapers Game! If I missed anything, feel free to disagree!

I may have gone jokey after the Anti-Aqua fight but let me break the last paragraph and a half down. The Land of Departure sequence is nice, except for the part Vani one-shots Aqua in order to get to Ven. She doesn't throw up a barrier or try to deflect the magic with her Keyblade, she just tanks the hit which, if anyone's ever played Aqua in BBS, she ain't like Terra or Ven. It's only because Sora was able to awaken Ven that Aqua didn't get skewered on Vani's Keyblade. Aqua's a Keyblade Master who's fought and won against Vani twice, why the hell did she lose to him here? That, however, is NOTHING compared to her treatment in the Keyblade Graveyard. After Ven and Lea are taken out and Dolan annihilates Terranort, a Demon Tide becomes a Demon Cyclone and, after she, Sora, and Riku decide to fight it, she suddenly gives up and lets the Demon Cyclone kill her*. WHAT THE FUCK?! You mean to tell me that Aqua, a Keyblade Master who's spent 11 years in the RoD fighting for her life and was FINALLY brought back to the RoL, took one look at the Demon Cyclone, which is just a bigger version of the Demon Tides she's fought before, and decided to do suicide by cop? People from the comments section on YouTube try to justify this by saying she had PTSD and/or she was mourning the loss of Ven but I can't see her basically committing suicide over either of these reasons. I'm normally all for Aqua having PTSD because I can imagine that being in a stressful environment with everything trying to kill you on a daily basis isn't good for your mental health but she doesn't show any of the signs for PTSD and she doesn't give up on living the second time the Demon Cyclone shows up. As for her mourning the loss of Ven, I can MAYBE see that but I feel like Ven's death would give her more motivation to defeat the Demon Cyclone because one of the reasons why she fought so hard to get out of the RoD just died in front of her and she'd probably be pissed the fuck off. It may be my love for my oceanic queen coming through but she got hit with the Stick of Incompetence in KH3, along with many other characters.

The one character that was practically killed with it was Kairi. She easily became one of the most disappointing things from KH3 in that she was given the Damsel in Distress treatment yet again and was only killed to give Sora more angst/development. People were expecting her to do something and make herself useful and were instead given shit on a dirty platter. Yes, I know it's stupid to expect Kairi to fight on the level of a Keyblade Master. I don't think anyone was expecting that of her, considering how she literally started training with Lea days, or even weeks, before the final battle. However, we don't see her fighting at all, outside of the battle with Saix and Xion before she gets kidnapped again by Xemnas. She doesn't try to fight back against him and just lets herself be taken, not to mention how she just stares at Terranort after he takes out Lea, not even trying to defend herself*. This girl seems to have no survival instincts, whatsoever. The only useful thing she does in this game is bring Sora back from the brink of death so that he can save everyone else and that's it. While it's a good thing she did that, it's not really explained how she did that, other than 'Princess of Heart' BS.

I'm starting to believe that Nomura genuinely has no idea on what to do with Kairi. To me, he doesn't know what to do on making her stand out from the rest of the cast and has to keep turning her into a faux fighter. In terms of fighting, he doesn't know what to make her as. In my mind, Aqua and Xion (the only female fighters, since Namine is a non-combatant) have two different fighting styles. Aqua's more focused on magic and staying a distance away from her enemy while Xion's more focused on brute strength and getting up in her enemy's face. Kairi then should be the balance between the two, using both magic and strength to her advantage to keep her enemies on their toes. I should stress that I myself am not good at defining fights in general so I may be completely wrong on this but this is merely my interpretation/suggestion. There's a lot more I want to talk about with Kairi but these last two paragraphs pretty much summarize my point. I want to stress that I'm not blaming Kairi for her shitty writing. I'm blaming Nomura because he doesn't know how the fuck to write her as.

Which leads me to my next point of how I feel Sora got hit with a dose of Creator's Pet syndrome in this game. This is probably a point that people will think "Of course it's like that, Airi. He's the main character", which I agree with to an extent but... I'm probably the only one who thinks this but I feel like Sora was made out to be too... important, if that makes sense. In terms of reconnecting lost friends and defeating Xehanort, that's fine. However, also being the one to solve everything by either defeating the enemy or saying stuff from a typical stock shounen series kinda rubbed me the wrong way. It's hard for me to explain in a way that doesn't make it seem as if I don't understand a main character's importance but I'm trying. Here's how I see it: while it's been stated time and again that Sora is the one to connect everyone (Memory's fuzzy on that part) and I know he has to fulfill that purpose in some way, KH3 puts so much emphasis on that, it downplays the other characters' importance or even ruins any chance of development they could've gotten. Sora has to have the spotlight no matter what, even at the cost of characters who need it more. The biggest example of this is Xehanort killing Kairi so it gives Sora more motivation to beat him. Sora was given more development at the cost of Kairi's own. As I said before with Kairi, I'm not blaming Sora for this, I'm blaming Nomura because he decided to give Sora more development than he needed/should've had and sacrificing the other characters in order to boost the already massive value his role has. Hopefully, the DLC will give the others the much-needed development they need.

Speaking of which, it's not only the heroes who got mishandled in this game. Three specific villains (Young Xehanort, Vanitas, and Luxord) come to mind and it somehow got worse down the line. In the Toy Story world, Young Xehanort gets verbally beat down by Woody. In the Monsters Inc. world, Vanitas get yeeted through several doors by Mike and Sulley. In the Caribbean world, Luxord faints because Jack Sparrow had bad breath. These are villains we're supposed to be intimidated by/motivated to defeat and they're made into a complete joke in the world they're antagonizing. Young Xehanort got off easy compared to Vanitas and Luxord, since all he had to deal with was Woody giving him a scolding and brushing it off like nothing. As much as I like the Yeetus Vanitas joke, you mean to tell me that Vanitas, the darkness gremlin himself, didn't sense Sulley sneaking up on him or even try stopping himself from being yeeted through more doors after the first few? What about the Gambler of Fate? He faints because Jack had a little rum in his breath after he got to play pirate again? If that scene was meant to be funny, it accomplished its purpose, just not in the way it was intended to, because how the fuck am I supposed to be intimidated by Luxord when he gets taken out due to someone's bad fucking breath? The way the New Organization's written as is anywhere between being inexplicably strong and able to kill everyone (with the exception of Sora after a despair-induced death and revival) to being laughable and weak enough to be yeeted through doors and taken down by bad breath. That's totally good writing!

Getting back to the story, let's move on to the abso-fucking-lutely stupid Xehanort redemption scene. In the game proper, after he's been defeated once and for all by Sora with the power of friendship, it's revealed that the reason why Xehanort went on this crusade to control Kingdom Hearts was to restore balance and essentially reset the world. He's basically portrayed as this person who, in his pursuit of restoring balance to the world, resorted to extreme methods that almost achieved the opposite of what he wanted. To be fair, that in of itself isn't bad and probably would've made Xehanort an interesting antagonist. However, this completely contradicts what we know about Xehanort before this point! If he really wanted balance, he shouldn't have been spreading darkness to every world he and his incarnations have been to! Even disregarding that point, he's manipulated, controlled, and ruined so many lives. He took control of Terra's body after spending the entirety of his story manipulating him, almost killed Ventus with creating Vanitas if not for Sora's timely intervention, manipulated and controlled Riku, manipulated all of Organization XIII while using them for empty heart tanks, and killed both Eraqus and Kairi! If we're supposed to feel sympathetic for him, why not show him regretting doing all that, hesitating, anything to make us think he didn't WANT to do that but had to in order to accomplish his goal? Then there's the fact Eraqus decides to just forgive him for all he's done, as if he forgot that Xehanort's the reason why he's dead in the first place and almost ruined his pupils' lives, who he saw as his own kids. I get that they once saw each other as brothers but you'd think that relationship would've soured once Xehanort scarred him and dumped a nearly comatose Ven on him. I know Eraqus got a lot of shit from the fandom because of how he acted in BBS but he was at least sympathetic. While he was ultimately wrong in how he treated Terra and Ven, he only decided to kill Ven because he didn't want the X-blade to be forged and cause another Keyblade War and he admitted to Terra he regretted his actions towards him and Ven, all the while crying. THAT’S how you write a character who's majorly fucked up but regrets it and is sympathetic. Not whatever the fuck we were supposed to get from Xehanort. For the third time in this post, I'm not blaming Xehanort for the BS way he was written, I'm blaming Nomura, which is funny since he stated that Xehanort was his favorite character, leading me to think he'd actually try writing him decently.

With that out of the way, we can FINALLY get to the ending. As I said before, Sora decides to abuse the Power of Waking once more to bring Kairi back to life and, after successfully doing that, fades away as if he got hit with the Thanos snap. I'm surprisingly okay with this ending, if only because I know there's going to be more KH games coming out with the confirmation that Sora will still be the protagonist in those games. Normally, I'm against endings where the protagonist dies (unless under special circumstances and even those have to be pretty special) because I like to see stories where the protag, who's gone through a journey full of pain and emotions and any other number of issues, finally gets their happy ending. To me, who writes to escape from the dark and sometimes painful aspects of life, happy endings give characters who've fought so hard for them or characters who were previously unable to achieve them the rest and happiness they deserve (Like the Wayfinder and Clocktower Trios staying together after being reunited). It's hard for me to explain but this isn't the place to talk about that. As I was saying, I'm okay with Sora 'dying' because it showed the consequences of him abusing the Power of Waking too much. From my interpretation of it, the Power of Waking could be used to resurrect the dead, rewrite reality as we know it, etc., but its main purpose is to 'awaken sleeping hearts'. Riku used it properly in DDD to wake Sora up and Sora used it properly in this game to wake Ventus up. The PoW, to me, is the equivalent to playing God, which REALLY goes against my beliefs. I don't know whether it's due to my (loose) Christian faith, my beliefs towards death that I've formed over the years, or because I watched FMA, that mortals messing with things they shouldn't (I.E. Sora bringing the dead back to life) scares me. While the reasoning behind Sora abusing the PoW is understandable (and I'm giving him a pass on what I'm about to say next due to this), he's still a mortal playing God, which HAS to have consequences, no matter what. Just because I say this, however, doesn't mean people aren't allowed to say the ending sucked. Hell, even I think the ending kinda sucks, despite me being okay with it. The only way this ending couldn't have come about is if Sora didn't abuse the PoW and the only way Sora wouldn't have abused the PoW is if no one died and the only way no one could've died is if Nomura could've written something better. The best we can hope for with Sora is that he's given a happy ending down the line and NO ONE DIES OR TAKES HIS PLACE! NO MORE OF THIS BITTERSWEET NONSENSE, ALL RIGHT?!

So what do I think of the story overall? Well, it's... something. It's not the worst thing I've ever had the pleasure of experiencing but it's also not that good. The pacing seems to only have two settings; it's either too slow to the point of it being padded for extra time or too fast to really know what's going on in favor of getting to the next goalpost. I wouldn't be surprised if it's because of the pacing that I don't know where the halfway point of KH3 is. I thought it'd be like the first half being the Disney fanservice and the second half the actual plot but it's not like that here. The first half got WAY more time dedicated to it than the second half did and it REALLY shows with how sloppily written the plot towards the end was. The way I see it, Nomura had the major plotpoints planned and figured out but the details surrounding those plotpoints were left as an afterthought. He had goalposts set up but he got stuck figuring out how to get Sora and co. from point A to point B. I think if he had just finetuned those details or rewritten scenes to make more sense or even asked for help, the story could've been a lot better. Granted, there were probably a lot of factors at work during KH3's production so I won't place all of the blame on solely Nomura, especially with all the news articles lately about game studios overworking their employees to the point of exhaustion/illness/death/eventual breakdown of the company. While I mainly talked about the negatives concerning the story, there were also some positives about it. Sora was at his absolute adorableness in this game. Like, there were so many moments where I just died from how cute he was (which I noted many times in my Livetweet thread) that helped to highlight how Sora's still just a kid who unfortunately carries the fate of the world on his shoulders. The reunions of both the Wayfinder and Clocktower trios just killed me because they had suffered so much up to this point and to see them crying from happiness at being reunited with their friends again and staying together this time had me tearing up. Although she didn't appear much in KH3, Namine being able to exist outside of Kairi was also a sweet moment, especially with her being treated like a princess when she first wakes up and Riku taking her by the hand to the Destiny Islands like a prince. I don't care if it's considered ship tease, that shit was goddamn cute, all right? The scene of Aqua crying after she finally realizes she's in the RoL again hit me in the feels so much, especially after Sora told her she was home. Now thinking about it, I wonder if that's sort of a parallel to KH2's ending with Sora taking on the role of Kairi from that scene. The relationship between Kairi and Lea (What little we saw of it), the ending of everyone on the Destiny Islands, and the occasional Disney stuff I did enjoy were all good. It just sucks that there's so little of the stuff I mentioned featured that I wish more time was spent developing those.

So what is my overall opinion on KH3? It's not my favorite of the series, that honor still goes to both KH2 and BBS. Without running the risk of repeating myself, I won't go into detail about the gameplay or the story because you can just read all the points I've mentioned above. I still enjoyed KH3 but some of my expectations fell through and I felt a bit underwhelmed by everything. In some ways, the wait was worth it but I think I would've been fine with waiting more if it meant some aspects were developed more. In regards to this game being a good entryway for newcomers, I think it is, if only because you're provided with recaps of the previous games right at the main menu so that anyone who hasn't played at least one KH game won't be completely lost playing KH3. I feel like everything I've mentioned in this post may be discredited or even disregarded as an actual review of KH3 because I didn't play the game, I watched an LP of it, but keep in mind these are merely my observations and the conclusions I've reached using those observations. The experience may be completely different to those who actually played it but I won't know until this is posted so...

Where do we go from here? Well, we still have the DLC to look forward to but, as I stated earlier, we have no idea when those are coming out and it's the same with any upcoming games. I'm hoping the DLC will answer some questions while also giving some much-needed development to the characters who aren't Sora. The only thing left to say is, may the DLC guide our wandering hearts.

#kingdom hearts 3 #kingdom hearts 3 spoilers #kh3 #kh3 spoilers

4 notes · View notes

thegreatpikminzx789 · 5 years

Text

Etrian Odyssey Nexus - Overall Thoughts

Amidst all of the plotting and playing of Nexus, I never done a legit review of a game, so I figured I’d give it a try with the recent entry in the EO series, Etrian Odyssey Nexus.

The following will contain spoilers for the game, so if you have not played it, you have been warned.

The favorite thing I’ve recently played the thought with, ever since I touched EOIV was creating a party that felt attached to the world they lived in, and can develop more to the plot than being nameless members who merely want to clear Yggdrasil for fame or fortune. And with a grand total of nineteen classes, along with the pseudo-class of Vampires, and it’s a combination of characters you’d never thought would happen to meet up unless told through stories.

EOV sort of felt that way to me, but even the two remakes of the first two Etrian Odyssey games have a more balanced party that makes you feel attached to them than your own in some cases.

If you wanted to recreate the Hexer, there’s a way. If you wanted to use a few of EO3′s classes even if you have not played the original game, you can do so. You can even replicate the Hoplite class if you subclass the Protector with the Highlander! The amount of classes can make almost any class combinations possible, given you set things up correctly. Heck, the Vampire can even be of use against the Dinogator, given you know what you’re doing.

The fact that this game also has NPC’s that interact with you reminds me of EOIV greatly. Sure, only one really joins you for the first floor, and for the boss of that labyrinth if you allow her to, but there’s enough interaction that makes them feel more noteworthy, even if they merely travel beside you and give you small benefits.

The story is quite interesting as well- two sides (the Seafarers and the Maginians) wanting to find the ultimate treasure that supposedly grants ‘eternal prosperity’. Only to find out said eternal prosperity may not be all that it may seem. There were legitimate moments where I thought things were going to go wrong if I didn’t do something to stop it.

Apart from a few times I gotten a game over, I had an enjoyable playthrough of the main story, especially with my first attempt at defeating the final boss after things seemed to go badly.

Heck, even Makiri and the Forest Folk were such a cool thing to have in Lemuria. And hearing the Lost Shinjuku music in their village is giving me such major EOU flashbacks, I honestly wish we can have an EO game where Forest Folk can be an actual race that can be used for classes.

Now, with every good thing, there’s always a few things I hated. Not that I have to like everything, coming from a gamer/author’s perspective, but there were things that legit bugged me a bit.

Don’t get me wrong, I enjoyed Rob when he actually opened up more, but honestly, seeing him telling my characters to just end themselves was really making me want to just put down the game and despise him for all that he stands for. It just irks me whenever a character, or anyone really, tells another to end their life because things would be better for this particular person. That line will always bug me whenever I see him, but I persevered and enjoyed him for what he is.

Kvasir, Kvasir, Kvasir... Even with his hard to pronounce name, he turned out to be waaaaay different when I first met him. His voice is alright, but I really wish he didn’t have to have this creepy personality, and the fact that he admits a few times that he stripped his clothes and getting banned for being nude. I never hated a barkeeper before, but Kvasir takes the number one place in my characters to never mention list. If there was an option to head to a different barkeep/quest giver in game, I would’ve been MORE than content with Kirtida or Cass than listening to this lame excuse of a bartender!

Also the lack of EOV content, aside from two classes and a plethora of enemies and one boss from the game, kinda hurts me a bit, but there’s always DLC portraits to remedy the good old times of EOV. Hell, maybe even the only remaining Arken could’ve been a much more better fit for Lemuria’s Yggdrasil Tree resident, considering the almost out of nowhere reveal of the “Yggdrasil Girl” that was name dropped on ya in the credits, and only appears for the info-dump and True Jormungandr segment.

I know the Arken are considered aliens and are the most plot-confusing things ever since the revelation thrown at you after the Eternal Tyrant boss, but honestly, I find Arken to be more pleasing in terms of design, instead of having to look at a physical-almost-nude-representation of the Yggdrasil Tree itself. In fact, I don’t think it’s ever mentioned how the tree even MANAGED to make a physical form of it’s conscious. It’s just irritating to think of, and I had always wondered when she’ll physically appear whenever her voice clips played. Guess that’s another change to my Nexus series. Just change Arken to be the resident of the Yggdrasil Tree in Lemuria, and you’d have at least one character that isn’t stupid to try and explain what happened in the not-originating-from-EO3-dungeon, the Abyssal Shrine, instead of saving it all for the freaking 5th floor, like what EOV did in its sixth labyrinth. >_>

Hell, even the Abyssal Shrine IS a basic copy-paste of the Empyreal Bridge! No actual plot dump until you reach the final floor! Seriously, this dungeon could’ve been better. Even as someone who has not seen the original Abyssal Shrine, I would’ve loved to see it remodeled. Given the boss theme and the Abyssal Princess’ naming alone, that was such a missed opportunity...

Moving on... I knew Blót was going to be the antagonist the moment I connected the little bell with a class that appeared in EO1 and EO2. But the twin plot twist was something I certainly didn’t expect, and it’s a shame we only see him so much without the Hexer robes and he tries so hard to be so secretive that there’s barely any opportunities to know him or his twin brother that well (who I’m also assuming may be named Blót, considering the Hexer twin Blót dies to Jormungandr, while the Hero Blót gets thrown into the Abyssal Shrine).

Honestly, with this twin plot twist in mind, this certainly makes one idea for a saga of Yggdrasil’s Nexus to be a fun trip to write, given I am given time to do so. Blót is one of those characters that had a missed opportunity to be more explained, both in terms of his twin brother, and for the thought of reviving Jormungandr to begin with. The inner author within me is going to have a little fun with Blót, in hopes of explaining more than what the game tried to convey to its best. (Also missed an opportunity for a Hero/Hexer fight with Blót and his twin brother, like, come on, how can you play Towering Pair and NOT borrow the Ren/Thlatchga fight to make it more interesting?)

Also, Artelinde. Why was she here? I ignored her the first time I saw her and thought “Hey, that’s a nice character, I wonder who she is”. Having gotten around to playing EO2U sometime later in my life, I found myself questioning why she was even here. The game could’ve shed some light on what happened between EO2/EO2U to justify her being here, but it doesn’t... And it just begs why she had to be here other than representation for EO2.

Murdered tons of people all to protect a former guild member turned monster thanks to the Overlord? NOPE, no extending redemption arc/back story for you! You get relegated to being a martyr like character! Ugh... I really wanted to hear her struggles of redeeming herself for what she did, but I guess that idea never made it into the plot draft of Nexus... <_>

Things I disliked aside, the only thing I found myself being neutral on was Enrica.

Despite the massive flashbacks to Camilla from Fire Emblem If/Fates with her fan service boob appeal, I felt she really could’ve been different and not act like a child upon first meeting her. Heck, she’s even a freaking Farmer in-game, if her luck with finding items is any indication. How the heck does a character that has the coding of a Farmer LOOK like that, let alone have plot relevance? I was expecting a Sovereign at least because she mentions ‘becoming a queen’ once she goes back to her homeland, but nope. A freaking FARMER.

Sigh

I don’t hate her that much, she’s just one of those “meh, I can deal with this” type of character.

My overall thoughts are that there’s a strange balance of good and bad things I don’t like in this game. Sure, I wish there could’ve been more classes, some more things explained/justified, and an actual English dub to boot, but the need to get this out before the 3DS era of games come to a close is rather understandable. Even without Mystery Dungeon 2 being able to make it over to the West, this is a great dedication to the series Etrian Odyssey has made itself out to be, and I am personally glad to have bought the game and gotten myself into the series.

This is one game that sends off the EO series on a good note, and though I’ll miss mapping out the maps when the next installment arrives, I’ll be glad to see, make, and enjoy the story of the lore that goes into the Etrian Odyssey series.

#eo #eon #Etrian Odyssey #Etrian Odyssey Nexus #review #overall thoughts #spoilers

5 notes · View notes

aussie-hermit · 7 years

Text

Today I went and saw Universal's The Mummy, the first in a modern reboot of the Universal Monsters Series, with Tom Cruise, Sofia Boutella, Russell Crowe and Annabelle Wallis.

When I first heard they were doing a modern take of the mummy I was ecstatic, and then I heard they were casting Tom Cruise as the lead and I was less so.

I was worried they were going to try and remake the 1999 one (you know with Brendan Fraser) and they were going to botch it in an attempt for money grabbing. The very first mummy film - the 1932 black and white film with Boris Karloff - and the 1999 adventure film are the ones I treasure very deeply and you can’t meddle or try to rewrite these. No doubt their attempt to reboot the classics such as The Mummy, Frankenstein and other classics of the horror genre can only end in failure.

However, this film was solid - it has flaws don't get me wrong and there could have been things that could have been better written or done better but as the first rebooted classic monster film it was good.

I'll touch on what I liked and what I thought makes this film worth watching and what I didn't like before suggesting what I think might have made it even better.

And please be warned, SPOILERS BELOW

What I liked:

- They didn't mess with the classic Imhotep story but built from it The story of Imhotep's love for Anck-su-Namun is the driving force of the 1932 and the 1999 Mummy stories, so you can’t mess with this story. I was worried they would try to change it but instead they borrowed the concept of it which I loved. Ahmanet basically sells her soul to the Egyptian god Set for power after her half brother is born, essentially removing her as heir to the throne. She then kills her father, his son and mother. As she is about to bring Set into the world through a human sacrifice she is mummified alive and buried in a secret tomb - and seriously they had plenty of warning signs around that tomb that screamed 'DO NOT LET HER OUT!'. But of course when she is released, she has chosen Nick (Tom Cruise) as her 'Chosen One' who will be sacrificed to bring Set into the world and sets out on the war path to accomplish this. So it follows the same basic plot of the original mummy story but isn't rewriting it.

- They did some research I was ecstatic when I found out Ahmanet was the mummy, she's actually a deity in the Egyptian mythology so the fact they looked into the mythology for inspiration of who this mummy could be made me happy. And also there is a Crusader tomb - based off an actual crusade into Egypt in the 1100's I believe - which plays an important role in the story, especially since they stole and hid something crucial to the story.

And Set was not the god of death but of chaos and violence - this annoyed me but in the grand scheme of things....I will moderately ignore this.

- Sofia Boutella as Ahmanet

Sofia Boutella! She was my main motivation to see this movie, and she did not let down! She was fantastic as Ahmanet. She was a beautiful, terrifying and powerful villain and I loved her!

- The effects The effects of the mummies was top notch, they looked like a real desiccated corpses and their movements were insanely creepy. This really brought an element of horror.

- Russell Crowe as Henry Jekyll Bit iffy about Russell's role in the film but he was perfect as Jekyll! He's sort of rounding up all these 'evil' things to study, contain and destroy them and he keeps medicating himself to stop him from turning into Mr Hyde, whom he also plays as really well. I'd really like a prequel that explores how he came into the position he's in, in this film and how he developed a medicine to keep his alter ego at bay.

- His dead mate comes back to haunt This reminded me of An American Werewolf in London and I wouldn't be surprised if that's where they got inspiration for it. So Nick's friend Chris (Jake Johnson from New Girl) gets bitten by a big ass spider in the tomb, which no one even considers looking at, and becomes a zombie who Nick ultimately kills. Cue post plane crash, and he begins to haunt Nick, sometimes just being a smart ass but more or less to help. He does get revived at the end but I wished they had more scenes of Chris being a little smart ass that only Nick could hear.

- The Easter Eggs Now when I noticed these I was bouncing in my seat, in this place where they're keeping all these 'evil' things you see a skull with vampire teeth and I noticed a preserved hand of the Creature from the Black Lagoon. I need films of this ASAP. Also when Jenny is trying to save Nick from Hyde she hits the guard with a gold book, specifically the Book of Amun-Ra from the 1999 film. This means that the 1999 story exists within this universe and makes me monumentally happy. In the next installment I demand a cameo of Brendan Fraser as an old and tired Rick O'Connell. What I didn't like:

- Flat main characters Tom Cruise's character didn't have enough depth for me and I found him quite boring. He was a marine who looted stuff from sites he shouldn't have been at and sold them on the black market - that's pretty much his entire background I got. I didn't feel any sympathy for his character or that he had anything driving him. I liked Wallis' character Jenny more than Cruise's, she slapped Nick and didn't put up with any of his shit and she caught onto the fact that by removing Ahmanet's sarcophagus from the tomb was a terrible idea first. She was the only smart one! However this was all overshadowed by the fact that Jenny was only used as a plot device - he stole her map after a one night stand which led them to the tomb, she's the reason he won't join Ahmanet and when she's killed he only then willingly becomes a sacrifice to bring her back. If they had moved beyond this I think her character would have been stronger.

What I would improve:

This might annoy some people but I think if they had made either Nick or Jenny of Egyptian descent it would have given the characters and the story more depth.

Hear me out.

If Jenny was a Egyptian archaeologist she is then given a degree of motivation to protect historical and cultural artifacts of her ancestry. Also gives more tension between Jenny and Nick - he steals artifacts of significance to sell on the black market, not really any different than the British taking artifacts from Egypt. Bonus is if she's still not used as a plot device.

If Nick had Egyptian ancestry but was removed from the culture - say his mother is Egyptian but his father is American and/or raised in America where he is surrounded by modern American culture - would be interesting. Like maybe his grandmother told him stories and such and is his only real connection to Egypt but he still becomes a thief and sells artifacts on the black market. Throws it in Jenny's face that white people did it for years so she can stop acting high and mighty, or something similar.

Just by adding Egyptian ancestry maintains a connection to the Egyptian culture, not just through the mummy. Pretty much after the opening where they explain Ahmanet and leave the tomb having found her, I found a lack of connection to the Egyptian culture.

This is where the 1999 film did better, even though the main cast was primarily Caucasian they had significant connections to Egypt and the culture.

It also adds in tension outside the romantic option which in this film I felt was unnecessary, maybe if they had handled it differently I'd be fine with it.

These are just my opinions and thoughts, you can agree, disagree or whatever.

Overall it was a solid film, with some flaws and things that could have been done better but still entertaining and a good start for a reboot of the Universal Monsters.

I give it 6.5/7 out of 10

#the mummy #the mummy 2017 #copperdragon #my review #movie review #review

15 notes · View notes

dankesdarkman · 7 years

Text

Fate and Economics: How FSN Is An Economical Commentary By The Spacebattles Forum

You know what’s normal? fate shitposting

You know what’s fun? fate economics shitposting

The beginning of this madness

Raguna Blade said:

You know, thinking on it, yeah that totally makes sense based on what I know of japanese work culture. Especially when mixed with the targeted audience of the FS/N games (otaku type) who were already on the outside edge of such culture and were totally open to hearing alternate idea's of what to do, it makes a clear amount of sense. Tying with the heroines then, it sort of follows that the various routes demonstrate how things work out for him. Following Saber, who basically embodies the Work your ass into dust ideal set's him up with an impossible goal for happiness. Saber has to Wait Forever, He has to work forever and if they can both keep it up without fucking it all up along the way, Glory GLory forever. Rin though? Rin's got a discrete clear goal. It requires hard work certainly, but it's not the end all be all. You need to work certainly, you need to work hard, the world is utterly vicious and will swallow you up (the clocktower, then, is true society I guess. None of those fake niceties, it's kill or be killed, eat or be eaten, real Chaos Route stuff there.) but there's plenty to do aside from it and happiness can coincide easily enough if you're willing to stick out that hand and work for it. And then yeah, Sakura is a full on rejection of that, and it makes sense that in her route there would be the most shit going horribly wrong is just in general kind of the most painful (as my recollection calls anyway). Shirous not only rejecting the dominant paradigm for work ethic, sorta, but he's doing to be with someone who is kind of coded as handicapped(? Recollections may be failing I apologize). Severe Trauma, violent violent freak outs (or just freak outs in general really), Sakura is a broken girl really. SO He not only rejects the idea that he has to work himself into dust for his ideals, Ideals he still technically has but needs to better consider and come to terms with as I understand it, But he makes use of that titanic drive to do something utterly radical and do what would make him truly happy even if it means rejecting basically the entire culture he's in. So that's neat. And Bludflag Imma need you to stop. I can legitimately go at this all day, but my surface level knowledge of the FS/N series is gonna out me as a clown sooner or later and I kinda need to dodge that. Assuming I haven't run face first into the clowning pie already.

frozenchicken said:

The Economic Simulationism of the Fate Franchise Part 1-Economic Mechanisms Many compliments have been offered to Nasu for the depth of his worldbuilding, but very few discuss the blatant economic commentary hidden within his works. In particular, the Masters and Servants of the 5th Holy Grail War* are each distinct commentaries on various Economic mechanisms and social systems. Mechanisms Spoiler: Large Corporations

The first of these mechanisms is one that is obvious even to those unfamiliar with economic theory. The Archer-class Servant Gilgamesh is a Great and Powerful Hero, stronger than any other in the series. He enacted his deeds long ago, and in addition to the power and wealth this initially brought him, he laid claim to the Gate of Babylon, a Capitalistic Means of Production that grows his strength from the work of others. In this current age he has thus become an unstoppable juggernaught who can throw his weight around anywhere in the Marketplace of Ideas. Obviously, Gilgamesh symbolises the tyrannical strength of a Corporation who has become too large, and managed to gain a Monopoly. Interestingly, we can see that his Villainy is linked to his growth and desire to expand, as he never possessed such horrific goals in pre-modern times, or when people had purposes that suited his goals. Interestingly, we know that Gilgamesh was at his most personable back in Ancient times when his friend Enkidu was present. This a clear commentary on the necessity of competition to cause healthier business structures. Spoiler: Rational Choice vs Behavioural Economics

One of the simplest and most basic Economic theorems-known as 'Rational Choice Theory'-is examined by the character of Medea ('Caster'). Rational Choice Theory is the assumption that all individuals within in an Economy will act within their own best interests, acting in order to maximise their profits and minimise their losses. This behavioural pattern is shown by Medea's first master, Atram Galiast. Atram is a skilled mage, backed by the Magus Association and equipped with a workshop full of human sacrifices that could massively empower Caster's Magic. With his support, she could easily achieve success in the Holy Grail War. She instead elects to kill him, release the sacrifices, and wander around without hope of survival. In this, we see that Nasu has chosen to support the converse theoreom that is Behavioural Economics. This is the psychology-based study of human behaviours that examines why humans embrace irrational behaviours that makes modelling human action in an economic model so difficult. Medea rejects her first master due to hatred of being bound, and yet embraces Souichirou Kuzuki for his kindness, in spite of the the tactical disadvantage his lack of magic brings. This demonstrates both how standard logical predictions of her actions fail, however once we understand her psychology better (such as the fact she would rather embrace temporary happiness with Kuzuki rather than seek the ideal perfection of a Holy Grail Wish), we become better able to understand her decisions. *Fate/Stay Night, Fate/Unlimited Blade Works, et al. ------------------------------------------------------------- AN: There, look at what you've all made me do. You crazy people. Also, I'm neither an Economist nor an expert on Fate lore, so I accept no blame for this being an illogical pile of absolute BS. We all knew that going in. I was planning to write up a section called 'Love Triangles as Symbolism for Competing Economic Social Systems', but it's 3am here, so I won't. I also didn't comment on all that 'Saberface' stuff, but that's because I know practically nothing about the 10 billion variations of Saber. If somebody wants to actually continue this, be my guest. I have no idea what my work ethic will be like in the morning. [Perk Activation: Sloth!] ....Seriously, feel free.

BlueHelix said:

The Symbology Of Saber In Economics (Or: I Really, Really, Hate Things Like Macroeconomics. Yorokobe, TehChron, frozenchicken, and Neroj. Feel free to critique, this is a half-assed attempt in between my analysis of the MotSR world, and developing my own quest idea.) One could put Saber into one of two possibilities: Keynesian economics, and a pure representation of capitalism. Let's begin with the Keynesian aspect. The ideal of Keynes is a planned economy, that "spends against the wind." Okay, let's break it down. This great plan, hatched by Uther Pendragon and Merlin, try to create something amazing, which is a symbol for the planners like those of Keynesian economics. And Keynes, for a large part, works in times of war, which basically is King Arthur's entire reign. The people unite, things go along to rationing and planning. In times of economic downturn, Keynes says to spend more and more, and to go into debt, which is a little similar to how Saber had to drain the resources of a village to go to war. And in times of economic surplus, one raises taxes and then pays those debts off, which shows in the prosperity of Camelot before it fell. In the perfect ideal of Keynes, also known as "Saber Lily," Keynes works perfectly, with it being a utopian ideal that whenever things go wrong, the government will intervene. On the other hand, Hayek in "The Journey To Serfdom," envisions that this so-called planned economy will fail, and sets the ground for the total corruption of Keynes' ideas, which finally takes the form of in terms of TYPE-MOON as the inversion of Saber: Saber Alter. In between the range of Saber Lily to Saber Alter, from Mysterious Heroine X, to Saber Lion, to Nero, would be the variability of how Keynes' ideas actually worked out in the long run. Secondly, one could look at Saber, and at an extension of her, Camelot, through the lens of free-market capitalism. Saber begins at her journey, and has a really successful start: pulling the Sword of Owed Victory, Caliburn, out of the stone. However, this is really the beginning of a bubble, as she can no longer be a normal person, but rather has to be a king, which is exacerbated by how so many people put faith into her (a false representation at that, as they believed for her to be a male, and put a false set of expectations upon Arturia, putting an enormous task that she, and most of her counterparts, were doomed to failure), and put some truly significant investments into a stock that was higher-valued than its true value (such as Guinevere. And look at how that turned out.) For the longest while though, just like the post-World War I American economy, Saber, buoyed by support from so many, managed to get through the countless wars and competition. However, like all bubbles must eventually do, they burst. And the indicator for this was the eventual plateau of Camelot and Merlin (a vital investor/co-founder) leaving for better pastures (woman troubles.) Then came the confrontation by Mordred, who took so many of her knights (investors) away, leading to a civil war (Black Tuesday and the Great Depression.) Which all went to hell, leading to Arturia making a deal with Alaya (a government bailout), which as we all know, generally fails (Hoover, am I right? And really, Roosevelt as well, because it was the Second World War that revived the American Economy), which leads to a major conflict (Holy Grail War=World Wars. You could fit an enormous amount of connections and parallels here, especially how the Fourth is similar the the First World War, and the Fifth is similar to the Second World War) in order to rejuvenate our stocks (Saber) through the major investments and turnarounds (the Wishes), which usually are misused, and we head back to a depression after a peak (Angra Mainyu and the Corrupted Grail.) This continues on ad infinitum, with the hope that things will be better for the individual, similar to the Fate Route (that one quote I forgot where they say something along the lines that one has to seek forever, and the other will have to wait forever. Halp Bludflag), and maybe, it will work out, similar to the Avalon Bonus Episode: "Welcome back, Shirou."

Raguna Blade said:

Hm. Maybe? Although there's another pretty obvious bit in play here. As far as systems go I can't say but well... Ilya represents Old Money. Like Flat out. Her family is wealthy, one of the ancient and old magus families, they're the ones who functionally MADE the grail wars and the systems that everyone has to deal with, or at least has lived through their transitions, and compared to everyone else, they have a flat overwhelming advantage that simply cannot be surmounted by playing the game as it's supposed to be done. If, as the Grail Wars was supposed to be (basically a big ole tournament of heroic spirits fighting each other) went to plan, basically nobody in the running has a chance at victory. Ignoring Girugamesh for a second here, nobody else was remotely in Hercs range. Flat out, his ass SHOULD have won. And had things functioned as intended, had the other players not basically gone out of their way to get around it, he would have smashed them to pieces. Which, well, is actually a lot how it works with old money anyways. When you have the best education, the best tools, the money, the connections, and all that, it takes something coming from out of left field entirely or a variety of smaller systems and groups rising up to actually topple that power. Now of course I don't know the actual status of the Einzburn family's wealth and a quick wiki walk shows me little to say their exact financial standings, but it has been made clear that as of present the head of the family is basically sinking everything they have into making damn sure that they win the grail war. That is, they want to continue to win the system that they created/had a hand in creating for as long as possible and...Well, past acts in the Grail War Series has proven them to be kind of breaking down. Their attempts to game the system fail spectacularly (See that Whole Avenger thing) and functionally spells their doom down the line as the blow back from basically breaking the system they created keeps coming back to haunt them (Mud of the Grail My guys), while attempts to hire an outside agitator ultimately proves to be damnably effective, in giving the reigns to someone who they do not have perfect control over, it also further destabilizes their control over the system that they are inherently tied to. In fact, let's talk about Mr The Ends Have to Justify The Means for A second, Since he is, in fact, Our Girl Ilya's Old man. At least, as far as it goes with alchemic golemy nonsense. Not quite sure about the blood lines there. But we see him, and Kiritsugu is unquestionably an outsider to the system the Einzburn's have up and running. Oh yes, he is a magus, no doubt, but in the view of this, His family is fallen disgraced and can't claim old money status because well...Dudes poor as shit. Relatively. But the thing is, due to his nature as an outsider, because he's taken the time to grow up outside of the system, to develop and learn things in it, he comes to a very specific view of the world. What it represents in an economic sense isn't important for this here, but the important thing is that because of this, and then later training he acquired in order to pass through the world that he was an outsider of, He was better able to navigate in ways that others in the system simply couldn't conceive of. This of course lead to his ASTOUNDING success at the 4th Grail War, but because again he was fundamentally an outsider, he saw how clearly the system was broken by the time he won and had a choice in the matter. The System can't support itself anylonger, not in the way that it exists presently. It can only be destroyed, and built upon. So what's this to do with Ilya? Well, again, Ilya is Old Money. She has the resources, the connections, the education, the knowledge all that. She can do a tremendous amount. She can, in fact, just about grant the wish of any given person she wishes given those connections. I mean hell, she's literally the Holy Grail. She's literally the system she's built to work within. And as such, compared to the Einzburn Family as a whole, she has unparalleled power to shift control and ultimately destroy the system as she see's fit. And ultimately, in every single route she is dead or dying. Fate See's the system crumble around her, leaving her functionally on life support. Unlimited BLade Works See's the system Kill her itself for it's self (as repped by the glorious golden boy himself), before ultimately self destructing anyway. But Heavens Feel? Well, that's about the only route she has Agency as Grail-chan, and in here we see her, as far as true route's go, Sacrifice herself for Shirou, Underpaid Everyman with Anarchic Leanings. The system is breaking down and dying, and rather than let everything collapse into the rubble and close off any kind of hope for the future (such as it were) she gave a part of herself to those who most wish to abandon what ultimately proved to be a failure of a system, effectively trusting them with the power and resources and such to go forth and create a better tomorrow and all that. Alternatively, It's the Old Money using their powers for good, fostering the growth of a new system that will inevitably replace it down the line, given her existence as a opposite to the Grail that Sakura Represents. Which, Just for the moment, As Black And White Grails, the two play off each other interestingly in that the Matous Are ALSO old money with deep ties to the system. But where Black Grail Sakura could probably be described as Old Money lording it's power around to ill effects, Ilya would essentially be the opposite. Of course, that is a bit beyond what I'm able to play with here.

BlueHelix said:

Okay, first off, someone compile the shitposts about Rin and distill it into something coherent. It is literally that easy, and I'm way too exhausted to do that right now. I think what you're going with here is that Sakura symbolizes those that are under the "capitalist boot" that look to communism as a better alternative, like how Sakura is hot for Shirou. And Shirou is definitely a communist, wanting to save everyone and all that. Actually, the Emiyas could represent the parts of Asia that turned to communism (spits to the side). Norikata Emiya, who went all in towards the pursuit of advancing himself (actually, most hardcore magi) would fit the bad part of free-market capitalism. Such as the big corporations stepping over the people, oil companies and factories polluting the earth, etc., he and ruthless magi represent those who cast others down for their goals of greed and similar actions. And he gets shot by his son after screwing things up royally. Make of that what you will. Now, I'm going to only talk about Natalia, Kiritsugu's sensei, briefly. I'm going to put her as the original capitalists that turned to communism. She has a Russian name, after all. So she represents Russia, who then taught Kiritsugu (other to-be communist states), all she knew (communism/Marxism). And then Kiritsugu has that dream/ideal of being a superhero, to save everyone (haha definitely communism there), which then, after Natalia's death (the reality of a communist state after the "glorious revolution"), turns him into a ruthless machine (Lenin in his first decade or so). However, after taking a job from a third party to win the Fourth Holy Grail War (World War II connection), he meets Irisviel and fathers Illya, significantly mellowing him out (New Economic Policy). At the end, however, the true vision of his dream (the failures of communism: Stalin. Great Leap Forward. Five Year Plans. et al.) is shown to be horrific, which then forces him to cast aside his dream. Then he passes down the ideal of his dream to Shirou. I think basically anyone could make an easy amount of connections between Shirou Emiya and communism. He wants to save the world. He fights against Gilgamesh (the 1% bourgeoisie lording over the poor proletariat), Kirei (the cruel rich finding joy in abusing the poor and others), and Dark Sakura (dark side of capitalism incarnate). He is the "imitation that surpasses the original" (refined "communism" that China, Vietnam, and others have that have outlasted Soviet Russia, the OG communist state, which could technically be Gilgamesh in the sense of being the "original," Natalia on account of being Russian, and Kiritsugu who passed the dream down). He creates an infinite amount of swords with his Reality Marble which then he distributes for the "greater good." And of course: Shirou's inherently self destructive unless something happens to change him. Archer anybody? Edit: I'm done with economic analysis for today. Need to get some rest for the next exams.

Mortifer said:

Okay, okay, how do I sound smart when I know nothing about economics... Uh... Well, the thing about Shinji is that he is, as per canon, actually rather knowledgeable about the theory behind Magecraft, He's just utterly incapable of using it. And his main reason for hating Sakura isn't that she can Magecraft, but that Sakura pitied him for it. He hated that. So, uh... I give up, I don't know economics. Maybe he represents something to do with putting in a lot of effort but not having anything to start with and might be commentary on how being born without advantages is nigh impossible a goal to overcome? I don't know, I don't economics, I should really just shut up before I say something objectively wrong and stupid-sounding. ...Actually, that's never stopped me before. Shinji's backstory friendship with Shirou is symbolic of how those who are disadvantaged in the system may embrace anarchism because the current system isn't working for them, and the two of them stopped being friends when Shirou found out Shinji hit Sakura, which is symbolic of... ...Something... Abusing flaws in a system to progress when the system itself isn't working for them? Criminal activity when legit methods don't work for them I don't know, I'm blanking on how to pretend I know what I'm talking about without getting political and even I refuse to touch the cancer known as politics. Maybe the relationship between Shinji and Sakura can be vaguely considered to be charity? Shinji doesn't care about Sakura, just the benefits he can get from her, but as soon as Shinji starts seeking too much from Sakura she cuts him off. By killing him. Yeah, if I keep following this train of thought I'm going to end up concluding that Sakura's killing Shinji is evidence that capitalism will eventually lead to The Purge so I'm gonna wait until someone else uses something I tossed around here in a way that makes sense and then I'll claim credit.

frozenchicken said:

The Economic Simulationism of the Fate Franchise Part 1-Economic Mechanisms Many compliments have been offered to Nasu for the depth of his worldbuilding, but very few discuss the blatant economic commentary hidden within his works. In particular, the Masters and Servants of the 5th Holy Grail War are each distinct commentaries on various Economic mechanisms and social systems. Mechanisms Spoiler: Large Corporations

One of the simplest and most basic Economic theorems-known as 'Rational Choice Theory'-is examined by the character of Medea ('Caster'). Rational Choice Theory is the assumption that all individuals within in an Economy will act within their own best interests, acting in order to maximise their profits and minimise their losses. This behavioural pattern is shown by Medea's first master, Atram Galiast. Atram is a skilled mage, backed by the Magus Association and equipped with a workshop full of human sacrifices that could massively empower Caster's Magic. With his support, she could easily achieve success in the Holy Grail War. She instead elects to kill him, release the sacrifices, and wander around without hope of survival. In this, we see that Nasu has chosen to support the converse theoreom that is Behavioural Economics. This is the psychology-based study of human behaviours that examines why humans embrace irrational behaviours that makes modelling human action in an economic model so difficult. Medea rejects her first master due to hatred of being bound, and yet embraces Souichirou Kuzuki for his kindness, in spite of the the tactical disadvantage his lack of magic brings. This demonstrates both how standard logical predictions of her actions fail, however once we understand her psychology better (such as the fact she would rather embrace temporary happiness with Kuzuki rather than seek the ideal perfection of a Holy Grail Wish), we become better able to understand her decisions. Part 2- Love Triangles as a Symbol of Competing Economic Models Whilst Financial mechanisms can greatly influence the Global Economy, they are all ultimately subordinate to the various social and Economic systems championed by various nations. This is displayed most clearly in the form of the Masters of the Holy Grail War, particularly Shirou and his assorted romantic interests. Spoiler: Advertising and PR is an important part of the Capitalist System

Tohsaka Rin is perhaps the simplest of the Masters to classify, as her connection to the Capitalist Model has many facets. She is an ambitious young Mage, who desires to work hard in the Holy Grail War so as to achieve success. This expresses itself as desire for a Wish, but also a desire to obtain the Wealth her family once had. Indeed, Nasu makes her connection to finance even more obvious by literally using valuable jewels to store and empower her magic. Moreover, her Capitalistic Philosophy is displayed by the way she not only uses her own efforts, but suborns other Economic systems and models into alliance with herself, and as seen in the UBW Route she even purchases The Means of Production (Saber) for herself and rides her accumulating asset-derived wealth to a successful circumstance. It is perhaps easy to think of Rin as having an unkind philosophy, but it is eventually shown that her pragmatic outlook is simply a way of creating a stable platform of success that she can use to enact her desired philanthropies. Spoiler: Anarchism as an Adaptively Symbiotic Social Construct

The character of Shirou began as a blank protagonist in the F/SN visual novel, who progressed into an Amnesiac anime protagonist with many love interests, multiple established 'Routes' of development and the ability to copy the weapons of others. It is therefore no surprise to say he represents a sort of Symbiotic Anarchy, that is extremely flexible, born from rejection of the ideals of previous systems (as represented by The Revolution), and yet willing to ally with other Economic systems that he believes will align well with him. Though his Anarchistic Philosophy is lacking obvious markers of a particular Economic Policy, he does maintain a clear ideological philosophy that represents itself as a rejection of the unphilanthropic mechanisms of the systems of the past, which is also displayed by an initial fondness for the philanthropic basis of Socialism (Sakura). However, as events continue, he finds himself strongly connected to the will of the People (Saber) and eventually comes into a symbiotic alliance with Rin (Anarcho-Capitalism). One of Shirou's best traits is his adaptability, as he later gains the ability to copy the Economic Mechanisms of other systems. However, he must be careful with his development lest he end up as something he despises (as symbolised by Archer). Spoiler: The Pitfalls of an Idealised Philanthropic EconomyTo build on the earlier analysis, the kind-hearted Sakura initially represents Socialism, and the worms within her are a metaphor for how such centralised power attracts corrupt interests who seek to gain control of everything. The routes where Shinji takes over show one vision of how this can end, as a decadent and corrupt Communist governmental system that replaces her, and exploits the efforts of the past, with his extreme incompetence symbolising the degradation of the state until an eventual collapse. Dark Sakura is the other end of the situation, where the self-interested powers seize control of the state mechanisms, maintaining a coherent Facist government at the cost of perverting the kind-natured original designs of the economic system. Spoiler: The Idealised Economy as represented by a Magical Girl

Illya represents the dream of a post-scarcity economy. She is artificial, shares a parent with Anarchism, her unaging youth shows just how far we are away from achieving that dream, and (much like Sakura) her potential as a Grail Vessel shows the hopeful, dream-like nature of their systems and how they are vulnerable to degradation/corruption. Herakles (and his 12 Labours) symbolises the impossible difficulties involved in achieving such a dream, but also the impossible strength of such a system if it were actually achieved. (Continued in the next post, as SB has an Image Limit).

frozenchicken said:

Part 3- Economic Analysis and The People Economic Systems of the Past Spoiler: Rejection of the Old and the Revolutions that followWe can see that Natalia rejects the old systems and turns away from them, but it is Kiritsugu who is the most interesting representation of this aspect, as he is The Revolution. He enlists the help of the Masses (as represented by Saber), and then proceeds to destroy all the existing power structures. His path is bloody and destructive, he fails to achieve his goals and in the end his victory only ends in disillusionment as he destroys the unrealistic hopes presented by the Holy Grail. However, in the wake of his passing, two new philosophies, Shirou (Anarchism) and Illya (Post-Scarcity) come to be. Spoiler: The limitations of Theory when contrasted against Pragmatism

The final aspect of Fate to be analysed is The Holy Grail, which represents the Grand Theories of Economists, with each wish being an idealised end state of various economic models-and the cursed nature shows they all eventually fail to predict how human agency alters events, causing the models to go off-track. Shirou (Anarchism) does not have a specific Wish in mind, but may react in a manner determined by circumstance. Saber has multiple desires, that may include allying herself to other economic systems, seeking a perfect state for capitalism to operate by, or perhaps even rejecting the truth of trickle-down economics and attempting to remove the elitist mechanisms of the capitalist state-as represented by herself. All the manifestations of the Grail that interact with a member of the Matou family seem to end badly for them, and though an ideal state could be found, most have given up hope of that. Special Thanks to Raguna, Blue Helix, Last Sanction and also to Karugus for coming up with that 'Invisible Hand' line. Oh, and also Mortifier whose lengthy contribution ended up...well, it's quality, not quantity that matters, right?

#Fate/stay night #fate stay night #fate/zero #fate zero #economics #saber #social commentary #type-moon #spacebattles

9 notes · View notes

i-just-like-commenting · 7 years

Text

Even More Thoughts While Reading “The World of Ice and Fire” (part 5)

I read a good article analyzing the ways in with Westeros is depicted racist towards the Dornish, but reading The World, you find that while Dorne may be there worst there are regional-ethnic stereotypes for every part of Westeros, often linking their climate to the supposed temperaments of the inhabitants. This is most likely tied to an actual theory from our world in Greek antiquity, so yay for Martin showing he knows history.

Can you tell me how to get, how to get to the Riverlands?

So one theory that floats out there is that the references to Lovecraft, occasional in the series and fairly frequent in The World, all indicate that the Drowned God is some Cthulhu-esque creature, because if we make Lovecraft references then that must mean a Lovecraft ripoff of some kind will show up.

Now, I’m going to talk a bit about this more when we get to the Iron Islands, and then when we talk about the many Lovecraft references in Essos, but to me that’s like expecting Big Bird to show up because three lords of the Riverlands in succession were named Grover, Elmo, and Kermit.

...Also, I absolutely love this, it made me laugh out loud the first time I read it. Sure, it takes you out of the narrative, reminds you this is just a story, but that’s not always a bad thing for those of us who take this series just a little bit too seriously.

And look! We have our first confirmed lesbian in the history! Lady Sabitha, who after her husband’s death apparently decided she was going to just follow her preference for the ladyfolk. Of course the history puts this in the coarsest way possible, saying she “was fond of killing men and kissing ladies,” because of course we can attribute her stern leadership of her late husband’s land to lesbian man-hating. Got to love heteronormativity.

On griffins, mostly

I’m going to violate my rule a little here and say that I think the maesters may be right about griffins being a myth. This is because, unlike just about every other myth they dismiss in the books, there’s not really a lot of references to griffins as an actual thing in the books themselves (the legend of the Griffin King is it). The maesters speculate instead that they’re a remembrance of dragon riders…and we do know there were a few dragons in Westeros in ages past, prior to the Targaryen invasion. Perhaps some of them were ridden, proving once again that Valyrian blood may help but is not essential.

More interesting is the claim that Artys Arryn, first Andal king of all the Vale, had eagles at his command and was capable of flight. That seems an obvious reference to skinchanging of some kind, and when you consider that the ironborn of the Last Light are able to skinchange into seals, one starts to wonder if Varamyr is wrong and what you can skinchange into most easily depends more on the creatures nearby than anything inherent to the creatures. I have read some theories that the constant reference to Sansa as a “little bird” and her presence in the Vale might mean she’ll rediscover her warg powers in a new context, just as Arya has adopted cats over in Braavos. I hope this is true. I want Sansa to come back into her power so badly.

The other myth about Artys is that he married a child of the forest, but she died giving birth to his son. Whether the son lived to be his heir it doesn’t say, but it’s interesting that someone so associated with the arrival of the Seven into Westeros would be so involved in followers of the old gods.

The origins of the ironborn, the power of the sea, and that which is dead and may never die

This is, again, a section where the maesters are ready to dismiss everything the ironborn believe about themselves because it doesn’t fit their non-magical historical narrative. Things they absolutely cannot deny they are willing to accept, like the reality of dragons or the children of the forest. Those things are also, conveniently (and in the case of dragons, intentionally), in the past. And anything they do not have indisputable proof is explained away as quickly as possible.

So to begin with, the ironborn believe they are descended from sea people, who recur in various legends throughout the world, particularly in the form of merlings or merrows. An ironborn maester called this hypothetical race “the Deep Ones,” which is a reference to The Shadow Over Innsmouth. Haereg, a major historiographer, believes they might have heritage from west of the Sunset Sea. Both these stories assume that there were inhabitants of the Iron Islands before the First Men arrived, inhabitants different from the children of the forest and the First Men.

The maesters are willing to admit that there is absolutely no evidence that the children of the forest or giants ever lived there, and there were never weirwood groves or worshipers of the old gods like everywhere in Westeros. What is out beyond the Sunset Sea, we don’t know. Possibly the farthest eastern parts of Essos, or maybe Ulthos, because Martin has confirmed that Planetos is round. If there were humans on the islands who crossbred with merlings/merrows/deep ones/whatever you want to call them, just as the crannogmen interbred with the children of the forest, and these people later assimilated with the First Men, it would go a long way to explain the uniqueness of ironborn culture.

There are assorted other things they dismiss out of hand, and some of the legendary kings probably are legendary, but certainly the idea of skinchanging with sea lions, walruses, and “spotted whales” (orcas) is true, and so, likely, is Nagga the greatest sea dragon. While I don’t accept that Drowned God = Cthulhu, that’s because thus far in the series none of the “gods” have been personal deities/beings, but embodiments of the supernatural powers of an element. The old gods are the omnipresent green seer network, R’hlorr is the power of fire, and so I agree with Maester Theron that the Drowned God and his court is a remembrance of the sea-dwelling creatures and forces in water.

That beings said, the maesters declare sea dragons to either be mythical…or long dead. But that which is dead may never die, and if there are monstrous sea dragons still lurking in the depths, resting ala Cthulhu in the Lovecraft mythos, they could be raised or revived, especially if you joined forces with another power that we know can raise the dead. And unlike Cthulhu, Nagga has shown up very prominently in the series, as its bones are where the kingsmoot is held. So expect a zombie sea dragon, along with krakens and maybe the sea people to show up, but not a true Cthulhu, okay?

I found the description of attempts by later kings to synthesize the Drowned God religion with the Seven fascinating. They either made it an eight deity, or interpreted it as an aspect of the Strange (Death). Which, again, is not a good sign that the powers of water are benevolent.

About thralldom for a second here

The ironborn tend to emphasize that thralldom is not the same as slavery, and since thralldom was common among the First Men before the Andals came, we can assume that it was imported with the First Men who assimilated into the pre-existing Iron Island people. And while it’s true that some thralls were much better off than, say, slaves in Essos, there’s plenty of reason to still be against it. The account brings up how thralls sent to mines have a tendency to die off rather quickly, and there are accounts of thralls being used in human sacrifices in ages past. Plus “salt wives” are basically a justification of rape.

Tywin is the Worst, and Lannisters might doom Valyria?

There isn’t a lot mythical to the Westerlands save for Lann the Clever, who may or may not have been an Andal who came to Westeros centuries before the rest of the invasion. It does amuse me that the Lannister’s origin story is somebody using deceit to steal the throne. Either history repeats itself, or growing up hearing stories like that makes you believe this sort of things is cool.

Mostly this section is about kissing up to Tywin Lannister. It makes the Reynes look as terrible as possible, to justify his war crime in murdering 300 men women and children. Tywin Lannister is not your cool magnificent bastard, he is not a morally ambiguous figure at all. You all really need to hate him as much as I do.

Septon Barth, aka the guy who is right about everything, believes the Valyrians had a prophecy that “the gold of Casterly Rock would destroy them” and thus never came to Westeros. The maesters don’t believe this, which means I do. But prophecies are tricky things. Certainly Tywin Lannister made Aerys dependent on House Lannister to pay his debts, which helped lead to his downfall. But it may have been more metaphorical, that the Lannisters in general (whose hair is gold and come from Casterly Rock) were somehow fated to be their end. Whether this is just Aerys or will apply in the future, I don’t know.

Garth the Gardener is a god

The history mentions vaguely that the First Men had deities of their own before arriving in Westeros, and I think with Garth we might have one of them. Certainly he’s given divine powers in legend, related to fecundity. His children are all semi-legendary as well, given great abilities. Most interesting are Brandon the Bloody Blade, who drove out the children of the forest and giants, and Owen Oakenshield, who drove off “selkies and merlings” (selkies are shapeshifting human-seals in Celtic myth, and may be a skinchanger reference, and hints at the possibility that sea people-human culture extended to the Shield Islands as well), and Rose of Red Lake, who was a skinchanger with cranes. The history notes that Garth, as a deity, might have been a dying-reborn god tied to the seasons, possibly demanding blood sacrifices at harvest time.

The maesters euhermerize Garth into a vaguely remembered historical king or dynasty, because so many houses claim to descend from him. And if you think that is a good argument, I am going to make you read the Kōjiki, because no, the idea of human lineages coming from actual deities is not uncommon at all.

Where the heck does Hightower come from?

The section on Oldtown goes into detail on the structure of Hightower on Battle Isle. The oldest section is labyrinthine and resembles the work of the mazebuilders of Lorath, who seem to be half-giants ala Skagos. The fused stone over them hints at dragons. And the mazebuilders in Lorath were destroyed by merlings, so the mysterious “Battle” the island is named after might have been a giant vs merling conflict as it was there.

But the tower built over the base was supposedly constructed by Bran the Builder, who also made the Wall and possibly Storm’s End (although there he just designed it). I don’t think Bran the Builder was a single person any more than most legendary figures, but I do tend to read “created by Bran the Builder” as “created with the use of magic.” Supposedly you can see the Wall from the top of it, which physically would be impossible, but perhaps this hints at a supernatural connection of some kind lost to the ages.

Before I completely leave the Reach, let me note that Yandel completely denies that the maesters killed the High Septon who foolishly opposed Maegor, which pretty much telegraphs that they totally did.

Tarth, because who cares about the rest of the Stormlands

This is where Brienne grew up:

Damn that’s gorgeous, isn’t it? The rulers of Tarth have been called “Evenstar” for so long that nobody remembers where it came from. Nor is it clear if they’re a house descended from the First Men, or if they were replaced by the Andals, who continued the title. Certainly it’s odd that, in the books, Brienne and her father are often surnamed “of Tarth” rather than “Tarth,” or some house name like everywhere else. Tarth was an independent kingdom for some of its history, and perhaps has its own local quirks. None of the “kingdoms” are truly homogenous, after all. The North has the crannogmen and the mountain tribes, the Vale has its own mountain clans, plus the Sisters, and the Arbor and marchlords of the Reach are rather different from their neighbors. I would love to get more details about Tarth and its local customs (and since Aegon’s forces just landed there, maybe we will).

Speaking of different from their neighbors, Dorne is so great

The showrunners pretty much turned Dorne into “fucking and fighting” because that is what a lot of other Westerosi see them as. But even this history, while it has its awkward moments, is more than willing to admit that this is a stereotype and the country is actually complex and diverse. It gets its bad reputation because (1) it treats men and women as equals, (2) it has a cultural institution called “paramours,” where highborn people take partners alongside their more political marriages for love, and who are treated as reputable and part of their families, and (3) if those paramours are the same sex as you, nobody cares. None of this is bad; honestly, it’s all quite great. Nor is it hypersexualized the way the show depicts the culture, it just allows for more freedom and gender equity than their northern neighbors.

These customs are all derived from the Rhoynar, who seem to be our token good water magic users, who could summon up waves down the Rhoyne River to wipe out entire Valyrian armies (expect that to show up in the books as well; Oldtown is toast). But they’re also responsible for the creation of greyscale, so…

Last bit of “oh hey look magic” comes from Benedict of House Blackmont, who could skinchange into vultures. And the history has added another question to my pile: what was in that letter to Aegon?

#a song of ice and fire #the world of ice and fire #spoilers #eldritch apocalypse #theories #write george write as fast as you can

9 notes · View notes

isdairyqueenclosedyet · 7 years

Text

Is Celesbian Gossip A Step Backward, Or A Sign Of Equality?

Demi Lovato during the 2017 Global Citizen Festival.

BuzzFeed News; Getty Images; Alamy

There's a musical episode of Boxed In - director and writer Amy York Rubin's very funny series of digital shorts for IFC's Comedy Crib - that kicks off with Rubin's character receiving a news alert from TMZ: Dianna Agron dishes on the unique intimacy of female relationships. Rubin, sitting in a coffee shop, gets mobbed by a group of women wondering what the news alert might mean.

Stop! Everyone stop what you're doing! one woman yells, knocking a coffee out of an unsuspecting patron's hands. A traditionally attractive female celebrity just made an ambiguous comment about her sexuality!

The entire coffee shop bursts into song - Tell your friends, spread the news, someone famous might be gay - while Rubin's character attempts to staunch the flow of their excitement.

Seriously, this is what we care about? she says. What about everything on the news?

We've got news, they sing back at her. Someone's gay!

By the end of the bite-size episode, another news alert clarifies that (a fictionalized) Dianna Agron isn't gay after all. But Rubin's character has gotten swept up in the commotion, right when everyone's just lost the faith: Wait! Did you guys see this picture of Kendall Jenner and Gigi Hadid?

The episode perfectly captures how easily LGBT fans can get swept up into speculation about a celebrity's sexuality - even at a time when there are more out celebrities than ever before.

The "Fame" episode of Boxed In.

IFC

Twenty years ago, before public support for gay people was anything like what it is now, Ellen DeGeneres risked her career and made history with her 1997 Yep, I'm Gay Time cover story, paving the way for many of the celebrities who have proudly claimed their queerness or openly expressed affection for their partners since. Though nowadays, you're more likely to see a celebrity casually mention their sexual orientation in a tweet or Snapchat or Instagram post than to see one more formally claiming an identity in front of the world.

But the years-long uptick in out celebrities, and the steady normalization of out queer people in Hollywood and beyond, hasn't stopped the are-they-or-aren't-they rumor mill from churning - if anything, it has only picked up steam. Female celebrities can inspire their own particular kind of fervor. In 2017, there's a new generation of famous lesbians and bisexual women (celesbians, if you will) who are casually living out a real-life version of The L Word in front of our eyes, inspiring mass social media followings from fans hungry for the latest celesbian gossip - including for the many celebrities who aren't confirmed to be sleeping with other people of the same gender, but are the subjects of constant, frantic speculation. The recent brouhaha around Demi Lovato (who's been spotted holding hands with a female DJ, and who refused to label her sexuality in a recent interview, after which she defended her decision in a series of tweets) is the latest example of the celesbian gossip train going a bit off the rails.

There is no simple, clear-cut binary of out versus in.

Whether queer celebrities have a responsibility to come out - especially those who have referenced potentially queer experiences in their work, or who have profited from the LGBT community's support - is a question that long precedes celebrities' ability to tweet about it. But that question has become more complicated in a time when coming out is seemingly not as big a deal as it once was, when a new generation is embracing ideas of sexual fluidity and eschewing labels, and, as always, there is no simple, clear-cut binary of out versus in. For female celebrities, that complication is compounded by the gal-palification of intimacy between women, which happens less frequently now in the tabloids but still makes the rounds (like it did with Lovato in September).

We're also living through yet another revival of lesbian chic - a theme in fashion and pop culture at large that paints a certain kind of edgy, feminine-leaning androgyny as the next new hot thing, boiling lesbianism down to a passing but commodifiable fad. And while positive representation of queer women on television is on the rise, it's still far from perfect, leading many LGBT fans to look to celebrity gossip on social media to get their fix of queer drama - and queer possibility. As more famous women continue to come out at younger and younger ages (much like the general population), our cultural fascination with the way they introduce and perform their queerness is only continuing to grow. Whether or not that's a good thing depends on who you ask.

Demi Lovato's sexuality has been the subject of speculation for years. While promoting her new album, Tell Me You Love Me, released late last month, Lovato gave an interview to PrideSource's Chris Azzopardi that reignited an old debate. They spoke about her LGBT activism: She's headlined pride events, including filming her 2013 video for Really Don't Care at LA Pride, and last year accepted the GLAAD Vanguard Award, which honors entertainers who have promoted LGBT rights.

But when Azzopardi mentioned that Lovato's sexuality has been thoroughly dissected on the internet, and gave her the opportunity to speak on it as directly as you'd like, Lovato swerved: Thank you for the opportunity, but I think I'm gonna pass. She explained that she chooses not to speak openly about her orientation because I just feel like everyone's always looking for a headline and they always want their magazine or TV show or whatever to be the one to break what my sexuality is. I feel like it's irrelevant to what my music is all about.

Earlier, Azzopardi had asked about the criticism her 2015 song Cool for the Summer had received from some lesbian websites like AfterEllen for, they argued, implying that women should sample queer sexual relationships only temporarily, and keep it a secret. My intention with the song was just fun and bi-curiosity, Lovato said. I think people look at song lyrics - they look too into it. I wish I could tell that website to 'chill the fuck out' and 'take a break,' because it's just a song.

Demi Lovato and Lauren Abedini on a Disney outing.

Twitter: @justcatchmedemi

The interview, published on September 15, gained a lot of attention, particularly because Lovato had just been spotted with a gal pal - a phrase that many lesbians have started to consider a sort of no-homo dog whistle for possible girlfriend - at a Disney outing a few days earlier. The gal pal in question was out DJ and producer Lauren Abedini. The two were photographed holding hands (and more), leading to widespread speculation that they might be dating. (Lovato's publicist did not respond to a request for comment.) Lovato declined to talk about her sexuality, but hinted that her new YouTube documentary coming out on October 17 might detail some things about her sexuality, because if ever I want to talk about it, I want it to be on my own terms."

But the internet really blew up after HuffPost's Noah Michelson wrote an essay declaring that Demi Lovato's Reason For Refusing To Talk About Her Sexuality Is Total Bulls**t. Lovato responded directly to Michelson, tweeting, Expectant and rude. Watch my documentary and chill out. She also tweeted a couple more general statements to her 49 million followers, which garnered her a number of you-go-girl writeups from places like InStyle and PopSugar: Just because I'm refuse [sic] to label myself for the sake of a headline doesn't mean I'm not going to stand up for what I believe in ... If you're that curious about my sexuality, watch my documentary. But I don't owe anybody anything.

How can they look us in the eyes and tell us how brave we are for being who we are - and ask us to fill their pockets - if they won't do the same?

In his piece, Michelson argued that Lovato is open about so many other aspects of her personal life - so why not this one?

Michelson told me that he has written about his beliefs that sexual orientation should not be considered a 'private' characteristic before, and it's never gone over well. But, he said, he wasn't expecting Lovato to respond, and he didn't expect so many people to misunderstand what I was saying.

Michelson believes in the political power of coming out, for all of those in a position to do so, but especially feels that those who present themselves as allies and/or make money off of their relationship with the queer community have an even greater responsibility to be open about who they are. How can they look us in the eyes and tell us how brave we are for being who we are or how proud we should stand - and ask us to fill their pockets - if they won't do the same? Michelson stressed that people can refuse to talk about their orientation, though he generally thinks they shouldn't, but the reason for it should not be 'that's private' - especially in the specific context of who Lovato says she is and claims to stand for.

It isn't only journalists, though, who may have taken issue with Lovato's message. In a June interview for Paper Magazine, out bisexual pop singer Halsey - who earlier this summer released Strangers with a fellow out bi singer, Fifth Harmony's Lauren Jauregui, and who has been a vocal LGBT activist - called out pop songs about experimental hookups, which she said perpetuate Bisexuality as a taboo. 'Don't tell your mom' or 'We shouldn't do this' or 'This feels so wrong but it's so right' That narrative is so fucking damaging to bisexuality and its place in society. Halsey didn't mention Lovato specifically, but the lyrics sound like they were plucked from both Cool for the Summer and Katy Perry's I Kissed a Girl. Lovato, at least, appeared to interpret Halsey's criticisms that way at the time, tweeting what looked like a response. (When asked for comment on the interview and Lovato's tweet, a representative for Halsey responded that the two are friends and there is no drama and no comment, pointing to Lovato's Instagram post from July showing Halsey and Lovato posing merrily together. Happy National Coming Out Day Positivity to you! she added.)

Halsey and Demi Lovato in July.

instagram.com

0 notes