#mini essay | Explore Tumblr Posts and Blogs

centrally-unplanned · 6 months

Text

Just finished The Coffin of Andy and Leyley - at least the two episodes we have so far! A very fun game, I definitely recommend it. The thoughts, spoilers everything:

-- The tone of the game is extremely on point, Andrew & Ashley have such a great trauma-criminal dynamic that never strays too far from being cute first, awful second. Look at these babies! Of course that is the blood of their parents they just murdered for a satanic ritual and/or petty cash, what else would it be?

-- The game nails a pretty niche fetish of mine - no, not the incest part, no judgement but I could do without that just fine. Instead its the weaponization of sex (and other forms of intimacy) to manipulate and break down someone's resistance to your demands:

But, while no shade thrown at the classic controlling doms out there, Ashley wins by being a complete mess and possessing minimal intentionality around her emotional blackmail. Her toxic codependency on Andrew controls her and, as inevitable as the tide, forces her to periodically hurt & degrade him, then compensate via affection bombs & demands. She thrives on his weaknesses such as trauma-nightmares & anxiety as they are places she can slot herself into his pysche as load-bearing support, and sex is set up as another part of that web. Its that lack of control that makes her so attractive - the vast emotional void she is hoping her manipulations will fill is a funhouse mirror version of the physical need intimacy can fulfill.

I will note she is a slightly different from the "Mamimi" (from FLCL) archetype - for the Mamimi, sex is deontological, it is what she needs to cope with her damage. For Ashley it's instrumental, and could be swapped out for another tactic as quick as an outfit change if doing so got her what she really wanted.

Probably also worth mentioning that this isn't an eroge; this dynamic is primarily implication and subtext, becoming text only rarely. Don't want to mislead anyone there.

-- Another standout point is that Andrew himself is *not* the typical wishy-washy boytoy target of his bae's emotional machinations, but instead exactly as toxically codependent as Ashley is, just expressed differently. He thrives on her sense of need and the comfortability of the dyad role her vision for their lives creates for him. What makes him a fun contrast is that he has a "normal" half of his brain that recognizes all of this as fucked up and wants to quit, which often pretends he is being blackmailed by duty or circumstances, but that isn't really true. Where the game excels is that it has multiple routes - neither of which have notably different plot events, but where the different factions of Andrew's brain win out or fade away. Is very tight marriage of narrative and themes.

-- Its also good to add that the incest concept is somewhat foundational. I am not an incest person but I have been on the internet, I am familiar enough with its semiotics, and the "mutual, similar-age, unhealthy codependency" subgenre of relationships when its not incest always struggles with a bit of a believability issue.

So narratives are generally about arcs, sex is about build-up, and that combination means you want to portray the moment a relationship forms, tips into romance, right? And your subjects of choice are two people who constantly cling to each other, destroy outsiders who could challenge their attention monopoly, and psychologically scar each other in order to foster emotional addiction. And they are ~20 yeas old.

Why aren't they fucking already?? They obviously should be fucking. If these were childhood friends, they would be fucking, for years now, easy. You can say they just haven't gotten there yet but that changes the characters, makes them naïve and innocent, that is a narrative constraint you might not want. But if they are siblings...well then there ya go. That is a socially-ironclad excuse for how they got so emotionally close without romantic intimacy, and a reason for them not to cross the threshold (until your plot events make them ofc). Its a fetish that makes your storytelling efficient, not just something that works on the fetish level directly.

(Btw Andrew is not a doormat; that is a lie he tells himself)

-- The Coffin of Andy and Leyley is a classic RPG Maker indie project, and it used its gameplay conventions well. Its essentially a visual novel with RPG exploration elements that offered small puzzles as you traverse from plot point to plot point. They create immersion while rarely being too difficult and dragging down the pacing - it knows they aren't here to intellectually challenge you, but to make the world feel lived. And sometimes - most often in Ashley & Andrew's dreams - the light puzzle elements are very deeply woven into the plot & themes, used for making narrative choices & reinforcing emotional beats. They rarely overstay their welcome, which is refreshing. Its not uncommon for a game to get into trying to "gamify" what should just be a visual novel, and while not perfect Coffin doesn't fall into that trap.

Additionally the creator definitely likes Undertale, and the dream sequences remind me of Flesh, Blood, & Concrete in their colors & abstraction. Good times!

-- It is extremely amusing to google this game for like ending guides or w/e and to be bombarded with the "controversy" of its incest plotline. A: The main duo murder their parents and nonchalantly make a meal of their bodies out of sheer habit, way to not have your eye on the prize. And B: my brother in Christ you clicked on the Incest Game. Why are you on Pornhub complaining about porn??

#the coffin of andy and leyley #mini essay

256 notes · View notes

samasmith23 · 2 months

Text

How Goro Akechi effectively serves as a dark foil to the Phantom Thieves' brand of rehabilitative justice

So... I understand that Goro Akechi is a pretty divisive character within the Persona 5 fanbase (especially his pre-Royal incarnation), but I have to admit, I honestly found his backstory and role as a sinister foil to Joker and the Phantom Thieves to be legitimately intriguing.

I loved how during the palace mission on the cognitive yacht of the corrupt ultra-nationalist politician, Masayoshi Shido, it is revealed that Akechi is not only the true culprit behind the mysterious wave of mental shutdowns & psychotic breakdowns that have occurred throughout the background of the entire game (including the deaths of both Futaba’s mother, Wakaba Isshiki, and Haru’s father, Kunikazu Okumura) but that he is actually Shido's illegitimate child!

Essentially, Akechi was the product of a dubious affair between Shido and a sex worker whom the former later discarded when he discovered that she was pregnant, driving her to depression and suicide shortly after Akechi's birth. Akechi spent his entire childhood being passed around as a “problem child” between various foster homes (highlighting Japan’s problems with how the country treats its orphaned children) before later being granted the power of the "wildcard" persona as well as knowledge of the Meta-Verse by the false god of control, Yaldabaoth.

While Akechi was a societal outcast similar to the members of the Phantom Thieves, he took the wrong message from his experiences. Akechi misguidedly believes that the only way to truly oppose the status quo that looked down upon him is to not only become a part of it (i.e. caring only about his good grades & celebrity status) but to destroy everything that he hates by reducing himself to Shido's right-hand assassin in the Meta-Verse, perpetuating mental shutdowns & psychotic breakdowns to Shido’s political enemies simply to get some semblance of recognition & validation from his abusive father before exacting revenge on him (whilst exploiting his "ace-detective" celebrity status to "solve" the crimes that he himself committed).

Essentially, once Shido finally became prime minister Akechi planned to whisper the truth about being the former’s illegitimate child, telling Shido that he was only able to get where he was due to the son he abandoned and labeled as a potential “political scandal” before murdering him.

Despite Akechi and the Phantom Thieves' mutual dislike of Shido however, Akechi is so fixated on vengeance that he does not care about the innocent lives he ruins and destroys in the crossfire to satisfy his own personal bloodlust. Instead of legitimately trying to reform society like the Phantom Thieves do, Akechi becomes a pawn of the very same systemic corruption that was responsible for his initial suffering. Akechi cares only about his own hatred & jealousy instead of empathizing with others who were also victimized by society’s ills. That is why when Joker has his rematch with Akechi on Shido's Yacht in the meta-verse, the two are visually juxtaposed between Joker standing strong alongside his teammates & friends, while Akechi remains alone, confused & angry. While there is a part of Akechi that regrets his horrible actions and even recognizes the potential for him & Joker to be friends due to their similar backgrounds, he's too far gone into his obsessive vendetta against Shido that he refuses to turn back and now desires to kill the Phantom Thieves in a misguided attempt to ease his internal conflict.

During the boss fight with Akechi in Shido's Palace, the detective prince repeatedly dismisses the Phantom Thieves' efforts to appeal to his common senses, believing that concepts like friendship and teamwork are foolish "cliched bullish*t... in this eat or be eaten world." While this attitude of Akechi's might seem unrealistically cartoonish on the surface, it actually makes sense when considering his background of being unfairly labeled as a "throw-away child" by Japan's foster care institutions. YouTuber LadyVirgilia goes into far greater detail about this in her excellent The Truth About Goro Akechi analysis video. There, she states that an overwhelming number of Japanese orphans are incapable of being legally adopted due to impoverished parents voluntarily relinquishing them from their care while still maintaining legal guardianship over them. Additionally, LadyVirgilia discusses how violent hierarchical power structures often form among the children within these foster homes, with younger orphans sadly being subject to bullying & abuse by their older peers.

While these facts are not explicitly stated about Akechi's backstory within P5 Royal itself, they can easily be heavily inferred due to the game's heavy emphasis on exploring themes related to Japanese sociocultural issues. The institutional failings of Japan's foster care system (combined with Shido's abandonment of his son while he was still in the womb), ultimately contributed to the development of Akechi's warped perception of the rest of the world. Due to being dismissed as a "throw-away child" and being forced to grow up in an institution that is unfortunately subject to high rates of systemic abuse & neglect, Akechi spent his entire life feeling unwanted & loved. Ideals such as friendship & companionship became foreign and unrealistic concepts to him due to having experienced nothing but society's cold & uncaring apathy. Consequently, Akechi became deeply jealous & hateful toward the rest of the world, misguidedly compelling him to want to prove his superiority over the rest of society by manufacturing his status as "the celebrity ace-detective and honors student who ultimately brought down Shido." But when Akechi encounters the Phantom Thieves and befriends their leader Joker, he begins to experience his first genuine bond of companionship. While Akechi maintains a legitimate appreciation toward Joker, he is simultaneously confused & unable to fully process these newfound feelings, becoming envious of Joker's ability to rise above his similar status as a societal outcast to befriend & protect others like himself. Consequently, Akechi projects his own failings & inability to legitimately rise above his tragic upbringing beyond his false celebrity status onto Joker & the Phantom Thieves, cruely dismissing them as "the trash of society" and blaming them for interfering with his revenge plot against Shido.

This empty & hollow existence that Akechi chooses to live is further reflected by the sole two personas that he utilizes during his boss fight: Robin Hood, who represents Akechi's false celebrity & law-abiding gentleman facade, and Loki, who embodies Akechi’s true personality as a deceitful trickster & psychotic murderer.

I personally couldn’t help but find all of these elements to be rather interesting & insightful about Akechi’s role as an antagonist/rival to the Phantom Thieves. It honestly highlights the tragic nature of Akechi's situation, since while he had the potential to utilize his deductive knowledge & skills as a "wildcard" Persona-user similar to Joker, he instead allowed himself to be consumed by his own hatred & madness. In contrast, while Joker was also abused by Shido by being wrongfully sued for “assault” when he tried to stop Shido from sexually harassing a random woman, Joker now fights against the systems of authority that criminals like Shido represent to prevent similar abuses of power from ever occurring again to others. Additionally, we also see dualistic parallels between Akechi and Joker's fellow Phantom Thief/potential-romantic partner, Makoto Nijima, since she too similarly previously fell prey to the misconception that “good grades and following orders are all that truly matters to be a worthwhile member of society.” However, Makoto, now utilizes her study skills to help the downtrodden & oppressed instead of for either her own benefit or because it’s what society expects from her, whereas Akechi exploits his false celebrity detective status to further his self-centered vendetta, innocent lives be damned.

In essence, if the Phantom Thieves embody the potential benefits of rehabilitative justice then Goro Akechi embodies the dangers of retributive justice (aka, revenge). To reference two of my favorite movies, Batman Begins and Star Wars Episode VIII: The Last Jedi, not only is there a strong difference between justice and revenge (one is about altruistic harmony whereas the other is about personal satisfaction), but the most surefire way to victory is by fighting to protect what you love rather than fighting to destroy what you hate...

The distinction between justice & revenge is made abundantly clear at the end of Akechi's storyline in the baseline game (i.e. before the Royal exclusive Third Semester new content), where following his defeat at the hands of the Phantom Thieves Akechi is suddenly approached by a cognitive duplicate of himself that dwells within Shido's palace. In addition to the Cognitive Akechi emphasizing the futility of Akechi's quest for acknowledgment & vengeance against Shido by revealing that the latter always intended to dispose of his right-hand assassin once he was elected prime minister, the cognitive duplicate also reveals the true depths of Shido's depravity when he states that he only ever viewed Akechi as a puppet to fulfill his own ambitions. While it is true that Akechi was so obsessed with revenge that he allowed himself to become a pawn of the corrupt status quo, it is exceptionally cruel to learn that this is how Shido has always viewed his own son (which is further punctuated by Shido later revealing to the Phantom Thieves that he secretly always suspected that Akechi was his illegitimate child due to how much he reminded him of his mother). It is this revelation in particular that allows the Phantom Thieves to better empathize with Akechi's tragic upbringing & circumstances. Even though they still seek to hold Akechi accountable for the murders that he committed at Shido's behest, the Phantom Thieves simultaneously recognize that in a sense, Akechi was also a victim of both Shido's cruelty and the systemic injustices of larger Japanese society.

This effectively culminates in the bittersweet resolution to Akechi's storyline in the base Persona 5 game. When the Cognitive Akechi duplicate offers his real-world counterpart one last chance to "redeem" himself in Shido's eyes by killing the Phantom Thieves in his stead, Akechi for the first time in his life decides to be his own person instead of being defined by the labels Shido and society had imposed upon him since birth. Choosing to no longer be a puppet of Shido's corrupt machinations, Akechi rejects his cognitive duplicate's hollow offer by instead turning his gun on the duplicate and his Shadow minions before sealing the engine room's watertight doors between himself and the Phantom Thieves. At the very end, Akechi was finally able to acknowledge that his desire for false appreciation from both his abusive father and larger society was ultimately worthless. Akechi ultimately sacrifices himself to allow the Phantom Thieves to escape, recognizing their true justice while entrusting them to do what he was incapable of by holding Shido accountable for his crimes & reforming society.

From a certain point of view, one could argue that the Phantom Thieves indirectly inspired a change of heart in Akechi by proving to him the validity of their sense of justice.

Overall, while I was initially indifferent towards Goro Akechi at the start of my playthrough of Persona 5 (and even outright skeptical & suspicious of his motives given his vocal opposition to the Phantom Thieves), by the time I got to his boss battle in Shido's palace I ended gained a deeper understanding and appreciation for what the developers at Atlus were attempting to convey with his character. Akechi effectively functions as both a cautionary tale about the dangers of allowing oneself to be consumed with thoughts of revenge, as well as a dark parallel to the Phantom Thieves who seek to legitimately reform society for altruistic rather than self-centered reasons. It was these elements that ultimately elevated Akechi into becoming one of my personal favorite members of P5's cast (right behind Makoto, Futaba & Ann...) from both a narrative and character writing perspective (especially with the Royal edition's overhauled confidant line for Akechi, which better fleshes out the latter's rivalry with Joker, and the player now has to progress manually instead of it being automatic)! And I am definitely curious to see how Royal's exclusive "Third Semester" content further fleshes out Akechi's character since I'm aware that he plays a major role in the new story content.

109 notes · View notes

uboatheflesh · 2 months

Text

Here's me recording/performing of empathy shield live on Behind The Mirror, RTR 92.1 FM on the 24th of August 2023. photos by alt.live.perth (Jess).

Set was a little shorter due to the radio time constraints. Also gave a brief interview (the interview on the site was done beforehand over email, theres also a pre-mastered version of empathy on there, I only spoke briefly after the set on radio). Again, empathy shield was completely improvised based on carefully pre-selected sound design elements. Done in the middle of autistic burnout, where I could barely speak on radio due to slowly going into verbal shutdown . Luckily my tour hosts Jess and Amir were absolutely supportive and got me through it.

I went on to play this show a few days in later, also in borloo/perth at the Badlands Bar. It used a lot of the same elements of empathy shield. I have a few feelings about it.

After the end of my set, I had a total verbal shutdown as soon as I got off stage and snuck back into the green room.

Worse, I managed to break the zip on my dress (got caught in the mesh I was wearing) and was stuck in it for 20 minutes before I had to ask a band for a shirt to cover the broken top half. Then several old perth friends I had not talked to in ages came in to talk to me only to find me simply unable to say hi back. I felt terrible about it. Indeed, I was in a terrible state. However - everybody around me there understood. A fellow autistic woman even gave me a fidget spinner. Even if I didn't use it (weirdly too overwhelmed to stim?), I kinda happy cry every time I think about that somebody even offered one to me non-judgementally. Only a few years ago would I have seen as a ridiculous r*tard baby for being a 'professional musician' who does this, but now it's ...its treated kinda like normal. Wish I had this kind of understanding growing up before I was diagnosed. Now, I am never the only ND at the gigs I play. Indeed, the NT's are usually the minority at them. Then theres the fact that so many other (and more well-known) musicians are being open about their autism (like Ethel Cain or Justin Broadrick) which would also be unthinkable years beforehand. It genuinely warms my heart. This is why I am loud, proud and cringe about my neurodivergence now. I don't want to be repeatedly traumatised by it anymore based on misunderstandings that we autists inevitably get, or failing to meet allistic standards. Every time I see a fellow autist get horridly traumatised because somebody (usually NT) got the ick it fucking hurts. Or when they blame themselves for failing to meet arbitrary allistic standards and fall into a horrible depression for not being 'normal'. It hurts even more if its a fellow autistic transfeminine person. I wish I could do more about it, like psychology or social work - but music is what I am stuck doing for the time being, so I'll try to do what I can here. Hence several upcoming songs /records (including the two Roadburn commissioned original compositions) neurodivergence takes a central role. It's lame, but sometimes its good to be lame. Sometimes it's necessary. We have a long way to go, but its also important to remember we have also come a long way too.

/gen

#autistic artist #noise #ambient #death industrial #harsh noise #drone #experimental #dark ambient #uboa #trans artist #actually adhd #mini essay

110 notes · View notes

veryferaldistributions · 6 months

Text

Why Gene Belcher is written Profoundly Well

God, I could write a whole essay about how amazingly Bob’s Burgers tackles queer characters, but let’s focus on one queer character for now: Gene Belcher

One of the biggest things I’ve noticed about Bob’s Burgers since I’ve started watching again is how, as a queer character, Gene is written amazingly well. He may be gay, he may be trans, he may be nonbinary, but this kid is not straight. (There are 30-min video compilations to prove this.)

And I am incredibly comfortable with the ambiguity that this show holds for that. I love it. He could never be revealed to be anything, and he’s still a complete and awesome character.

It allows the writers to let Gene just explore who he is, who he might want to be, without that being (too much) the butt of the joke. What’s more is I love how Linda and Bob are written as Gene’s parents. They clearly know who their kid is and what to expect from his behavior, attitudes, and wardrobe choices.

One of my favorite Linda moments has to be when Gene has the flu, and he’s stuck in the bathroom. When we see him, he has blue eyeshadow on, and Linda casually says “Ooh, love the eyeshadow!” It may be small, but oh I loved that line.

I love that this fictional child is being nurtured to love himself, not just by his parents, but by his siblings as well.

“Time to focus on your good daughter! Gene!”

“I’m pretty!”

Not only does Gene exemplify a queer kid just being a kid, but it shows Bob and Linda as being great examples in parenting on all fronts, but mostly just by letting Gene be himself.

(And that’s not even mentioning Tina’s tendency towards polyamory…)

#i love the other belchers too #see? not just tina #lol #bob’s burgers #bobs burgers #gene belcher #gene #queer #lgbtqia #bob belcher #linda belcher #tina belcher #louise belcher #headcanon #somewhat?#mini essay #tiny essay

168 notes · View notes

stardustizuku · 2 months

Text

Something I find extremely refreshing in AoB is how the narrative lets Rozemyne be a warrior, and the one with the most political influence on her own.

Ive read too many Isekai and almost all the time the power a Female Lead wields is entirely on who she marries or who is interested in her. She may be just the daughter of a marquis, but the crown prince is so infatuated with her, he’ll do anything! So that means he’ll solve all her problems for her!

Which is, fine in some cases. But I noticed this means that if she gets wronged, she’s the never the one to get revenge (even in so called “villainess” stories).

This ties into the idea of women having to remain “good”, so while they are allowed to want revenge, they can never enact it. Or at least not be the one to, through violence, deal the final blow. This would make them directly responsible for their actions. So while the villain/villainess can die, it can never be the FL who uses the sword to kill them. It always has to be through the Male Lead, another Villain, or even the Court System.

So by having the Male Lead be the one to physically enact the revenge or wielding the power - the Female Lead gets to come out as the “good” one in the READER’s eyes. Because her actions can never be morally grey (in fear of alienating readers)

HOWEVER by doing this you also make her power subservient to the man’s affection towards her. And makes her overall power to come off as…useless in some cases.

I just read one where the, supposedly, genius swordswoman is almost r*ped. She does try to attack the man, but gets overwhelmed. The prince is the one who jumps into the action to not only save her, but kill the man. Which was infuriating cause: Why did the author chose to rob her main character of being the one to hurt the men who hurt her? Minutes later she does kill a man, so it was entirely so she could be saved by a man from an even worse man.

But AoB doesn’t do that.

Rozemyne is powerful, because she wields insane amounts of power as Rozemyne. She’s the one who creates trends, she’s the one who knows the Bible, she’s the one who created paper books, she’s the one forming alliances and creating her own “faction” of sorts that is 120% loyal to her.

Never does her power become related to who she’s engaged with. Her power is inherent to her, and people try to tie her down or control her via marriage. She gets engaged to Wilfred because she’s becoming too influential and they hope that that can be transferred to Wilfred and cement HIS position as the next in line. She gets engaged to Sisgwald because she’s the one who is closest to getting the Book of Mestionora and they NEED her be part of the royal family.

The only instance in which she wields the power of who she’s engaged to get away with anything - is during the Ahrensbach attack and it’s simply a

Which facilitated everything but given the circumstances, she was gonna do it even if he didn’t give her his blessing.

Even with her endgame partner, Ferdinand, the dynamic is so different.

In most stories the FL attracts the attention of progressively more powerful and higher-ranking-than-her men, and most always ends up with the one with the highest political power.

In more than one occasion I’ve seen a FL ditch the knight who’s been with her since day 1, to be with the crown prince cause he’s the one who will make her the most powerful woman in the room. It’s always framed as “true love” but sometimes it’s done so poorly you can see that’s just the author wanting her to end up as a princess.

Ferdinand is never the most powerful man in the room. At least politically speaking. Yes, he’s the smartest, most capable and the one pulling the strings, but that doesn’t translate to political power. In part 2, in the temple, the one with the most power is Bezewanst. And part 3 an onwards, you could argue Rozemyne is always the one with the higher rank.

In the temple, she’s the High Bishop, and in the castle she’s an archduke candidate with Leisgang blood. Ferdinand is the High Priest and the half brother of the archduke with no real faction behind him. Rozemyne is aware that titles aren’t the only thing that matters and Ferdinand is obviously the best because he’s capable - but that’s not the norm in most Isekai stories.

It’s even used at times as a way to alíviate Ferdinand’s burden. She’s the High Bishop - she’s capable of denying extra work and even ordering him to take care of himself.

Even as Ferdinand is married off, the one creating connections to the royal family to alíviate his pain is Rozemyne, not the other way around. The one wielding her power to force others to protect her loved ones is HER. Ferdinand is, up to that point, only trying to save himself and Ehrenfest. Rozemyne fits the archetype of a Male Lead far better than Ferdinand in some cases.

And while she never gets to give out the order or kill someone whos wronged her directly, it doesn’t feel bad because one, Rozemyne rarely holds a grudge and sees them getting disposed outside of her eyes as the best way to handle it. Because two, she hates blood and unnecessary violence. And that, in the narrative, is genuinely presented as a flaw. It’s not a “she’s so pure she can’t be mean”, it’s a “she would do it but she genuinely can’t stomach it”. She could do it, she would rather not.

There’s also the fact that she’s genuinely good at combat - at least as a strategist, healer and commander. Her inability to wield a sword to directly attack others (but she did use the spear once) and frail nature, is not doesn’t feel like an excuse to not have her kill, but a limit. She can’t do everything. She’s filling a lot of positions, having her grab a sword is not only out of character but unnecessary.

The only people who she seems to hold a very real grudge against are Georgine and Detline, and that’s entirely for what they’ve done to others, not her. And while I’m still in part 8, her not being the one to directly kill then of get rid of them in the future, does not seem bad. Because Ferdinand and Sylvester have waaaay more reasons to hate them and get their revenge.

#ascendance of a bookworm #honzuki no gekokujou #this got longer than intended #oh well #manhua #mini essay

131 notes · View notes

giac222 · 2 months

Text

I think one of the most annoying takes I see about TCOAAL is when someone says Ashley is solely the problem and that Andrew is completely innocent…💀 like did we play the same game?? Ashley and Andrew are the same, they always have been. Andrew just hides it better, but we see his mask slip in Ch. 2.

In a comment section on YouTube I literally saw someone say “Andrew needs to realize that Ashley is a bitch and leave.”… I rolled my eyes 🤦🏻‍♀️ lmao, like alright are we just going to completely ignore everything Andrew did? I’m convinced that person didn’t actually play the game.

I’m going to die on the hill that Ashley and Andrew weren’t born evil. The two of them are a product of their environment, especially Ashley. We see that her parents never cared about her and that her “friends” weren’t actually her friends. I’m sure we’ll see more of this in Ch. 3, I already know it’s going to make me sad ughhh. Ashley’s been treated like shit by everyone around her it seems except for Andrew. Andrew has been the only consistent presence in her life, the only one who’s ever been there for her. The flashback from her birthday was so fkn sad, but Andrew tried his best to make it special for her 😭. When she called him her favorite lemon muffin 🥺 yeah, she loves him downnn.

Ashley also has major self esteem issues which absolutely stem from her childhood. Again, I think we’ll see more of this in Ch. 3. She also has a ton of internalized misogyny, she’s had it since she was a kid. I’m like girl.. why are you like 10 calling other girls hussies? 😂 Seriously though, I believe she picked this behavior up from her mother. I mean where else would she learn those words and behaviors from? It’s very easy for kids to pick up on things. I really need the lore on Mrs.Graves because I don’t think she was born evil either. 🤔 The fact that she was a teen mom of 2 before the age of 18 is crazy. That also means her and Mr.Graves have been together for quite some time.

We know Mrs.Graves overall doesn’t care about either of her children, but it’s fair to say that Andrew was treated somewhat better than Ashley. I bring this up because I’ve heard stories about how some moms are easy on their sons while being very hard on their daughters. Also, I’ve seen someone else bring this up before, but when Andrew declines the olive branch and defends Ashley, Mrs.Graves doesn’t understand why and then she accuses him of sleeping with her. Why did her mind automatically go there? As if he couldn’t love Ashley for any reason other than sex. I think the reason Mrs.Graves said that is because of her own internalized misogyny and is projecting. Basically saying: If a man cares about you and does things for you, it’s obviously because you’re sleeping with him, not because he actually wants to do those things out of love. I could be wrong though, that’s just something I picked up on. So yes, I do believe Ashley got her internalized misogyny from her mother. I think generational trauma is definitely at play here, which is honestly just sad more than anything.

Andrew is everything to Ashley, he really is the center of her world 😭, and he’s the only person who’s shown her any type of love. We know she’s terrified of losing him and will do anything to keep him around. Considering no one else has stuck around in her life, it makes sense that she has serious abandonment issues 😞. Ashley can be abusive and manipulative, but I don’t think she necessarily wants to do that, she does it because she thinks that’s the only way she can keep him in her life… what she doesn’t understand though is that Andrew loves her just as much as she loves him, he would stick by her without any of that, we know this, even though he doesn’t show it as much. In ch. 3, I’m sure we’ll finally see him open up more and give her the affection and reassurance she needs. We see a glimpse of this in the questionable burial route when they’re on the bridge. In my opinion, I don’t see how people can call the questionable route the “bad” ending when both of them look the happiest, especially Andrew. I don’t think I’ve seen Andrew that happy at any other point in the game. 💀 he was fr in his element there.

Some people may not want to admit this, but Ashley is a victim as well. That’s why it’s frustrating to see people with the take that Ashley is purely evil and that Andrew is an angel who was manipulated to do everything he’s done. They’re both flawed individuals, but their upbringing was awful and the world around them is awful too. They live in a dystopian society. How they ended up was inevitable, and I’m not excusing their behavior, but they were failed by their parents and had 0 parental guidance. I mean my god, to make things even worse, their own parents sold them to organ harvesters and they were left to starve locked up in an apartment for months with no one else but each other. If they didn’t do what they did, they would have died. 🤷🏻‍♀️ They originally didn’t plan to sacrifice their parents either, they wanted to rob them and leave, but their mother came home and it screwed up their plans. Their mother absolutely would have snitched on them if they didn’t take action. We also know now that people are looking for them, hence the hitman. They literally have no choice but to be on the run. Their situation and actions aren’t black and white.

This turned into a very long post, sorry if it’s messy haha. I just wanted to get my thoughts out there because some of the takes I’ve seen on this game are horrendous. 💀 Thanks for reading if you did. ❤️

#tcoaal #the coffin of andy and leyley #nemlei #kit9 #ashley graves #andrew graves #andrew x ashley #andy graves #leyley graves #andy x leyley #gravecest #coffincest #mini essay #didn’t expect this to be so long oops

84 notes · View notes

cheapfakeblood · 6 months

Text

i know as well as anyone else that macbeth is not a happy story by any means, but i guess i'm just a stupid romantic, because all i can think of is this:

macbeth lost his hunger for power, for just a moment, upon hearing of lady macbeth's death.

macbeth, a man driven to madness by his insatiable lust for power and glory, who had no second thoughts about sending so many murderers after his opponents, stopped for breath for just a second after his wife died, and delivered the famous line, "Life’s but a walking shadow, a poor player/That struts and frets his hour upon the stage,/And then is heard no more. It is a tale/Told by an idiot, full of sound and fury,/Signifying nothing." (V, v)

this irredeemable, frenzied man, who could barely be called a human at that point, sobered up enough to numbly reflect upon the loss of his wife before completely losing faith in life and resigning himself for death on the battlefield.

macbeth is undoubtedly a tragedy, of course. all the gore and madness and death ensured that; but isn't it true that every love story was a tragedy, at some point, too?

#dark academia #i ramble #a lot #macbeth #shakespeare #love poem #not really a poem #mini essay #basically #hyperfixation #if you can’t tell #there's a funny story behind this actually #lady macbeth #lady macbeth apologist!!

103 notes · View notes

mondieuwordnerd · 5 months

Text

I like Letterkenny and Shoresy a lot - they're not perfect but they actually have a lot of progressive messages weaved into silly humour and they platform a lot of Indigenous Canadian actors. Notable mention for the ep when the town rallies to beat up white supremacists. But one thing that really irritates me is the lack of diversity in the 'hot' women. Men of all body shapes are allowed to be sexy and desired but there is quite literally one body type for the romantic women characters. Even if they stayed within the bounds of conventional hollywood/tv beauty, they are still incredibly narrow parameters in what types of women's bodies that put on this show. This of course doesn't touch on the wider discussion of real body diversity representation and desire being so subjective. This show won't even show a Beyonce-esque curve for goodness sake.

The women they cast are all excellent actors but after so many seasons watching, its hard not to internalize the message that there is one way to be hot if you're a woman which is wildly untrue.

#letterkenny #shoresy #mini essay #body diversity #representation

119 notes · View notes

houseofache · 7 months

Text

cannot get over how ominous the end of mine is— “did you not say we were made for each other?” it’s uttered with a measured and sorrowful fury, like someone stalking nearer towards you in anger, with the way it questions the listener who temporarily stands as the singer’s surrogate lover.

it is the spiritual precursor to nazareth for me. it lays the foundation to showcasing a love that has snapped under its own unreciprocated weight. one that harshly questions its affective object about their commitment to the love the two supposedly share, and the pair’s fate.

everyone has felt this seething betrayal and venomous indictment against their loved ones. everyone, too, has desired to question their lover in moments of anger and heartbreak. mine and nazareth play into each other as a pair with the former portraying the controlled inhale as it reiterates what was once promised, and the latter portraying the sharp exhale as it shatters any notions that what once was can ever be regained.

because didn’t you say so? “did you not say that we were made for each other?” but it’s fine. this heartbreak is fine. i’ll see you again. “i’ll see you when the wrath comes.”

#mine #nazareth #sleep token #sleep token writing #sleep token analysis #writing #analysis #sleep token band #sleep token vessel #sleep token ii #sleep token iii #sleep token iv #vessel #ii #iii #iv #sleep token mine #sleep token nazareth #mini essay

89 notes · View notes

patricia-taxxon · 6 months

Text

artist emerges online with a unique or eccentric style that compresses easily (its like experimental electronic hip hop punk!!)

artist becomes popular with fringe online communities

fringe online communities make memes and jokes about said artist, poking fun at a thing they like on its own merits

artist grows in popularity, escapes the confines of the insular communities along with all the memes

random normies listen to the artist. they end up not enjoying it, but reconcile the conflict of a thing they dislike being popular by just assuming that no one *actually* likes it, it's just a meme, or an endurance test specifically meant to torture the listener, or a joke at the expense of music itself.

ironic listeners come to outnumber sincere listeners, because the eccentricity of the artist was never going to support a massive audience

death grips ends show prematurely because crowd of teenagers won't stop throwing shit at them

#cilantromixture #mini essay

8K notes · View notes

swampjawn · 2 months

Text

Dungeon Meshi Episode 7 was super interesting from an adaptation standpoint - this'll be a little different from what I usually write about (though I do still talk about the animation in the full video).

Studio Trigger have never done a straight-up manga adaptation before - and led by Yoshihiro Miyajima, a big fan of the manga who pushed hard for the adaptation to get made, and who has never directed a full series before, it was unclear if they'd be able to find the right balance between a simple panel-for-panel recreation and making something that's completely different.

And in the first few episodes, you could really feel the tension between the influence of a cautious young creative with great respect for the source material, and a studio with a unique established visual style. It kinda seemed like they were ping-ponging willy-nillily between the two sides of that spectrum.

But this episode showed that Miyajima (and series writer Kimiko Ueno) can take 3 chapters, slice them up and rearrange them into a cohesive-feeling episode while taking into account the differences between screen and page, and using them to their advantage.

Starting with the way the water looks. This line from the manga describes a faint magical glow to the water in this lake and you can see that the cavern fades into darkness above, but Kui's illustration style doesn't really define lighting and shadows very much compared to the cel-drawing style of animation. So the animators took the opportunity to use the water as the light source, and make a whole episode that's lit almost entirely from below. It really gives an otherworldly feeling to this area.

Particularly when the Kelpie shows up, that under-lighting works wonders to define its anatomy within the relatively simple line art.

What do you do when you can't show the immense fuck-off scale of a monster with a beautiful full-page spread like this?

Well you use what you do have: the ability to move the camera instead. This is such a great way to communicate the scale of this thing, AND such a great way to show some of Senshi's anime-original butt-cheeks!

This is one of my favorite shots from this episode - this whole sequence is super hectic, cutting quickly from character to character, but they use tricks like this to keep you from getting confused. This is framed much like it is in the manga, but with the moving image, they're able to use the trajectory of the fish head in the background to lead your eye directly from Chilchuck, right to the point where Senshi pops up in the foreground and transition seamlessly from one character to another!

Now, it's not all good - I am a bit disappointed that they removed Marcille's own Senshi-style soap-making montage, which was the perfect visual representation of the culmination of the character development and understanding built between Senshi and Marcille.

It's a shame to see it go.

I get more into that, what else was cut, and much more in this video where I broke down the entire episode!

Check it out if you feel like it. If you don't, jump in a ditch, cover yourself in leaves and jump out at people as they walk by.

Thanks for reading!

youtube

#dungeon meshi #anime #manga #laios touden #marcille donato #senshi #delicious in dungeon #video #mini essay #original

5K notes · View notes

centrally-unplanned · 1 year

Text

I have been very impressed with how well Chainsaw Man's second arc has gender-coded its story to go along with its shift in protagonist. Denji's arc is ofc the most masculine thing this genre could stomach, and I dont just mean Denji (though, I mean, he is definitely included). Aki is the opposite of Denji but only within the bounds of the hyper-masculine crime horror noir genre they inhabit, even Power is a girl who could only exist as a shounen GF. Its all lust and revenge and missions and The System, man.

Meanwhile Asa's world is just as crapsack horror but its the way an emo teen girl would see it. The monsters are peer oppression and ennui and social belonging and figuring out relationships, Asa's struggle is about obtaining self-agency vs. Denji's material autonomy. The choice to flip to a school setting was really smart for this, jettisons the whole trope edifice of the law/crime genre, inescapablly masculine, for a world built for these new struggles.

And that switch is done while highly parallelizing the two mains; Denji can't realize his desires, Asa can't accept or understand them, but in practice that works out kindof the same. While writing this i saw FireSisterBee showcasing some screenshots of the two:

Which is A: a hilariously gendered way of expressing the same feeling, I couldn't say it better myself. And B: if I said "Denji feels like he is being used for his body" ...you really can't say I am saying anything wrong, that is an accurate summary. Through gendering the aesthetic of their arcs to highlight the contrast, the universality of their joint struggle actually becomes more apparent, not less. It's neat!

(Though I do think Fujimoto's guy-ness comes through a bit in how devoid of physical lust Asa is. That happens ofc, more often with females than with males, but it's not the default, and definitely not the default for a teen girl. It's definitely a genre/literary trope, however, so I think that influence is showing)

#chainsaw man #mini essay

692 notes · View notes

samasmith23 · 8 months

Text

Iceman Almost Came Out as Gay Back in the 1990s

So prior to Brian Michael Bendis revealing Iceman (aka, Bobby Drake) was gay in the pages of his All-New X-Men run from 2015, apparently writer Scott Lobdell had planned to have Bobby come out of the closet two decades earlier but was unable to go through with his plans. Lobdell did however, lay the ground work for Bobby coming out during his time on the X-books in the mid-to-late 1990s.

Specifically, during an encounter with Emma Frost back when she was still a villain, the former White Queen of the Hellfire Club briefly took control of Bobby’s mind and actually used his mutant powers in more creative ways than he ever had done before. Emma accurately pointed out that Bobby was intentionally holding back the true potential of his powers, and was using humor as a shield to mask his own insecurities due to his conservative upbringing by mutantphobic parents.

Writer Sina Grace actually followed up on this old plot point from the 90s during his Iceman solo-series which immediately followed Bobby being outed by the time-displaced Jean Grey in All-New X-Men. In addition to depicting Bobby becoming more comfortable with his sexuality and gradually out to his fellow teammates, ex-girlfriends like Kitty Pryde, and especially his bigoted parents...

...Grace finally allowed Bobby to fully embrace his potential as an Omega-Level mutant. Not only did Iceman singlehandedly defeat the unstoppable Juggernaut in combat after after overcoming his greatest fear by coming out to his parents, but he began using his powers in more creative ways than before such as constructing ice-shuriken and multiple ice-clones and kaju.

Furthermore, Grace also revealed in his run that yes, during that time Emma Frost had mind-controlled Bobby back in the 90s, she actually did learn that Bobby was gay. But unlike the time-displaced Jean Grey, Emma never outed Bobby’s closeted sexuality to him or anyone else, and instead respected his privacy due to her own tragic experiences with her older brother Christian Frost being forced into "gay conversion therapy" (aka, torture...) by their abusive father.

Essentially, all of the people who try to argue that Iceman coming out makes zero sense or that it somehow "ignores/erases several decades of past continuity" (I'm looking at you homophobic Comicsgaters!) completely miss the fact that both Bendis & Grace were simply building upon the foundation that was already put in place by Lobdell back in the 90s! That’s NOT “ignoring or erasing several decades of continuity,” but the exact opposite!

And if you still need further proof that Bobby was always gay, just a reminder that during his very first appearance in X-Men (1963) #1 by Stan Lee & Jack Kirby, Iceman was the only person who was not acting like a horny jack-rabbit at the mere sight of the then-new student Jean Grey.

In other words... Iceman was always gay even as far back as his inaugural issue! Suck it Comicsgaters!

350 notes · View notes