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redrobin-detective · 6 months

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"come in," she said, "I'll give you shelter from the storm"

Marceline woke to the smell of something amazing cooking.

Her reactions were a little less startled and a little more excited every time she woke up and remembered that Simon was back. She quickly dressed and flew down the stairs and into the kitchen as Simon was finishing whatever it was he was making. His hair was pulled back in one of Marcy's hairbands and was wearing a bright pink sweater gifted from Bonnie over top his usual white collared shirt and black slacks. He looked so different from how she remembered him growing up but he was still her Simon.

"Good morning, or rather good afternoon, sleepyhead," Simon said with a smile as he flipped something in his pan. "Sit down, I'm almost done. I have something I want to talk to you about."

"Is this something the thing you've been talking to my girlfriend in secret about for the past few weeks?" She asked playfully. Simon groaned.

"How could you possibly-"

"I've known Bonnie for hundreds of years, you think I don't know her tells by now," Marcy grinned. "And it barely took me a year to learn all of yours."

"Yes, yes, I shall always be the Watson to your estimable Holmes so here is your reward for another case brilliantly solved," Simon said with a flourish. He placed a completely red grilled cheese sandwich in front of her with a bowl of tomato soup. "Strawberry jam toasted bread with ham, red bell peppers and tomato. The cheese I soaked in the jam too, it's not as red but hopefully it'll taste better than the beet juice cheese I made for you that one time. Bon appétit, mon cher."

"That beet cheese haunts my nightmares," Marcy said, trying to act casual when she wanted to cry with how much love she was feeling. She thought she had lost this forever and having it back, it was a miracle she couldn't put into words. "You don't have to go to this much effort, I can eat anything red. It doesn't even have to be real food."

"I like to cook and I like to cook for you. Sharing a meal together is something you do with your loved ones," he smiled and sat down with his own soup and sandwich. "I have a second chance to enjoy the little things in life and I don’t want to waste it.” He said, biting into his sandwich.

“Yeah,” she smiled back as her fangs sampled the sandwich. Deliciously red and made with love. “What did you want to talk about?”

“Oh uh,” Simon looked flustered and ducked his head closer to the soup. “I hate having serious discussions over a meal. How was your show last night?”

“Fine,” Marcy said with a suspicious frown. Simon was being cagey but she’d get it out of him eventually. “It was just a small gig at Dirt Beer Guy’s new place. It would have been better with my partner there. You can’t spend all your time inside reading those dusty old books, you know.”

“I’m not your partner, Marcy, I’m your-” Simon paused and turned away with embarrassment scratching at the back of his neck. She found herself wishing he’d just say what they both felt but he trailed off as usual. “Music is just a hobby for me, I’m not nearly the professional you are. Besides I’m not really suited to the kind of music you play, trying to keep up with you would just diminish your natural talent.”

“Dude, you’re like the best pianist I’ve ever heard and you know all those old world songs,” Marcy argued as she slurped up the remaining red in her soup with annoyance. “And you’re no slouch on the guitar or violin or drums or-”

“I don’t play the drums, Ice King did,” Simon interrupted with a flat frown.

“Yeah, okay whatever,” Marcy grumbled as she floated up and gathered up the now empty plates to clean. “So come on, stop avoiding the issue, what did you want to talk about?”

“I don’t want to have this conversation angry, let’s relax with a little jam session first,” Simon said cheerfully. “It’s been a while since I’ve been on strings, I’ll join you today on guitar. Just like the good old days.” The image of Simon’s large, blue tinged hands on top of hers on the half broken guitar they’d scrounged from the rubble, lightly moving her fingers over the frets. His gentle voice walking her through the notes and the beautiful sounds they’d made to fill the apocalyptic silence.

Even after a thousand years of insanity, he knew just how to tempt her.

“I’ll grab my guitar while you finish up,” he said before rushing out of the kitchen. She was drying her hands when the sound of a tuning guitar flitted through the house. Marcy had dreamed of a situation like this: her and Simon safe, with no magic or madness or sadness between them, just hanging out. But sometimes a wall could be made of other things too. She grabbed her bass as she floated into the living room where Simon was strumming his acoustic with deep concentration. She sat next to him on the couch and began strumming too, the familiar motions leeching some of her tension.

They sat in companionable silence for a while, playing their own thing with the separate melodies sometimes coming together and harmonizing. Every now and again she’d recognize something he played, some dim lightbulb of a memory from when she was a child listening to music on the radio. Simon always got a little sad when she reminded him of the world they’d both lost. She’d mourned and moved on but it was harder for him to let go.

"Marcy, I need to move out,” Simon said suddenly, snapping her out of her head. She jerked a discordant chord on her guitar as she dropped it, causing him to wince. “Princess Bubblegum is getting me set up with a little place on the border of the Candy Kingdom," he continued awkwardly.

"Move out?" Marcy yelped, reaching over to grab Simon's hand then quickly releasing when she saw him wince. "Why? You've only been back as yourself for six months! You're- you're not ready yet! You can't live on your own in Ooo, you'll get killed!"

"I got through the apocalypse, remember. I believe you were there," he said with a raised eyebrow.

"Is it the house? Too small? Too dark? We'll move together, somewhere bigger and brighter that has everything you need-"

"The house is fine, Marcy," Simon sighed, "it's not that it's..."

"Is it me?" She asked quietly. Simon set aside his guitar and wrapped an arm around her shoulders, pulling her in close. Marcy tried to relax into his touch like she used to but instead dug her hands into his sweater and held on tight.

"No, Sweetie, no, of course not. Believe me, this isn't an easy choice for me either but... Marceline, we always knew this was going to be temporary. You're a beautiful, brilliant, vivacious young woman and you don't need an old dinosaur cramping your lifestyle."

"You're not, I promise. I love having you here. I am so happy I get to see you everyday, to wake up to your cooking and making music together," she said, pulling back to look up at him.

"And I treasure those things too but Marcy, you're not going out with your friends, you're canceling shows and I know you don't feel comfortable bringing your girlfriend around when I'm here. I don't, I guess I'm worried about trapping you."

"You're not, I want you here, I promise. There's always other parties, other gigs and Bonnie, well she's old too, she knows that the most precious things are the ones that-that won't be around forever."

Simon was human again and that meant he was no longer deathless. He'd been in his mid 30s when he first wore the crown, hardly a spring chicken but not old either. That left Marcy about 50 years or so before he was gone and there was no magic on Earth or beyond that could bring him back while she went on and on and on and on and-. She loosened her grip on him before her claws put holes in his sweater, or him.

"Sweet Girl, I know what it's like to cling to something because it’s safe and familiar but we can’t live in the past. I, well, I need to find my own way. You know, learn and adapt like you have and I can't do that living in the backroom in the house of my uh... friend. We’ve had time to reconnect and recover but now it's time for this old bird to fly from the nest."

“You could stay if you wanted,” she said softly, weakly, feeling like the abandoned child she never really stopped being. “You could live here with me the rest of your life and I would love you every minute of every day. If you really want to move out, find your own space, I’ll gladly help. But I want you to know you are always welcome here, in my home and in my life because- because you’re like my dad and nothing will ever change that or how I feel about you.”

They never really spoke the words: dad, daughter, family, even if that's what they were to each other. There was always the risk Hunson would overhear and take it out on Simon. But also 'dad' had come to represent disappointment and anger and fear while 'Simon' fit the meaning much better. Who needed a dad when she had a Simon?

“Oh Marceline,” Simon said softly, resting his cheek against her hair. “I don’t deserve your love after what I put you through.”

“Like you said, we can’t live in the past,” she mumbled, squeezing him as tight as she dared. Time moved so quickly for her, how many more times would she get to hug him before he was gone? They stayed like for a while before he pulled back and wiped his misty eyes underneath his glasses.

"Princess Bubblegum said the place should be finished soon. It's not very far and, you, likewise, are welcome to visit anytime. I've even asked the Princess to set aside an extra bedroom for you and Finn if ever you need somewhere to stay." Simon said, breaking eye contact to grab his guitar and lightly finger the strings.

"Do Finn and Jake know about this?" Marcy teased. It's been an endless source of amusement watching Simon latch onto Finn like a mother hen and for it all to fly over the boy's head. Simon cooks for them, teaches Finn when he can pin the boy down between adventures and positively dotes on him and her unofficial little brother still didn't get it.

"Jake thinks it's a great idea," Simon sniffed. "Finn is almost 18 and full of reckless, teenage energy, not to mention a whole load of unaddressed trauma. Jake's getting older, he can use all the help he can get managing Finn."

"Word to that," She laughed. The heavy emotional pall lifting, she picked up her bass again and played the same simple melody as Simon. "Was that all you wanted to talk about? The house?"

"No," Simon looked uncomfortable. "I've put it off too long really but with the house set to be up soon, I do need to collect the rest of my belongings from the uh..."

"Oh yeah, you had that whole secret room in the Ice Kingdom, all those books and artifacts and stuff," Marcy noted.

"The last remnants I have of Betty are there too," Simon said dully. They don't talk about her much, mostly because the grief and guilt reminded both of them too much of Ice King. He still had his bad days spent alone doing glob knows what in his room. "I have a lot of things I need to get that I’ve been putting off because well…”

“It’s got to be weird,” Marcy said with an understanding smile. “You were Ice King then Gunter is now Ice Thing. I think everyone needed space after what went down. Me and PB can go get your stuff if you want.”

“No, no, it needs to be me. I can’t run away from the past forever,” Simon sighed. “I could use your help with moving as well as sorting through what’s important and what’s just sentimental junk. I collected as many pre-war artifacts as I could before I was consumed by the crown so I’m not even sure what’s all there.”

“Of course, I’m sure Finn would like to be involved too if it’s about human stuff,” Marcy said

“I’ll message him and I’m pretty sure Gunter gave me his new number too,” Simon muttered absently. “The Ice Kingdom still doesn’t have any citizens so hopefully Gunter will be able to accommodate us.”

“But that will probably take some time to coordinate,” Marcy said in a lilting tone, “and you still owe me a jam session. Show me that one song you used to play on guitar all the time, you know, the one that goes like-” she hastily strummed out a few chords. Simon laughed.

“A thousand years after the end of the world and Bob Dyland still endures,” he said, making some minor adjustments to his tuning keys. “Ok, my memory isn’t what it used to be so don’t complain if I get the lyrics or melody mixed up. So it’s a simple song that has a repeat rhythm of D, G, C, G. Got it? Ok and a one and two and a three-”

The house was soon filled with music and laughter and lots of love.

#adventure time #simon petrikov #marceline abadeer #finally finished #this is gonna be part 1 of 3 or 4 part series #exploring simons relationship with his kids through music #song title is shelter from the storm by bob dylan #love simon and marcy but look at all the regrets and abandonment issues and avoidance tactics they have stuffed into a trenchcoat #they're both overly clingy and distant at the same time I love it #both clinging to a past that doesn't really exist anymore and trying to cope with this new reality #they make me insane

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skrunksthatwunk · 4 months

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yakuza: dead souls - american vibes, bigass guns, and why zombies are super weird to have in ryu ga gotoku thematically/ideologically speaking

so i've been playing dead souls recently (hell yeah hell yeah hell yeah) and although i'm having the time of my life with it, there was something about it that kinda felt off to me, and i think i've figured out what it was, but i'm gonna have to walk you through a bit of my thought process to get there.

my first instinct was that it felt... american? and upon further examination i think that boils down to a couple of things:

everyone suddenly has lots of guns and also way way bigger guns

high emphasis on individual heroism (this itself is quite typical for rgg, but it manifests differently here; more on that in a bit)

military/government incompetence, which must be solved by the right individuals having the biggest and bestest guns

[for the sake of transparency i will note that my experience with zombie media is pretty limited and skews american (and i myself am american), so that may create bias. however, the 'this feels american to me' instinct is a rare one for me even in genres where i have seen little/no non-american media, so i think the fact that it did occur to me is notable. what about dead souls triggered that response when little else has? that's why i examined it and, truthfully, i think there's merit in the idea itself.]

the first point is pretty self-explanatory. america's got more guns than it does people, and its gun worship is infamous. japan's ban on guns (aided by its being an island state) means there's far fewer guns in the country, as well as far fewer people with guns (and likely far fewer guns per gun owner, excepting arms dealers/smugglers) than somewhere without such a ban. obviously, there are guns anyway. due to their illegality they are clustered within the criminal population, which explains their presence within organized crime within the series. very few guns will be sitting around in the homes of otherwise law-abiding citizens.

and yet, when the zombie outbreak hits kamurocho, plenty of civilians suddenly have access to quite an arsenal. everyone has the knowledge they need to aim, fire, and reload smoothly and quickly; ammo is infinite for certain guns. characters we've never seen using firearms before suddenly have shotguns under their couches (looking at you, majima). it's not only very different from reality, it's very different from guns' place within the series up until this point, when they were limited weapons used primarily by the enemy.

and they're making a zombie shooter, so of course they would have to do this. it has to be unrealistic to be simultaneously in this setting and in this genre, in the same way that yakuza solving their problems with bareback fistfights instead of guns is itself both unrealistic and necessary to being the kinds of games rgg are.

my point is that this is a kind of focus on and valorization of gun ownership and competency unusual for the series and setting. further, it serves as an argument for why an armed, competent populace is crucial typical in american media.

which brings us to the third point (we'll get to 2 in a minute). guns are often marketed as self-defense weapons. the implication is that the government's defense of the individual (via law enforcement or the military, but particularly the former), are insufficient. this is objectively true. if someone pulls a gun on you at the gas station, will a cop manifest out of thin air to intercede? no. that's impossible. but if you have a gun, or if some bystander has a gun, you or they may be able to do something with that gun to stop the armed person. thus, there is an undeniable gap in the effective immediacy of such responses.

many gun advocates also point to the incompetence or insufficiency of law enforcement, even when they are present to stop an armed aggressor. the fact that law enforcement do not have a 100% success rate in protecting the citizenry is also objectively true.

so, when you are in danger, arming yourself increases your chances of being able to put down (or at least take armed action against) a present or potential threat. whether it is viewed it as a supplement to or a replacement for law enforcement, it is meant to make up for the shortcomings of the government's ability to completely protect all its citizens. it's a safety net for state failure.

back to dead souls. rgg has always centered political corruption in its stories, including politicians, the police, and sometimes even the military, though usually the former two. sometimes this is treated sympathetically (i.e. tanimura, a dirty cop, whose dirty-cop-ness allows him to work outside/against the law to help disadvantaged people, not unlike how kiryu views being a yakuza), and other times it's simply a matter of greed or lust for power (i.e. jingu).

however, something that's almost never touched on so clearly is government incompetence. when the government fails to help people or hurts them or does corrupt things, it's usually due to a competent, malicious bad apple who is removed from power by the end of the game. this implies holes in the system because it keeps happening all the time, but that's on a series-wide scale, a pattern ignored by the series in favor of the individual game solution of "this guy's gone now :) yay".

but in dead souls, the SDF's barracades fall, their men are killed, they are unable to help protect the people outside or inside the quarantine zone. they are weak in a way the government usually isn't in these games. and who is stronger than them? our individual good guys with guns. so we need to be armed because the government is weak and can't protect us. boom. america.

returning to point 2, i'd like to say that dead souls is not particularly more individualistic than any of the other games in the series (other than, perhaps, y7). rgg is an incredibly individualistic series, actually. its protagonists are usually men who defy, oppose, and skirt around the law as a way of helping others and doing what is truly right (with a few exceptions, like shinada and haruka). the romanticized view of the yakuza as a force for helping the community in the face of government incompetence is a real one, and one that tends to manifest itself most in kiryu and how the series treats him. it shows us yakuza who aren't willing to kill, yakuza who cry about honor and justice and humanity and brotherhood, yakuza who never dip their hands into less palatable crimes, or only do with intense regret (and only ever as part of their backstory). the beat-em-up style emphasizes this as well. i mean, what's more individualistic than a one-man army?

put more clearly, this series is about men defying legal and social laws and expectations to live in a way that feels right to them, and about making themselves strong enough to combat those who would get in their way. the individual is placed before the society in importance, (though generally in a way that benefits the community, because they are good guys who want to use that agency and power for good).

all of this is true in dead souls as well, technically. those who live on the outskirts of society are the ones who actually save the day, and the ones who go in there and save people rather than just walling them off and pretending like they don't exist. they have the guns, which are illegal and mark them as criminals, but this broken law is what gives them the power to save themselves when the government will not, and to save their community if they so choose.

where dead souls differs is in the nature of that strength.

rgg places a lot of emphasis on self-improvement, both of one's body and of one's character. do both of these, and you will be strong enough to back up your ambitions. what allows someone to carve their own path in life is the ability to put down ideological and physical resistance by having resolve and the ability to tiger drop whoever won't be swayed by your impassioned speeches. you make yourself a weapon. you make yourself strong. in dead souls, that strength comes from an external, material possession. strength is something you buy (or that you take from someone else). who is able to survive the apocalypse comes not from the heart, nor from rigorous training, but from who has the most, the biggest, and the most bestest guns. it's an intersection of capitalism, militarization, and individualism. simply, deeply american.

[when i was talking myself through this a few days ago, i spent a lot more time on the capitalism + individualism stuff, but i think i'll keep this moving. consider this aside the intermission]

dead souls also differs for a few other interlocking reasons. it can be described with this equation:

zombification of enemies + lethality of guns = loss of emphasis on redemption

if your best friend turned into a zombie, could you shoot them? or your child? or your lover? it's a common trope, but it's a damn good one. watching your family, your neighbors, your town, everyone turn into a husk of themselves, something that looks like them but cannot be reached, is deeply tragic. it's even more tragic when these husks are trying to kill you. unable to be reasoned with and unable to be cured, you must incapacitate them before someone innocent is hurt--or hurt, then themselves made dangerous; each loss adds to the number of threats surrounding you. your life is seen as more valuable than that of your zombified friend, not only because the zombie is attacking you and it's self defense, but because they are no longer a person to you. to be a zombie is to no longer be human; zombification is dehumanization.

and so in a series so focused on connection with one's community, on saving innocent civilians, often on saving kamurocho specifically, one would expect similar tropes to occur. even if one's friends aren't turned, perhaps the cashier at poppo you chat with sometimes is. it's the destruction of that community and of the members one has tertiary relationships with that i expect would occur most within a kamurocho zombie story, since they are likely unwilling to axe anyone more important than that, even if dead souls isn't canon. i'd especially expect to see that in the beginning, before the need to kill zombies rather than contain or redeem them becomes apparent.

this does not happen.

i cannot speak for the entire game, but i can speak of gameplay choices that affect this, and ones i think will not be subverted throughout, even if they are somewhat contradicted by plot events i am presently unaware of.

kamurocho is not a community to protect, nor is it filled with your fellows. it is a playground filled with infinitely respawning, infinitely mow-downable, infinitely disposable zombies. you are meant and encouraged to kill them by the thousands, and never to hesitate or consider whether they may be cured or who may be mourning them. who may be unable to identify their loved one because you were trying to reach a headshot goal from hasegawa. you are not meant to consider them as human, nor beings that were once human, nor beings that could be human again, in the eyes of the zombie shooter. they are merely bodies, targets, and obstacles.

the zombies are contrasted with the true humans, those barricading themselves within the quarantine zone or those living in ignorance outside it. humans are meant to be saved, zombies are meant to be killed. the player character is the only one who can truly help with either of these goals, because the other humans are cowardly, ignorant, or unarmed/helpless. you must be their savior. to be a savior is to eliminate zombies, who are less than human.

the black and white nature of this is also emphasized by another gameplay characteristic: the lack of street encounters. when you traverse the peaceful parts of kamurocho, you are never attacked. you are also never directly attacked by the humans within the quarantine zone. kamurocho feels very different without its muggers and hooligans, but it's because this is a zombie shooter, not a beat-em-up. in a normal rgg title, you'd subdue threats by punching, kicking, and throwing them. you'd use your body in (supposedly) nonlethal ways. dead souls does not have a combat system meant for civilians. you have your guns. you subdue threats by shooting them, preferably lethally. the game doesn't want you to do that to humans, so you never fight humans. this furthers the black and white divide between the salvation-worthy, noble humans and the death-worthy, worthless zombies. combat is only lethal, and only used against the inherent other.

this leads me to the part of dead souls i find most conflicting with the ethos of rgg broadly, and perhaps its greatest ideological/thematic failing.

because the enemy are incurable, dangerous, and inhuman, you must kill them to protect yourself and others, others who are still human. humanity is something that is lost or preserved, but never regained. once someone's gone, they're gone, and you not only must kill them, it is your duty and your right to kill them. you should kill them.

in dead souls, there is no redeeming the enemy.

and that's a big problem.

rgg is about a lot of things, but a key one is the ability of people to change for the better. its most memorable, beloved villains are those who see the light by the end and change their wicked ways (usually through some form of redemptive suicide, though that's another essay in itself). its pantheon of characters is full of those who come from questionable backgrounds struggling to be the best people they can be, to live as themselves authentically and compassionately. it's about the good and the love you can find in the moral and legal gray zones of life/society, and the potential/capacity for good all of us have, no matter how far we may have fallen. it is a hopeful series. it is a merciful series.

this is something bolstered by its gameplay. countless substories are resolved by punching a lesson into someone until they improve their behavior, either out of fear or genuine remorse/development. the games don't just discourage killing your enemies, they don't allow you to (yes, we've all seen the "kiryu hasn't killed anybody? umm. look at this heat action" stuff before, and while they've got a point, i believe it's the narrative's intent that none of this is actually lethal, based on how laxly it treats certain plot injuries (cough cough. y7 bartender) and the actual concept of taking a life, the gravity it is given by the text, particularly when it comes to characters crossing that threshold into someone who has killed. explicit killing is not an option open to you, even when you're being attacked by dozens and dozens of armed men. conflicts are resolved by simply beating up enough guys in this nonlethal manner.

but dead souls is a shooter. to avoid conflict with the series' moral qualms about letting its characters kill, the enemies cannot be human. furthermore, the zombie shooter genre can only fit within the series if its zombies are completely inhuman. this means their pasts as humans cannot be acknowledged, nor the possibility of a cure, nor the characters' own potential conflicts about killing them; or, at least, not in a way that impedes their or the player's ability to gun them down afterwards.

if you can't kill humans in your series, then it cannot be possible to save (in this case, rehumanize) zombies. this is especially true in a game where you are unable to fight humans, and thus human lives are universally more valuable than zombie lives. because if you kill a zombie that can be cured, you are, in a way, killing a human.

and so, in a series where you should always assume your enemies (and everyone, for that matter) are capable of reason, compassion, change, and redemption, and where they are always worth that effort, even if they reject it in the end, dead souls' enemies are irredeemable and only worth swift, stylish slaughter. there are only good guys and bad guys. good guys must be protected, lest they be turned irreversibly into bad guys. good guys are only protected by killing bad guys, and the only way to save good guys is to kill every last one of the bad guys. do not spare them, and do not ask whether or not it's right. only kill.

i love dead souls. it's a silly game. i like seeing daigo in decoy-drag and majima gleefully cartwheeling his way through zombies and ryuji with his giant gun arm prosthetic. it's fun. but when i was trying to figure out what felt off about it to me, one of the words that came to mind (besides american) was indulgent. that, too, felt odd, because i love indulgent media. i am not one to scorn decadent, hedonistic, beautiful high-calorie slop type media. if dead souls was just fan servicey, that wouldn't really bother me. i am a fan and boy do i feel serviced. it rocks. but i think my problem is in what dead souls is indulging.

i think dead souls indulges in the desire to cut loose, and to see these characters cut loose. thing is, they're cutting loose all over kamurocho, and all over the bodies of people they used to (at least in concept) care for. with lethal weapons. it is catharsis via bloodbath, not by pushing your body and mind to the limit in man to man combat, but by pulling a trigger before the other guy can hurt you, or even think about hurting you, for the crime of existing as the wrong kind of thing.

and i just don't think that's in line with rgg's beliefs.

yes, it's probably fair for dead souls' characters to kill zombies. i'm not against that. i'm also not against games letting you do purposeless violence. i spent a good amount of my elementary school years killing oblivion npcs for shits, like. that's not what bothers me about dead souls.

rgg as a series has always taken a hard stance in both its game design and narrative choices against killing and for the potential for redemption in its enemies. and i think the lengths to which it goes to promote that despite the probably-lethal moves you do and the improbability of a harmless do-gooder yakuza is one of the most endearing things about the games. so for this one entry to disregard that key theme for the sake of a genre shift that flopped super hard, well? i dunno. it feels weird i guess. it's out of place not just because it's a dramatic shift in gameplay and style and also zombies are only a thing here (and the supernatural/fantastical are thus only prominent here), but because of what those shifts imply.

so, uh. yeah. my pre-dead-souls thoughts that dead souls wasn't that out of pocket bc rgg's just kinda weird? turns out it was actually super weird to have a zombie shooter in there, but for way way deeper reasons than anyone gives it credit for.

(footnotes in tags)

#1) i deemphasized the physicality of shooting to emphasize my points about the viscerality and personal nature of rgg #brawls and the colder more detached nature of gun use relative to that but i do NOT mean that shooting has no physical component to it #obviously it takes a lot of skill to shoot quickly and accurately and lugging a bigass gun around kamurocho would tucker me out for sure #2) no i don't think all those things i said were american were usa-exclusive. it's a big world out there. i'm just saying those things #combined feel like a particularly american flavor of thing to me #3) there's probably more to be said about the connection between wanton killing and american styling or anti-immigration theming in zombie #stories or dead souls But i figured that was a bit too disconnected to the funny zombie game. this shit was a lot anyway y'know?#4) also i don't think most of this was intentional on the part of rgg studios. i genuinely think they just wanted to make a fun zombie #shooter and didnt really think about it all that hard. whenever you make smth there's gonna be implications you never considered. it happen #5) is it ballsy to write a giant essay on a game i'm like 1/4 the way through? yes. i've done smarter things. i'll revisit it when im done #if i'm wrong then i'll figure it out probably. but like. i don't think they'd set up the hasegawa objective stuff or have akiyama just #unflinchingly start shooting zombies and then later challenge that. we'll see but my hopes aren't high y'know? i know rgg #6) i should also clarify that violent catharsis is a) a part of all rgg games and b) cool as hell. it's the lethal bit that doesn't fit with #the series y'know?#rgg #ryu ga gotoku #yakuza #like a dragon #yakuza dead souls #dead souls #classic skrunk 4 hr middle of the night impulse essay hooorayy

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