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vickyvicarious · 3 years

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Leverage Redemption Pros/Cons List

Okay! Now that I've finally finished watching the first half of Leverage: Redemption, I thought I'd kind of sum up my overall impression. Sort of a pro/con list, except a little more just loosely structured rambles on each bullet point rather than a simple list.

This got way out of hand from what I expected so I'm going to put it all under a cut. If you want the actual bulletpoint list, here it is:

PROS

References

Continuity

Nate

Representation

Themes

New Characters

General Vibe

CONS

'Maker and Fixer'

Episode Twins

Sophie's Stagefright

Thiefsome

You might notice the pros list is longer, and that's because I do love the show! I really like most of what it does, and my gripes are fewer in number and mostly smaller in size. But they do exist and I felt like talking about them as well as the stuff I loved.

PROS

References

There is clearly so much love and respect for the original show here. Quite aside from the general situation, there's a lot of references to individual episodes or character traits from the first show. For example, Parker's comments on disliking clowns, liking puppets, disliking horses, stabbing vs. tasing people. The tasing was an ongoing thing in the original, the stabbing happened once (S1) but was referenced later in the original show, the clown thing only had a few mentions scattered across the entire original show. The puppet thing was mentioned once in S5, and the horses thing in particular was only brought up in S1 once. But they didn't miss the chance to put the nod to it in there; in fact with those alone we see a good mix of common/ongoing jokes and smaller details.

We got "dammit Hardison" and "it's a very distinctive..." but also Eliot and Parker arguing about him catering a mob wedding, and Eliot being delighted by lemon as a secret ingredient in a dish in that same episode (another reference to the mob episode). Hardison and Eliot banter about "plan M", an ongoing joke starting from the very first episode of the original show. We see Sophie bring up Hardison's accent in the Ice Job, Parker also makes reference to an early episode when describing "backlash effect" to Breanna, in an episode that also references her brother slightly if you look for it.

Heck, the last episode of these first eight makes a big deal out of nearly reproducing the iconic opening lines of the original show with Fake Nate's "we provide... an advantage." And I mean, all the "let's go steal a ___" with Harry being confused about how to use them.

Some of the lines are more obviously references to the original show, but they strike a decent balance with smaller or unspoken stuff as well, and also mix in some references between the team to events we the audience have never seen. If someone was coming into this show for the first time, they wouldn't get all the easter egg joy but most of the references would stand on their own as dialogue anyway. In general, I think they struck a good balance of restating needed context for new viewers while still having enough standalone good lines and more-fun-if-you-get-it callbacks.

Continuity

Similar to the last point, but slightly different. The characters' development from the original to now is shown so well. I'm not going to go on about this too long, but the writers clearly didn't want to let the original characters stagnate during the offscreen years. There was a lot of real thought put into how they would change or not.

It's really written well. We can see just how cohesive a team Parker, Hardison, and Eliot became. We get a sense of how they've spent their time, and there's plenty of evidence that they remained incredibly close with Sophie and Nate until this past year. The way everyone defers to Parker is different from the original show and clearly demonstrates how she's been well established as the leader for years now - they show this well even as Parker is stepping back to let Sophie take point in these episodes. Eventually that is actually called out by Sophie in the eighth episode, so we might see more mastermind Parker in the back half of the show, maybe. But even with her leading, it's clear how collaborative the team has become, with everyone bouncing ideas off one another and adding their input freely. Sometimes they even get so caught up they leave the newbies completely in the dust. But for the most part we get a good sense of how the Parker/Hardison/Eliot team worked with her having final say on plans but the others discussing everything together. A little bit more collaborative than it was with Nate at the helm.

Meanwhile Sophie has built a home and is deeply attached to it. She and Nate really did retire, at least for the most part, and she was living her happy ending until he died. She's out of practice but still as skilled as ever, and we're shown how much her grief has changed her and how concerned the others are for her.

There's a lot of emphasis on how they all look after one another and the found family is clearer than ever. Sophie even calls Hardison "his father's son" - clearly referring to Nate.

Nate

Speaking of Nate! They handled his loss so, so well. His story was the most complete at the end of the last show, and just from a narrative point, losing him makes the most sense of all the characters. But the way he dies and his impact on the show and the characters continues. It's very respectful to who he was - who he truly was.

Nate was someone they all loved, but he was a deeply flawed individual. Sophie talks about how he burned too hot, but at least he burned - possibly implying to me that his drinking was related to his death. In any case, there's no mystery to it. We don't know how he died but that's not what's most important about his death. This isn't a quest for revenge or anything... it's just a study of grief and trying to heal.

Back to who he really was real quick - the show doesn't eulogize him as better than he was. They're honest about him. From the first episode's toast they raise in his memory, to the final episode where Sophie and Eliot are deeply confused by Fake Nate singing his praises, the team knows who he was. They don't erase his flaws... but at the same time he was so clearly theirs. He was family, he was the man they trusted and loved and followed into incredibly dangerous situations, and whose loss they all still feel deeply.

That said, the show doesn't harp on this point. They reference him, but they don't overwhelm new viewers with a constant barrage of Nate talk. It always serves a purpose, primarily for Sophie's storyline of moving through her grief. Anyway, @robinasnyder said all of this way better than me here, so go read that as well.

Representation

Or should I say, Jewish Hardison, Autistic Parker, Queer Breanna!

Granted, Hardison's religion isn't quite explicitly stated to be Jewish so much as he mentions that his "Nana runs a multi-denominational household", but nonetheless. He gets the shows big thesis statement moment, he gets a beautiful speech about redemption that is the emotional cornerstone of that episode and probably Harry's entire arc throughout the show. And while I'm not Jewish myself, most of what I've seen from Jewish fans is saying that Hardison's words here were excellent representation of their beliefs. (@featherquillpen does a great job in that meta of contextualizing this with his depiction in the original show as well.)

Autistic Parker, however, is shown pretty dang blatantly. She already was very much coded as autistic in the original show, but the reboot has if anything gone further. She sees a child psychologist because she likes using puppets to represent emotions, she stims, she uses cue cards and pre-written scripts for social interactions, there's mention of possible texture sensitivity and her clothes are generally more loose and comfortable. She's gotten better at performing empathy and understanding how people typically work, but it's specifically described as something she learned how to do and she views her brain as being different from ones that work that way (same link). Again, not autistic myself but from what I've seen autistic fans find a lot to relate to in her portrayal. And best of all, this well-rounded and respectful depiction does not show any of these qualities as a lack on her part. There's no more of those kinda ableist comments or "what's wrong with you" jokes that were in the original show. Parker is the way she is, and that allows her to do things differently. She's loved for who she is, and any effort made to fit in is more just to know how so that she can use it to her advantage when she wants to on the job - for her convenience, not others' comfort.

Speaking of loved for who you are.... okay, again, queer Breanna isn't confirmed onscreen yet, and I don't count Word of God as true canon. But I can definitely believe we're building there. Breanna dresses in a very GNC way, and just her dialogue and, I dunno, vibes seem very queer to me. She has a beautiful speech in the Card Game Job about not belonging or being accepted and specifically mentions "the way they love" as one of those things that made her feel like she didn't belong. And that scene is given so much weight and respect. (Not to mention other hints throughout the episode about how much finding her own space meant to her.) Also, the whole theme of feeling rejected and the key for her to begin really flourishing is acceptance for who she is, not any desire for her to be anyone else, is made into another big moment. Yeah, textually that moment is about her feeling like she has to fill Hardison's shoes and worrying about her past, but the themes are there, man.

Themes

I talked a bit about this yesterday, so I'm mostly just going to link to that post, but... this series so far is doing a really good job in my opinion of giving people arcs and having some good themes. Namely the redemption one, from Hardison's speech (which I'm gonna talk a little more about in the next point), and this overall theme of growing up and looking to the future (from above the linked post).

New Characters

Harry and Breanna are fantastic characters. I was kind of worried about Harry being a replacement Nate, but... he really isn't. Sure, he's the older white guy who has an angsty past but it's in a very different way and his personality and relationships with the rest of the crew are correspondingly different. I think the dynamic of a very friendly, cheerful, kind, but still bad guy (as @soundsfaebutokay points out) is a great one to show, and he's got a really cool arc I think of learning to be a better person, and truly understanding Hardison's point about redemption being a process not a goal. His role on the team also has some interesting applications and drawbacks, as @allegorymetaphor talked about. I've kind of grown to think that the show is gradually building up to an eventual Sophie/Harry romance a ways down the line, and I'm actually here for it. Regardless, his relationships with everyone are really interesting.

As for Breanna, first of all and most importantly I love her. Secondly, I think she's got a really interesting story. She's a link to Hardison's past, and provides a really interesting perspective for us as someone younger who has grown up a) looking up to Leverage and b) in a bleaker and more hopeless world. Breanna's not an optimist, and she's not someone who was self-sufficient and unconcerned with the rest of the world at the start, like everyone else. She believes that the world sucks and she wants it to be better, but she doesn't know how to make that happen. She outright says she's desperate and that's why she's working with Leverage. At the same time, Breanna is pretty down on herself and wants to prove herself but gets easily shaken by mistakes or being scolded, which is a stark contrast to Hardison's general self-confidence. There are several times when she starts to have an idea then hesitates to share it, or expects her emotions to be dismissed, or gets really disheartened when she's corrected or rejected, or dwells on her mistakes, or when she is accepted or praised she usually takes a surprised beat and is shy about it (she almost always looks down and away from the person, and her smile is often small or startled). Breanna looks up to the team so much (Parker especially, then probably Eliot) and she wants to prove herself. It's going to be so good to see her grow.

General Vibe

A brief note, but it seems a fitting one to end on. The show keeps it's overall tone and feeling from the original show. The fun, the competency porn, the bad guys and clever plans and happy endings. It's got differences for sure, but the characters are recognizably themselves and the show as a whole is recognizably still Leverage. For the most part they just got the feeling right, and it's really nice.

CONS (no, not that kind)

'Maker and Fixer'

So when I started writing this meta earlier today, I was actually a lot more annoyed by the lack of unique 'maker' skills being shown by Breanna. Basically the only time she tries to use a drone, the very thing she introduced herself as being good at, it breaks instantly. I was concerned about her being relegated into just doing what Hardison did, instead of bringing her own stuff to the table. But the seventh episode eased some of those fears, and the meta I just wrote for someone else asking about Breanna's 'maker' skills as shown this season made me realize there's more nuance than that. I'd still like to have seen more of that from her, but for now the fact that we don't see a lot of 'maker' from her so far seems more like a character decision based in Breanna's insecurities.

Harry definitely gets more 'inside man' usage. His knowledge as a 'fixer' comes in handy several times. Nonetheless, I'm really curious if there are any bigger ways to use it, aside from him just adding in some exposition/insight from time to time. I'm not even entirely sure how much more they can pull from this premise in terms of relevant skills, but I hope there's more and I'd like to see it. Maybe a con built more around him playing a longer role playing his old self, like they tried in the Tower Job? Maybe it's more a matter of him needed distance from that part of his past, being unable to face it without lashing out - in that case it could be a good character growth moment possibly for him to succeed in being Scummy Lawyer again down the line? I dunno.

Episode Twins

This was something small that kind of bothered me a little earlier in the season. It's kind of the negative side to the references, I guess? And I'm not even sure how much it annoys me really, but I just kinda noticed and felt sort of weird about it.

Rollin' on the River has a lot of references/callbacks to the The Wedding Job.

The Tower Job has a lot of references/callbacks to The White Rabbit Job.

The Paranormal Hacktivity Job has a lot of references/callbacks to the Future Job.

I guess I was getting a little concerned that there would be a 'match this episode' situation where almost every new Redemption episode is very reminiscent of an old one. I love the callbacks, but I don't want to see a lack of creativity in this new show, and this worried me for a minute. Especially when it was combined with all three of those episodes dealing with housing issues of some kind. Now, that's a huge concern for a lot of people, and each episode has its own take on a different problem within that huge umbrella, but it still got me worried about a lack of variety in topics/cases.

The rest of the episodes failing to line up so neatly in my head with older episodes helped a lot to ease this one, though. Still, this is my complaining section so I figured I'd express my concerns as they were at the time. Even if I no longer really worry about it much.

Sophie's Stagefright

Yeah, I know this is just a small moment in a single episode, but it annoyed me! Eliot made a bit of a face at Sophie going onstage, but I thought it was just him being annoyed at the general situation. However, they started out with her being awful up there until she realized the poem was relevant to the con - at which point her reading got so much better.

This felt like a complete betrayal of Sophie's beautiful moment at the end of the original show where she got over her trouble with regular acting and played Lady Macbeth beautifully in front of a full theater of audience members. This was part of the con, but only in the sense that it gave her an alibi/place to hide, and I always interpreted it as her genuinely getting over her stagefright problems. It felt like such a beautiful place to end her arc for that show, especially after all her time spent directing.

Now, her difficulty onstage in the Card Game Job was brief and at the very beginning of being up on stage. @rinahale suggested to me that maybe it was a deliberate tactic to draw the guy's attention, and the later skill was simply her shifting focus to make the sonnet easier for Breanna to listen to and interpret, but he seemed more enraptured when she was doing well than otherwise in my opinion and it just doesn't quite sit well with me. My other theory was that maybe she just hasn't been up on stage in a long time, and much like she complaining about being rusty at grifting before the team pushed her into trying, she got nervous for a moment at the very beginning. The problem there is that I think she'd definitely still get involved in theater even when she and Nate were retired. I guess she could've quit after he died, and a year might be long enough to make her doubt herself again, but... still.

I just resent that they even left it ambiguous at all. Sophie's skills should be solid on stage at this point in my opinion.

Thiefsome

...And now we come to my main complaint. This is, by far, the biggest issue I have with the show.

I feel like I should put a disclaimer here that I had my doubts from the beginning about the thiefsome becoming canon onscreen. I thought the famous "the OT3 is safe" tweet could easily just mean that they are all still alive and well, or all still working together, without giving us confirmation of a romantic relationship. Despite this, the general fandom expectations/hopes really got to me, especially with the whole "lock/pick/key" thing. I tried to temper my expectations again when the character descriptions came out and only mentioned Hardison loving Parker, not Eliot, but I still got my hopes up.

The thing is, I was disappointed pretty quickly.

The very first episode told me that in all likelihood we would never see Hardison and Parker and Eliot together in a romantic sense. Oh, there was so much coding. So much hinting. So much in the way of conversations that were about Parker/Hardison's relationship but then Eliot kept getting brought into them. They were portrayed as a unit of three.

But then there was this.

I love all of those scenes of Parker and Hardison being intimate and loving and comfortable with one another and their relationship. I really do. But it didn't escape my notice that there's nothing of the sort with Eliot. If they wanted a canon onscreen thiefsome, it would by far make the most sense to just have it established from the start. But there aren't any scenes where Eliot shares the same kind of physical closeness with either of them like they do each other. Parker and Hardison kiss; he doesn't kiss anyone. They have several clearly romantic conversations when alone; he gets important conversations with both but the sense of it being romantic isn't there.

Establishing Eliot as part of the relationship after Hardison is gone just... doesn't make any sense. It would be more likely to confuse new viewers, to make them wonder if Parker is cheating on Hardison with Eliot, or if they have a Y shaped relationship rather that a triangle. It would be so much clumsier.

Still, up until the Double-Edged-Sword Job I believed the writers might keep it at this level of 'plausible hinting but not quite saying'. There's a lot of great stuff with all of them, and I never expecting making out or whatever anyway; a cheek-kiss was about the height of my hopes to be honest. I mostly just hoped for outright confirmation and, failing that, I was happy enough to have the many hints and implications.

But then Marshal Maria Shipp came along. And I don't really have anything against her as a character - in fact, I think she has interesting story potential and will definitely come back. But the episode framed her fight with Eliot as a sexyfight TM, much like his fight with Mikel back in the day. And then his flirting with her rode the line a little of "he's playing her for the con" and "he's genuinely flirting." The scene where he tells her his real name is particularly iffy, but actually was the one that convinced me he was playing her. Because he seems to be watching her really closely, and to be very concerned about her figuring out who he really is. I am very aware though that I'm doing a lot of work to interpret it the way I want. On surface appearance, Eliot's just flirting with an attractive woman, like he did on the last show. And that's probably the intention, too.

But the real nail in the coffin for me was when Sophie compared herself and Nate to Eliot and Maria. That was a genuine scene, not the continuation of the teasing from before. And Sophie is the one whose insight into people is always, always trustworthy. She is family to the thiefsome. For this to make any sense, either Eliot/Parker/Hardison isn't a thing, or they are and Sophie doesn't know - and I can't imagine why in the hell she wouldn't know.

Any argument to make them still canon leaves me unsatisfied. If she knows and they haven't admitted it to her - why wouldn't they, after all this time? Why would she not have picked up on it even without an outright announcement? Some people suggested they wouldn't admit it because they thought Nate would be weird about it, but that doesn't seem any more in character to me than the other possibilities. In fact, the only option that doesn't go against my understanding of these people and their observational abilities/the close relationship they share.... is that the thiefsome is not a thing.

And furthermore, the implication of this conversation - especially the way it ended, with Eliot stomping off looking embarrassed while Sophie smiled knowingly - is that Eliot will get into another relationship onscreen. Maybe not a full-blown romantic relationship. But the Maria Shipp tension is going to be resolved somehow, and at this point I'm half-expecting a hook-up simply because of Sophie's reaction and how much I trust her judgement of such things. Even if she's letting her grief cloud her usual perceptiveness... it feels iffy.

It just kinda feels like I wasn't even allowed to keep my "interpret these hints/maybe they are" thiefsome that I expected after the first couple episodes convinced me we wouldn't get outright confirmation. (I mean, I will anyway, and I love the hints and allusions regardless.) And while I'm definitely not the kind of fan who is dependent on canon for my ships, and still enjoy all their interactions/will keep right on headcanoning them all in a relationship, it's just.... a bummer.

Feels like a real cop-out. Like the hints of Breanna being queer are enough to meet their quota and they won't try anything 'risky' like a poly relationship. I dunno. It's annoying.

That's the end of the list! Again, overall I love the new show a lot and have few complaints.

#leverage #leverage redemption #leverage spoilers #leverage meta #my meta #this turned into a BIG ol ramble #i planned to write like a couple of sentences for each point but noooo

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maxwell-grant · 3 years

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Charlie Chan. Who is fascinating, because he was created explictly to be an anti-Yellow Peril character. Unlike most Chinese characters of the time, he's both intelligent, physically capable, and unambiguously heroic. In the novels, he's simultaneously proud of being Chinese AND proud of being an American citizen. He gives orders and instructions to white people, and the narrative treats this as perfectly normal and acceptable. There's a bit in the first book, when an attempt to trap the..(1/2)

(cont'd)There's a bit in the first book where an attempt to trap the protagonist fails, because a message supposedly from Charlie clearly isn't because Charlie's English isn't broken, it's like poetry. Etc. The movies made him more stereotypical, & played by white actors in yellowface, but still, he's a heroic Chinese man, who is as capable and patriotic as any white man. Nowadays, he's thought of as racist caricature. Which he is, but still, it makes one think.

I'm not nearly as acquainted with Charlie Chan as you are (and I definitely suspected he was less racist in the original books because that's nearly always the norm when it comes to pulp characters) but yeah, that "Which he is" is forever going to be the most unfortunate and saddest part of it all when it comes to Charlie Chan. For all the virtues that can be bestowed on Charlie Chan, for everything great that the character had going for him and inspired, the fact that the least offensive image of the character I could find to put here for illustration's sake is from the Hanna-Barbera cartoon kinda exemplifies the big elephant in the room when it comes to Charlie.

Charlie Chan is a great example of two things: One is the way progress is never a fixed quantity and often what was progressive and forward-thinking in it's time can become something outdated and backwards and downright offensive given enough time, and the 2nd is my constant stressing that this is all the more incentive to reclaim the pulps and either highlight or fix aspects of them, instead of dismissing every aspect of them based on the preconception that everything about it's history is unforgivably bigoted and must be handled with the nuance of a sledgehammer.

I stress time and time again the need to highlight and understand the prejudices that went into pulps, because either ignoring them or wielding them as a weapon to attack them does no favors to anyone. The pulps weren't exceptionally bigoted - look at literally any medium in it's time period and you'll find bigotry and prejudice and hatred - and they were exceptional in the number of POC heroes and heroines. Pulps were a medium of experimentation and cheap entertainment that gave way to much, much more varied kinds of protagonists than were permitted in films, serials, novels, comics and radio serials of the day. Imagine if no one was allowed to bring up and discuss superheroes without mentioning the Superman Slap-a-Jap posters or the Captain Marvel story so horrifingly racist it was recounted by an American ambassador after it deeply offended a friend's son and a major influence on the 1950s anti-comic trials. "Pulp fiction had deeply, unforgivingly racist depictions that deserve intense scrutiny and cannot be ignored" and "Pulp fiction was significantly ahead of every other medium at the time in regards to authors and editors striving to publish stories about heroic POCs, this cannot be dismissed and is something that needs to be perpetuated" are not exclusive facts. "A product of it's time" is not an excuse and never was, but it's a fact nevertheless.

Every time someone speaks favorably of Charlie Chan in any capacity, they have to start with a long preface of everything positive that the character had going for him. Yes, he's a deliberate subversion of the Yellow Peril, he's a heroic protagonist, he's plump and good-natured and humorous but far from a joke, he's friendly and pleasant and well-educated and wise, he's a good dad and family man and a terrifically sharp detective who's so good at his job he gets called to solve crimes all over the world, and none of these traits are apparent to people who have to google the character and repeteadly see a white man in awful make-up into every single image of the character, who watch the movies and cringe at the broken English. It's hardly relevant in the face of all the Asian-American critics who acknowledge the character's virtues but rightfully point out that this fortune-cookie spouting caricature, acting subservient to whites and whose virtues are based around his proximity to a white American ideal, doesn't represent them and they shouldn't pretend it does.

Which isn't to say that to like Charlie Chan is "wrong", a lot of East Asians love Charlie and the character's obviously got fans in Asian Americans. It's a complicated subject and I obviously cannot begin to vouch in a subject so heavily based around perceptions I cannot experience. And I deeply detest the idea of speaking for others on their particular experiences on this kind of matter, which is something Americans do a lot everytime they talk about representation in media.

So instead, I'm going to tackle this on a roundabout manner by going on an unrelated tangent to bring up an example of representation that isn't quite representative of what it's supposed to be, has a lot of issues that have been dissected by critics among the people it was supposed to represent, and none of that stopped the character from being popular and beloved and from being claimed anyway. And it's a Brazilian fighting game character, which means it's completely within my ballpark.

Yeah, obviously Blanka doesn't look like anyone who lives in Brazil (whatever resemblance he bears to redheaded jungle protectors of Brazilian folklore is purely accidental). Obviously neither Jimmy nor Blanka are Brazilian names or even exist in the Portuguese lexicon. Obviously there are issues in Street Fighter's approach to representation across the board, sure, and I'd actually say Laura is much worse than Blanka in that regard (again, my opinion, obviously not universal), but the fact remains that Blanka is and has always been pretty controversial. Obviously there's Brazilians who took offense to Blanka and they weren't wrong to do so, and I obviously do not speak for everyone here, that goes without saying.

Obviously the idea that Brazil's major representative in a global cast of characters, the first big name Brazilian character in videogames, is going to be a freakish jungle monster who roars and bites faces has problems, as is the fact that all the others get to be regular people representing fighting styles from their countries while Blanka doesn't. None of the Brazilian SF characters represent Capoeira, which is kinda shitty to be honest. And there's a whole stereotype of Brazil as a backwards land of beasts and savages that Blanka's creation played into. There's no shortage of ground to criticize Blanka's representation and Ono actually apologized in an interview once, but then he learned one teensy little thing:

Street Fighter is very popular on Brazil. Would you like to leave a message to the fans from there?

"Ono: Yes, I'm aware. At the time of Street Fighter II a lot of the arcade machines produced went there, so I knew we had lots of fans there. A message to Brazilians, well, I'd like to apologize. I know Blanka's a weird character and I don't want any Brazilian to feel uncomfortable with that.

When Blanka was conceived, we knew there were forests in Brazil, and so we thought he could look like that. I was actually kinda nervous knowing I'd meet Brazilian journalists. Still, this is the first Street Fighter in ten years, so we'd like all fans to play, including Brazilians, which are many.

Thanks. Well, but you should know that Brazilians love Blanka

"Ono: Ah, good! I was scared of getting beat up if I ever went to São Paulo! (laughs)"

(That's from a 2012 tv special called The Greatest Brazilian of All Time where over a million viewers voted to elect whoever they wanted, and Blanka was going to win. He was polling ahead of Aryton Senna and PELÉ, fucking Pelé, yes this happened. He wasn't even disqualified for being a cartoon character, it was an open poll, he was disqualified due to canon stating he had been born in Thailand, which I think may have been retconned since then. Again, A MILLION BRAZILLIANS voted for this contest, and Blanka was going to win.)

Blanka is great and sweet and lovable, he made the best out of the incredible shitty hands fate dealt him and became a cool and strong green man who shoots lightning and flies, a self-taught warrior who rides whales and planes to fighting tournaments, and he loves his mom and friends and kicks ass and after he's done he dances in joy and gives the kids of his village piggyback rides, and Brazil loves him. He doesn't represent any existing person or fighting style, he's rooted in a negative stereotype and incorrect assumptions, he's not even really Brazilian, and he's our boy and nobody can take him away from us.

No criticism of Blanka, no matter how in-depth or even right it is, is ever going to affect that, because regardless of what was wrong or misguided and offensive about him, we claimed him and loved him so throughly that Capcom kept playing up Brazilian representation in every subsequent game post Alpha, and because of Blanka's impact and reception in such a big game, Brazilian characters have become a staple of fighting games, and that's how we got much more diverse representatives in those games. Fighting games have more Brazilian representation than LITERALLY ANYTHING ELSE on media not produced here. It started as BAD representation, with way less thought put into it than Charlie Chan, and it still mattered to a lot of Brazilians who reclaimed it and made it better than it was ever intended to be, and as a response to it, it gradually became better.

Progress is not a fixed quantity, it's an uphill battle, and it's not unwinnable. Everything's gotta start somewhere.

The Good Asian is a ongoing comic that I think does the best job I've seen yet of handling an Asian American detective protagonist, which is not really a high bar in the first place, and more to the point, The Good Asian illustrates the 2nd part: the reclaiming. The Good Asian deals a lot with the realities that a 1930s Asian-American detective would run into, the strained circumstances and relationships between said character and the world around him, because it's born from an author who took a look at Charlie Chan and Mr Moto and the like and recognized the potential in those stories that could not be fulfilled in it's time period by the people writing said stories.

The Good Asian pays little reverence to Charlie Chan, but it acknowledges that it cannot exist without Charlie Chan, and it reclaims the Charlie Chan premise at the hands of someone more adequately equipped to tell a gripping story that goes places none of Charlie's contemporaries would ever go. Regardless of how good or bad of representation Charlie Chan was, Charlie Chan mattered and was beloved and inspired a better example for others to improve on or rebel against.

I desperately wish that I could google Charlie Chan without having to look at a guy in yellowface, and the ONLY way that's going to happen is if the character ever gets meaningfully brought back and reclaimed for good by people who can meaningfully tackle the character and present him as he should have always been presented.

And then, I imagine it would be a lot easier to show people on how swell Charlie really is. A true, positive role model and hero, who no longer has to look like a gross cartoon to be able to exist at all. Who can finally be what he was always meant to be, and always was deep down.

#replies tag #pulp heroes #pulp fiction #charlie chan #detective fiction #the good asian #street fighter #blanka

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thatgamefromthatad · 3 years

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Mobile Game Review - Helix Waltz (Recommended by @raimi)

🎻 What is this app? Helix Waltz is a dress up game with an elaborate storyline that heavily involves character interactions. On the App Store it’s described as a “thrilling ballroom drama set in Baroque style dress,” which I think accurately reflects the sort of vintage European court-style setting the game takes place in. The setting also has fantasy elements, including characters of different “races” such as elves and people with animal ears and tails called Orens.

The game follows a main storyline as well as various side storylines and has a large cast of characters with their own personalities and preferences, all of whom you can build up your relationship with, which will affect their interactions with you depending on the level of favor you have with them. Rather than playing out in a linear set of stages or chapters, the story progresses as you accept and complete missions and attend balls where you have the chance to encounter other characters attending the same ball. There’s a bit of freedom in that sense where you can attend any of the available balls you want and encounter any of the characters that are there without necessarily following the main storyline, building up favor and getting to know anyone you want.

The dress up part is structured somewhat similarly to other dress up games I’ve played - there are various items in different categories (hairstyles, headwear, dresses, shoes, different types of accessories, etc.) with different attributes and rarities that will affect your “chic” level at any ball or other outing you attend, as well as how other characters perceive you depending on their preferences. You can have “beauty contests” with other characters you encounter at balls that compares your outfit’s chic level to theirs and there are other parts of the game where your outfits can compete with others players’. You can gain new dress up items through completing quests and through a gacha-type mechanic where you draw from different sets of potential items.

📝 Review Summary: The sheer number of different characters you can interact with in this game is very impressive, and it’s definitely entertaining getting to know them all and try to build relationships with them. I definitely found myself getting invested in certain characters and wanting to progress through the storyline so I could learn more. The art in this game is also very beautiful, which includes both the character designs and clothing items.

The follower who recommended this game noted that there is queer representation, including a trans character, which is a positive aspect, but I noticed there was not a lot of BIPOC representation, specifically a lack of characters with dark skin and limited options to have dark for your own character. The default character you play is white with very pale skin, and from my understanding from doing a little research, skin color changes are included as makeup items which definitely seems wrong, not only because you have to get your hands on the right item to have darker skin but because skin color as makeup seems to imply blackface, even if that’s completely unintentional (the makeup items in this game aren’t technically just makeup - they also change the shape of facial features). I definitely think this game should add different base skin tones, as well as characters who aren’t all super pale.

Full review below:

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👍What’s good about this app? The enormous cast of characters in this game and the multi-faceted system involved in gaining favor with them and getting to know them are definitely this game’s biggest assets, in my opinion. Each character has their own unique personality, backstory, style, relationships and role within the in-game society, but what’s really enticing is the fact that the story tends to build up a bit of mystery and intrigue about different characters and families/factions, which motivates you even more to get close with certain NPCs and learn the different secrets they hold. The game is pretty immersive that way in the sense that your goal of building up enough trust and prestige to gain access to the most interesting intel/gossip aligns with the main character’s goal of integrating and positioning herself strategically amidst higher society.

That sense of immersion also comes through in the way the game is structured to allow you to interact pretty freely with the characters rather than following a linear path from one encounter to another. You encounter other characters similarly to how you would if you really were a young noble in this sort of society - by wandering around ballrooms or other settings and seeing who you run into or seeking out those that you already have some level of relationship with. You can even get letters from them! You can choose to follow closely to the main plot, or pick your favorite characters and go out of your way to interact with them, or a mixture of both. This game really focuses around character interactions in a way I’ve never personally seen before, and it’s very impressive - and fun!

Another great aspect of this game is the art, which of course is an important aspect for any dress up game. I’m not very well-versed in fashion in general, but I can say from an average Joe perspective that the clothing items and outfit sets are overall just very pleasing to look at and give me that sort of mouthwatery fashion-p*rn feeling whenever I see some extravagant “look” whether it be from real life, a game or any other sort of media. You could say I’m easily pleased though since I can say that about just about any other dress up game I’ve played or been widely exposed to (Love Nikki, Time Princess etc.). One thing I think is especially cool in this game is the perfume category which I can best describe as creating a kind of animated aura around your character that differs in appearance depending on the perfume. This works well with the fantasy-type setting of the game and gives a little extra magical oomph to the outfits. Other outfit pieces can also be animated, like jewelry that sparkles for example, which is also a nice touch.

The last positive thing I’d like to mention is the theme song of this game that plays in the main menu (and pretty much everywhere else except outings), it’s so beautiful and I love it so much I added it to my Spotify playlist I listen to every day lol. The song is Sans Toi by Sarah Natasha Warne if you’re curious.

In the video below you can see a perfume item in action creating a galaxy-like aura around the character, and hear a short clip of the song as well.

[Video Description: A screen recording showing a fully dressed-up character wearing a luxurious red white and gold robe over an ornate black and white collared top with a red vest and loose-fitting brown pants that have two golden stripes at the end of each pant leg. They are holding a sword, have long blond hair tied in a high-set ponytail that drapes over their left shoulder and have a large, circular golden ornament position behind their head resembling a sun or halo. They are wearing dark stockings and black high heels, and there is a sparkling, swirling aura around them with streams of light changing color from blue to purple flowing toward them. The rest of the character and clothing is still except for jewelry and accessories that sparkle and glow and some golden parts of the clothing that shimmer.]

👎 What’s wrong with this app? There are a few minor flaws with this app such as a glitch(?) I experienced a few times where I was talking with one character and another character suddenly appeared and then disappeared, which I’m pretty sure was a glitch because after it happened for some reason I wasn’t able to complete any of my goals at the ball. Also if you don’t have a great internet connection it can be very frustrating because the game will freeze often, although I can’t criticize this that much since my internet connection just sucks and I’ve experienced this with other games before that are just highly reliant on having a constant internet connection.

Probably my main problem with this game is the lack of diversity in skin tones, both in the cast of characters and in your options for your own character. Like I said there are dozens of characters in this game but from what I’ve seen so far they almost all have pale/light skin. I don’t really think the setting of this game is an excuse considering it’s a fantasy setting and there are definitely characters from different regions or backgrounds but they all just happen to have very light skin. Another reason I think there should definitely be more diversity is that there are definitely themes of racial discrimination in the story - some characters will spout stereotypes and hateful comments about other races, in reference to fantasy races or other social groups in the game, and I’m definitely not saying the targets of those comments should be dark-skinned, I just feel like if you’re going to touch on those subjects but have little to no representation of the people who experience that kind of discrimination in real-life, it seems a bit hypocritical. As a disclaimer I am mixed-race (East Asian and white) and semi-white passing with pale skin so I’m not an authority on the skin tone issue specifically but my opinion as someone reviewing this game is that there’s no reason to not have more diversity in the game, even regardless of whether it involves the themes that I mentioned.

Below is just a handful of the NPCs but as I scrolled through the list pretty much everyone had pale/light skin, Gedanh is the NPC with the darkest skin tone as far as I know:

As far as a lack of diversity in selecting a skin tone for your own character, that didn’t specifically stand out to me at first considering the main character is a pre-established character and not as much of a self-insert as in other games like Time Princess, but the fact that you can change your facial features using “makeup items” and skin tone is also locked to certain makeup items doesn’t seem fair, since it makes whiteness the default and limits darker skin tones to these specific items and corresponding makeup looks. I’m not sure what adding diverse base skin tones would look like from a programming perspective for this game but with everything else this game has going on that is so complex and impressive I feel like there’s not an excuse in this day and age to exclude something as basic as different skin colors.

While the lack of diversity is definitely my biggest criticism of the game, I’ll just add that another flaw is that many aspects of the game can be confusing and despite a pretty lengthy series of tutorial quests that teach you about different parts of the game, I still have some confusion after playing for a while. For example I’m still not even completely sure if winning a beauty contest against a character strengthens your relationship with them, and I had to look at the Helix Waltz wiki to learn how to investigate NPCs’ preferences and exactly how remaking clothes works etc. The wiki and other players are a great resource, but having more guidance in-game, even if it’s in the Help/FAQ section (which I checked and still didn’t have all the info I needed), would be an improvement.

🪞Full list of features (there are a lot but I’ll try to cover them to the best of my ability):

Storyline (main plot, side plots that unlock when you strengthen your relationships with characters and event plots)

Quests (there are quests that go along with the plot or events as well as daily quests. The daily quests are more simple such as “talk to X amount of NPCs” or “attend X amount of balls” while the other quests involve having interactions with specific characters, wearing specific dress up items to certain events, etc.)

Dress up (you dress up for every ball or other outing you attend. Each ball will have a different clothing attribute, such as a certain color or style, that increases your chic points if you wear items with the corresponding tag. Different characters also have style preferences but you need to investigate to find out each character’s preference. In addition to dress up before events, the mirror section of the main interface allows you to make whatever outfit you want with the items you have, which will be the outfit your character wears during scenes outside of outings. There are different categories of items corresponding to different parts of the outfit and for some categories you can wear more than one item from the same category, such as wearing a different bracelet on each wrist)

Balls (this is one of the two main ways you will interact with characters and complete quests. There are a few balls you can choose to attend at any given time, hosted by a specific family or faction, with specific characters attending that you can check before you enter the ball. Once you enter the ball and dress up, you can choose to approach a certain character if that option is available - I think you can only approach characters directly if you’ve already talked to them at the ball or if you are wearing an outfit they like but I’m not sure about that part - or you can choose “wander around” and have the chance to encounter different characters who are attending)

Other outings (in addition to balls there are other places in the game where you can encounter other characters, such as the slum and the tavern, and these outings work similarly to balls in terms of character interactions)

Conversation (for basic conversation you pick from a selection of topics and you can gain favor with a certain character by correctly picking the topic they prefer. There is dialog to read for every conversation although these are stock conversations that repeat so you’ll usually want to just speed through them. When you increase your relationship with a character you can unlock special conversations with them that are more unique and tied to the plot)

Q&A (sometimes a character will ask you a question and depending on if they like your answer it can boost your favor with them)

Beauty contests (while conversing with a character sometimes you can have a beauty contest against them comparing your outfit to theirs, and if you win you get points that I believe go toward earning in-game currency - another thing I’m not 100% sure about. I think you can only have a beauty contest with female characters but there is at least one male character I’ve been able to have a beauty contest with. Sometimes a character will immediately force you into a beauty contest when you encounter them)

Dancing (sometimes when interacting with a character at a ball you’ll have the option to dance with them which opens up a short memory-based minigame. I think completing the minigame correctly yields similar rewards to winning a beauty contest. I think you can only dance with male characters as I’ve never had the option come up with female characters so far)

Gathering intel (intel is a resource in the game that is used to learn more about characters and that can be exchanged with characters for rewards. While wandering around a ball you may have the chance to eavesdrop on characters and gain intel)

Gift Box/gacha mechanic (The Gift Box section of the game is where you can draw from different gacha-type pools for items and resources. Different pools take different currencies and have different sets of items)

Remaking, dyeing and enchanting clothes (you can change the style or color of some clothing items if you collect the right resources, which changes both the item’s outward appearance and attributes that go toward chic points/gaining favor with different characters. You can also enchant clothing items, which changes their appearance and increases their chic points)

Events (there are limited-time events such as events that offer limited-time items/gacha pools and limited-time quests)

Illusion Contests (one way you can compete with other players in the game rather than NPCs. You are given preset clothes items to choose from in order to put together an outfit, and can give the outfit a name. Your outfit is scored based on a voting system where two outfits are shown and players can vote for one or the other. You get rewards based on how many votes you get and you also get rewarded for voting on other outfits)

Championship (another way to compete with others players using your owned items rather than preset items. I have not participated in the championship myself yet but from my understanding you make one outfit to defend against other players challenging you and then make outfits to challenge other players’ defending outfits. The players you have the option to challenge will be the same rank as you so the competition is balanced and I believe this competition is based on the attributes of your items and a theme set for the current championship cycle, a bit more like a NPC beauty contest than the voting-based Illusion Contests.)

⭐️ Overall Rating: 4/5 (this would definitely be a 5/5 game if they fixed the racial diversity issue but it’s unfortunate that a game that’s otherwise so complex and engaging - and has LGBTQ+ representation - drops the ball in this area. I definitely hope they at least add the ability to have different base skin tones in the future.)

I really enjoyed this game so thank you to @raimi for suggesting it! If anyone else has any game review suggestions feel free to send them 🥳

#helix waltz #dress up games #dressup games #mobile games #baroque #full game reviews #fashion games #lgbt characters #game characters #interactive fiction #recommended #court games #fantasy games #game music #image descriptions in alt text #long post

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radramblog · 3 years

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Eldritch Moon my beloved

I think most Magic players are going to have a favourite set. Often that’s going to be one they started playing with, or one that really got them into the game, or one that had a limited or standard format they really enjoyed. A lot of people won’t, and that’s okay, they’re allowed, it’s hard to pick favourites sometimes.

But for me, it’s Eldritch Moon, aka the last time we went to Innistrad, and things got a bit more tentacular.

Eldritch Moon had a lot working against it from the get-go.

The Shadows block immediately followed the Battle for Zendikar block, one which a lot of people Didn’t Like. Whether it be for some of the more questionable art direction, for the relatively weak cards and boring parasitic mechanics, and for arguably some of the lamest story the game has had to date. More relevantly, though, it was a pair of sets where a fan-favourite plane was essentially dominated by squid monsters and lost a lot of its unique identity in the process- gone was the fun D&D-esque adventure world, replaced by stark wastelands and a war story with like one good story article. It’s the Tazri one.

And then the next set was Shadows over Innistrad. Another return to a fan-favourite plane, with a huge mystery being built up as to why everything was going to shit again. Why Avacyn and her angels were turning on humanity, why there are all these funky stones everywhere, what exactly Nahiri was doing fucking around on the plane of someone she apparently doesn’t like very much.

There were cryptic hints in the set itself. Its title is a reference to the Lovecraft story, Shadows over Innsmouth, with a fair few cards alluding to the story itself. A few cards did have subtle tentacles in the art, as well as subtle warping of flesh and world. The most damning clue came in the form of a puzzle regarding different flavour texts for the card Tamiyo’s Journal, which gave a particular phrase- “Remember this: they came as three”- flavour text from a Battle for Zendikar card referring to the three Eldrazi Titans, only two of which had been dealt with in that story.

Despite this, people still denied that this was the plot-to-be. There were still rumours that it was somehow Marit Lage again after all this time, or that the threat was a new one, or that it was somehow the Gitrog Monster’s fault. Personally, I wanted to believe this, and desperately didn’t want the next set to be Eldrazi-themed- I’d gotten pretty sick of them from BfZ and OGW and was very much enjoying all the new Werewolves and Madness cards and Delirium mechanic. This was at the point where I was drafting at FNM weekly, and the fun differential between the two blocks was stark.

But of course, the mystery was revealed. It was old god Emrakul the whoooole time! Quelle fucking surprise. And yet it ended up being significantly better than the previous block, for a number of reasons.

Firstly, the story is just kind of better. We get to see distinctly through the cards and the plot how the influence of Emrakul has affected the regular citizens of Innistrad, and how all its various factions- the Church, the vampire manors, the packs of werewolves, et cetera- were all twisted in her visage. We get to see the desperate fight against them, with all these gothic horrors warring against eldritch horrors, and against themselves. And we get both Jace doing some surreal journey-to-the-centre-of-the-mind shit while Liliana gets to be the hero and Tamiyo gives us an ending that raises more questions than it answers.

Also, Sorin gets stuck in a rock. Fuck that guy, Nahiri was always cooler, and fuck War of the Spark for apparently just having them make up off screen.

Secondly, the cards. Flavourwise, the three Eldrazi Titans’ corrupting influence manifests differently for each- Ulamog consumes and drains the world, Kozilek corrupts the mind and wreaks havoc on space, and Emrakul? As we see, Emrakul twists flesh into new and horrifying shapes, that the set’s cards display in loving and disgusting detail. While Ulamog and Kozilek’s drones were clearly a part of themselves, the Eldrazi of Innistrad all used to be something much more reasonable before Emrakul made it to the plane.

There are three types of Eldrazi in this set. Firstly- the transform mechanic from Innistrads previous has been played with to suit the needs of the flavour. With the exception of Ulrich, every single double-faced card represents a creature from the world, be it Human or Werewolf or otherwise, that is touched by Emrakul and makes a permanent transformation into something else. There’re masses of limbs, shapes echoing Emrakul herself, and flesh in configurations that Should Not Be. The shift on every card is stark, and in every case, you have to actively put in effort to push them over the edge- and off a cliff which they cannot come back from. This is especially true with the Meld mechanic, with the cards fusing into this giant monstrosity that literally dwarfs every other card on the table.

The next type of EMN-drazi is the Emerge creatures. The mechanic was extremely fun, almost all the cards were eminently playable in at least one format (mostly just limited), and the art is spooky. The flavour of some guy on your table getting fucking chestbursted and having fucking Elder Deep-Fiend pop out is incredible, and each is a great way of showing how the regular fauna of the plane (and flora, like, I think Lashweed Lurker is a plant or something) are mutating in response to the creature’s presence.

Finally, there’s the cards that make 3/2 Eldrazi Horror tokens. There’s less of these and they’re less intense, but by and large they’re a representation of the regular people being affected by the whole thing. Just about every card that makes one of these involves a creature dying in some way (Desperate Sentry, Otherworldly Outburst) or being spawned by an existing mass of flesh (Hanweir, Howling Chorus), and it gives this sense that everybody is affected by this effect.

Of course, that was also a thing in Battle for Zendikar block. The whole thing was Eldrazi, Eldrazi, Eldrazi, with even vanilla 4/3 worms having something to say about fighting them. They key difference of Eldritch Moon is that the flavour of the world is still preserved outside of this Eldrazi presence.

What I’m saying is- the gothic horror of Innistrad is still present despite the eldritch horror of the set’s antagonist. There’s still a corrupt and violent church (albeit with a few more tentacles now), there are still cults and Frankenstein zombies and vampires and werewolves. Innistrad’s tone is compatible enough with the Eldrazi’s that the combination enhances the two rather than diminishes them.

The final thing I want to say is just- the set’s really fun. It has a bunch of my favourite classic limited cards- Thermo-Alchemist, Ulvenwald Captive, and Boon of Emrakul- along with multi-format all-stars like Grim Flayer and Collective Brutality. It has big potential get-there moments with the Meld cards and some of the flip Eldrazi, and splashy interesting cards like Emrakul herself and Harmless Offering. The set drips with flavour that enhances the gameplay, with very little wasted space.

It’s a set I only really have two complaints about. Firstly- lol Ulrich isn’t good and wasn’t what basically any werewolf fan was after. And two- it suffers from an eternal issue that Magic only recently solved, in that it’s a Small Set with a pile of mechanics that it cannot possibly fully explore in its 200 or so cards. The biggest victim of this is Meld, as they could only fit 3 pairs in under the restraints of the set size. And that’s a real shame, considering that it’s a mechanic that we’re probably never seeing again, especially considering the recent Midnight Hunt. I really think there was a missed opportunity to not have a few leftover Eldrazi in that set- whatever happened to the Dronepack? Or the corrupted vampire houses? I suppose, though, that “I want more!” can be the best complaint a creator can get.

Eldritch Moon had big shoes to fill. However, in my eyes, it didn’t just fill those shoes. It filled them and kept filling them until its distended toes burst out the front and sides of the shoes and just kept growing, and bending in really weird ways, and I think I’ve lost the plot of this metaphor. It’s my favourite Magic set, and I don’t see that changing for a while.

#ramble #mtg #mtgemn #eldritch moon #this was the first storyline where jace actually got to be interesting

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caithyra · 3 years

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A lot of people claim Kagura (and by extension her "siblings") was a full demon, but am I alone in thinking that she was always a half-demon/hanyo because she was an incarnation of Naraku, who was also a half-demon?

First a disclaimer: I view Naraku’s incarnations very different from the rest of fandom, like I do with most things in this manga.

Naraku’s incarnations fans might not like my interpretation... Oh, and it only pertains to the manga.

TL;DR: They are likely as yokai as Sesshomaru’s severed arm. Except Muso. (Skip to the bottom of this post if you want the elaborated, quick answer of my interpretation and then the probable canon answer, which is different. I just have an interpretation of canon that I haven’t seen anyone else suggest before that...)

Anyway, first we are going to go through what Naraku is before he creates his incarnations:

Onigumo, a human, who is devoured by a yokai horde that becomes Naraku.

Naraku is then a hanyo capable of absorbing other yokai and their power, which he presumably does a few times before he tries something as big as absorbing a daiyokai like Sesshomaru (which he fails at), given his attempt at Sesshomaru, we can presume that at least a few of these yokai were powerful even if they were not daiyokai, since going from lesser yokai to greater yokai without anyone inbetween is very foolhardy, given how weak Naraku was at the time (he also used manipulations mostly during this time).

So up to the point that the manga starts, Naraku is a mostly yokai hanyo made up of literally hundreds of yokai of various powers and strengths.

Then, before he begins creating incarnations Naraku is nearly killed by Kagome (this is an important part of my interpretation) and cannot restore himself without turning towards a dark type of magic called kodoku.

Kodoku is a magical ritual/art called “gu/ku” in Chinese in which various toxic creatures are put into an enclosed space to absorb one another until only one remains. This remaining creature (also called Gu/Ku/Kodoku) is considered supremely toxic and powerful and with various abilities such as pestilence, manipulation (Naraku/Kanna/Infant?), transformation (Naraku), and a number of other things that falls well within Naraku’s sphere of power.

Anyway, Naraku absorbs the kodoku and is restored, and also made up of even more different kinds of yokai. And he holds a large chunk of the empowering Shikon no Tama, courtesy of Kikyo.

And that’s when he begins creating incarnations (分身 - bunshin).

That word, bunshin, is a funny thing. In Naruto, it is the “clone” part in Clone Techniques (such as Kage Bunshin/Shadow Clone which Naruto uses all the time), and as a common word, has been used in many manga/anime/games.

Here’s the definition of Jisho.org for example:

ぶんしん分身 common word Noun 1. other self; alter ego; part of oneself (in someone or something else); representation of oneself 2. (Buddhist term) incarnations of Buddha

Kotobank.jp translates it into “double/doppelgänger” and has this to say:

1. One divided into two or more separate bodies. 2. (Buddhist term, similar to above.)

But basically, a bunshin is not a separate person from what they are a bunshin of most of the time in pop culture (or they are re/pre/incarnations like in Buddhism, but no one suggests Kagura is to Naraku what Kagome is to Kikyo, so... *shrugs* Lets got with the other definition!). They always exist in relation to the original (Naraku). Other translations simply call them detachments, which has the implication of parts of Naraku that he’s cut off and given life for his own purposes.

I will be skipping Muso since he is an aberration among the bunshin, and likely the most hanyo of the lot.

The first bunshin Naraku creates is Kanna, who has no will, no emotions and no drive of her own. She solely does Naraku’s bidding, no more, no less. (There is a sole exception of her death scene, but that was more to inform the heroes of Kikyo’s light, which curtails with how the story began bending to fit Kikyo as a tragic heroine... Don’t even get me started...)

Then he creates Kagura, who is the opposite extreme; freedom is her greatest aspiration and she continuously backtalks Naraku and tries to act against him, yet, in the end, everything goes as Naraku wants when it comes to Kagura (this is also important).

Lets look at these two extremes and lets pretend that these are not Naraku’s incarnations; they are toasters.

Kanna is the toaster that Naraku must put the perfect settings in every time before use and push the toast down with a lever. Then he must wait and push the eject button, because Kanna wont do it herself.

Kagura is the fancy toaster with all the bells and whistles and more settings than anyone needs, including sensors to tell when the perfect toast is done to be ejected. She even automatically lowers the toast into the toasting slots when you put them in. In theory, Naraku doesn’t need to do anything else; Kagura knows exactly what to do to make the toast Naraku wants. Except fancy gadgets like these malfunctions and are temperamental and has the wrong settings put in and, yeah, Kagura doesn’t want to make Naraku’s perfect toast, but Naraku has rigged a big, complicated Rube-Goldberg machine to push her eject button before she can irreparably burn his toast, so it doesn’t matter.

All the different incarnations are on a sliding scale of these, except for Hakudoshi, who is an even fancier version of Kagura and capable of making grilled cheese sandwiches, and what more, Naraku wants Hakudoshi to burn some of his toast, because of the risk/reward that one day, Hakudoshi will not burn Naraku’s toast, but instead will make the perfect grilled cheese sandwich for Naraku to enjoy.

Byakuya, by contrast, is the perfect blend of obedient Kanna and the ability to make tedious decisions and act on his own like Kagura.

It’s like with computer programs; some require a dozen clicks to complete a task, another, that has been further programmed (given personality and motivation), only require one.

In short, I do not see them as separate people from Naraku, which is where I diverge from most of fandom; they have no pupils, which are signs of possession/not having their own minds in many anime, which is also a yokai trait (like Koga), but is egregious when it comes to everything else. It should be noted that most of Naraku’s bunshin are obedient to Naraku, but that in order to arrive to the perfect blend of independent action plus unquestioning obedience that is Byakuya, he experimented with giving more or less free will, individual desires and so on.

And it was Kagura who led me to believe that:

First; she is given the appearance of “Sesshomaru’s ideal woman” according to Takahashi who believes that all men want Kikyo or someone like her (”Sesshomaru’s ideal type of woman” is “like Kikyo” according to her according to some interview I’ve seen quoted around, but I would like an actual source, please...), including Sesshomaru, so she makes Kagura a young woman like Kikyo named after a dance that miko, like Kikyo, dance.

Second; she is given a sympathetic motivation “freedom” but at no point do we get a clue as to how she feels about “freedom” other than something to attain. She does not daydream about it or what she will do with it, she does not envy others’ freedom overtly (nor resentfully watching them), there’s literally nothing except her nebulously wanting “freedom” being “the free wind” when she passes away.

Third; she is obviously and loudly antagonistic towards Naraku, and, indeed he, the great villain, holds her heart literally in his hand to torture her with. Don’t you want to save her? Give this pretty lady freedom?

Fourth; she really wants Sesshomaru to save her, despite the fact that Sesshomaru has never come close to killing Naraku and always refuses to save Kagura.

Fifth; but when Kagome, the only person to ever come close to killing Naraku in the entire series at this point, offers to protect Kagura, Kagura refuses and still goes to Sesshomaru. Even though Kagome is not just the person whose power Naraku fears, but also someone with a history of taking in her foes as friends (unlike Sesshomaru).

Sixth; Tenseiga did not even react to Kagura “dying”.

None of this makes sense, unless one thinks of Kagura as a part of Naraku that he has “programmed” specifically to mess with Sesshomaru. In that case, Kagura refusing Kagome’s protection while still being infatuated with Sesshomaru who refuses to do anything and has proven nothing as her supposed savior, and the lack of psychopomps at her death and Tenseiga having no reaction, makes sense if Kagura is little more than something like a living tentacle of Naraku’s, given a pretty face, personality and “programming” to go hard for Sesshomaru and then, use her final moment to upset him (by this time, everyone knows Sesshomaru’s complex with his father’s swords, so if his sword wont work when predictably would he ask it to... Cue upset Sesshomaru. Too bad Inu no Taisho did one up on Naraku on that front by ensuring Inuyasha got the Meido after Sesshomaru and Rin nearly died in front of Sesshomaru’s mother for Sesshomaru to get it... Naraku’s manipulations got nothing on InuPapa’s beyond the grave...).

It would explain her undeveloped motivation (the abstract “freedom”), why everything still goes as Naraku wishes despite a few hiccups and so on, and, of course, why she had no soul for Tenseiga to save...

Naraku might as well have told Kanna “fall in love with Sesshomaru and plead with him to give you freedom” and Kanna would do her best to obey, but because of her non-personality, the emotional manipulation would be obvious (even more so once she refused Kagome, since, after all, it is Sesshomaru who is to give her freedom). But Naraku would have to micromanage her extensively to do so as well as make her a mature body. Far easier to just create a new detachment with slightly more free will and so on with the “programming” installed.

Does Kagura know this? Maybe she suspected it by being around her “siblings” and noting how different their levels of sapience/sentience/free wills were (and she even tells Hakudoshi that his plans will come to naught because Naraku wont allow it, suggesting she believes Naraku’s will is absolute over the incarnations), but she probably felt like her own person, and would have been “programmed” to think of herself as such and dismiss any suspicions to the contrary.

It would fit very well with the body-horror aspect of early Inuyasha and Naraku’s character as a whole. But would also be a bit too much for a children’s comic magazine in an action series...

So what are Naraku’s incarnations on the human-yokai scale?

They are likely yokai, like Sesshomaru’s severed arm, with the exception of Muso who had Naraku’s most human part in him and would likely be considered hanyo on a DNA test. They were likely made from the yokai parts of the hordes that make up Naraku after the kodoku, but aren’t separate people (like, the parts of a crane yokai would have been used to create Byakuya, for example, while oni parts would have been used for Goshinki). They are just more advanced dolls made of purely yokai parts IMO.

But that’s just my extremely niche interpretation of the manga and the inconsistencies with the story.

In canon, it is much more likely that the simpler explanation; that they are separate people who are also yokai (except Muso), is the answer.

I just don’t like the inconsistencies it creates within the story and made my own interpretation and rambled on and on in this post. Sorry.

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cricketnationrise · 3 years

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Books I read in quarantine: Part 1

So on Friday, March 13, 2020 something not that chill happened. We all know what that was. Anyway for me the silver lining was that I got a lot of my TBR knocked out by not being at work. I read over 150 books from mid-march to mid-october.

1. We Should All Be Feminists by Chimamanda Ngozi Adichie: yes, it had been on my list for a while, yes it was awesome, yes, its still worth the read

2. Dragonquest by Anne McCaffrey: eh. listen. she’s one of the most prominent women in fantasy/sci-fi writing and that’s great. and maybe some the later books aren’t quite such a product of their time. but there are some aspects to the dragon “bonding” that feel especially uncomfortable and there’s a lot of violence toward women. so.

3. Briar’s Book by Tamora Pierce: I was in the midst of a Circle of Magic reread. Unfortunately for me, this one is about a plague. It’s still one of the best CoM books and I enjoy it immensely. Its definitely going to be harder to read from now on

4. The Tiger’s Daughter by K. Arsenault Rivera: loved this. empress and ruler of the steppes as lesbians that also battle demons? i needed a family tree, but that’s normal for me. still need to get to the next one in this series.

5. Fablehaven by Brandon Mull: middle grade fantasy novel. i hesitate to say lighthearted because there are definitely some heavy themes, but all the fantasy creatures you encounter are cool AF and this one at least doesn’t end on a cliffhanger.

6. Magic Steps by Tamora Pierce: less strong than some of the others in the Emelan series, but has some cool worldbuilding that got better fleshed out in the Beka Cooper Tortall books. featuring UNMAGIC. v dark. also dance magic. and romance between two older characters

7. The Bookshop on the Corner by Jenny Colgan: delightful romance, not super explicit, very wish fulfillment if your wish is to run away from your life in london and live off the proceeds of a mobile bookstore in a tiny town. which. is not unappealing.

8. Street Magic by Tamora Pierce: features 9 cats, street urchins, and a VERY TERRIFYING wealthy widow straight up murdering kids for fun and games, stone magic

9. Scythe by Neal Shusterman: okay so take our world and then solve all physical ailments and have everything run by the cloud. except that death is still a thing but only if you are picked by a Scythe. first book in a trilogy. fast paced, amazing, violent (someone gets their head cut off), standard dystopia stuff. you’ll want to have the next two books ON YOUR SHELF

10. Wink Poppy Midnight by April Genevieve Tucholke: there is definitely someone out there who will like this more than me. one of them is my roommate. it was just too dark of a friendship/enemyship for me. lots of unreliable narrators. and like, they were just kind of horrible to each other? the actual plot was kinda cool and i definitely would have liked it more if it ended lighter

11. The Word for World is Forest by Ursula K. LeGuin: a giant of fantasy and science fiction. this was my first of her sci-fi stuff and the first of the hainish cycle that i’ve read. quick read. definitely makes you think.

12. The Haunting of Tram Car 015 by P. Djèlí Clark: number two in a series, but i didn’t know that going in. absolutely going to read the others. a cairo where all sorts of spirits and demons exist and actively interact with the “normal” world.

13. The Girl Who Reads on the Métro by Christine Féret-Fleury: i’ve never been to france but this feels VERY french. magical realism about bringing the right book to the perfect reader. super cute.

14. Fire Starter by P. Anastasia: first of a series. i wanted to like this better based on the magic system. romance felt forced. also it turned out to be aliens. which like, not a problem, but don’t spend 100 pages telling me its magic and then boom alien virus. maybe the others are better, but i’m not going to find out.

15. The House on Mango Street by Sandra Cisneros: i had to read this in middle school and definitely didn’t appreciate it enough. highly recommended.

16. A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies by Alix E. Harrow: a fantastic short story about reading, libraries, magic and supporting teenagers who need it. you can read it online or as part of Apex Magazine Issue 105 from Feb 2018.

17. On a Sunbeam by Tillie Walden: really long graphic novel about a found family in space trying to do a good job repairing various buildings and stuff. enough queer content for anybody really. gorgeous art.

18. Doughnut by Tom Holt: book 1 in the YouSpace series. very discworld-esq except that its our own world plus a pocket dimension that’s only accessible with a lot of math and a prayer. hilarious at times, but a decidedly darker tone than discworld so just be aware if that’s not what youre looking for

19. The Girl Who Could Move Sh*t with Her Mind by Jackson Ford: teenage girl in california has powers that let her move things with her mind. works as part of a government program with a whole band of misfits. she thought she was the only one and then someone else starts doing crime (TM) and murder with telekinesis and she has to stop them. found family toward the end. graphic violence toward the end. wildfires.

20. Ballad of the Whiskey Robber: A True Story of Bank Heists, Ice Hockey, Transylvanian Pelt Smuggling, Moonlighting Detectives, and Broken Hearts by Julian Rubinstein: what it says on the tin, basically. NONFICTION. this dude in europe had way too many day jobs that were actually crime and his story is WILD. last update i saw was that he was still alive, paroled from jail, and making pottery??

21. The Priory of the Orange Tree by Samantha Shannon: 800+ pages of epic eastern fantasy. some dragons. a witchy big bad. betrayal. queer romance as a main plotline. magic. seriously good.

22. Transcription by Kate Atkinson: flashback within a flashback within a flashback and reversing that path as you move through the book. woman just wants a secretary job during the war. somehow ends up as a spy??? i liked it, i keep meaning to get more of her books

23. Every Heart a Doorway by Seanan McGuire: first in the wayward children series. under 200 pages if you’re looking for a quick read. what happens to kids that have gone through a door, had an adventure, and then forced back into our world? they don’t quite fit. and when that happens they go to Eleanor West’s School. fantastic series that is still being added to (number 7 comes out next year). can be very dark/sinister at times. but theres a lot of queer representation and found family stuff to balance out.

24. Down Among the Sticks and Bones by Seanan McGuire: book 2 in the wayward children series. focuses on Jack and Jill’s backstory of their time before book 1. they are from The Moors where a Vampire Lord and a Mad Scientist are battling against each other to keep the balance of the world with a village of innocents between them

25. Go Fish by Ian Rogers: short story published on Tor.com about a group of paranormal investigators. there’s a fish factory that no one will go in because it’s haunted and/or cursed and people have been dying from going in there

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muchymozzarella · 4 years

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You sound like an all lives matter person rn... black women saying they want to be represented takes nothing away from the other characters, it’s just hurtful that in a game with a roster of 30ish there hasn’t seemed to be room for a single black woman.

I'm a Filipino and there are no Filipinos on the Overwatch roster. I want there to be, in the same way I want America to acknowledge Filipinos exist as a whole because the country COLONISED US, so we deserve rep as much as anyone. But I'm not gonna pretend OW is suddenly Bad Representation because it covers a wide range of cultural backgrounds except the one I want.

Saying "I want a black playable female character" is different from "Overwatch isn't diverse because there isn't a black female character".

And the number of posts ragging on OW's diversity, of which it has better diversity than any other game I can think of, because somehow none of the other POC or WOC matter unless there's a black women, are so disrespectful to literally all other people who have NEVER felt represented in other international media that are finally represented in OW, which has the decency to specify specific culture and nationality in a future game where talking gorillas exist.

So many people clowning on OW's rep act like no other POC or WOC matter. They ignore the rep from Asians who are so often categorised as just "Asian" and aren't differentiated between, when there are enormous and significant differences between Japanese, Chinese, Korean, and Indian. They ignore the fact that there's a difference between "Generic Black Looking Character" and Nigerian, Haitian, Brazilian, etc.

And then they're like LOOK AT THIS OTHER GAME IT HAS A BLACK WOMAN THEREFORE IT IS BETTER REP THAN OW but then the game has Generic Black Woman With No Cultural Background and Generic Racially Ambiguous Brown Person With No Cultural Background and Generic Asian Look They're Asian and I'm like????

I've never had a problem with "We want playable black women in OW" because that's 100000% fair.

I have a big problem with "Overwatch is bad at representation and diversity because there are no black women [read: Because other WOC don't matter when it comes to representation and diversity]"

And it's amazing how many times I run into the latter kind of harmful rhetoric.

"Overwatch is a diverse game" and "Overwatch has no black playable female characters and should have them" are both correct statements

#Overwatch #Representation #Diversity

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spiders-hth-is-an-outlier · 4 years

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I reblogged something earlier this morning about how even when queer men are present on film, movies tend to find a way to soft-shoe their queerness, to give audiences a kind of escape hatch, something to focus on that isn’t their relationships with men.

And it’s something I think about a lot, because when you focus on “identity,” then -- it’s not that hard, anymore, to find Representation in popular culture. Because identity is fairly comfortable for straight people; most straight people now know an out person or five; most straight people have internalized the message that some people Just Are That Way and it’s okay to let them exist -- even that it’s pretty awful to shame and torment them for Being Who They Are. Like, even fucking Disney keeps trolling us with “First Gay Character In the Blah-De-Blah!” which is inevitably bullshit, but they do it because they know it’s a nice thing to say, that (straight) people will nod and smile and think, yes, there should be some gay people somewhere, for Representation! The numbers could stand improvement, but they are actually pretty good for things like “do you think gay people should exist and be in movies?”

Something else happens when you try to foreground not a character’s identity, but their relationships. Because an identity-based representation mindset is inherently distancing, you know? If you are a straight viewer -- and remember that straight viewers are The Audience for all mainstream media; the basic function of numbers and economics demands it! -- a character that’s presented to you as a gay character is easy to kind of process and digest. You know gay people; this person is, in at least some way, like your cousin or your friend or whatever. There’s a box in your head that makes this character comprehensible and acceptable, which didn’t use to be the case! So that’s great!

But what we’re interested in and attracted to in fiction isn’t the identity of the characters, it’s the stories. Anyone will be relatable to us -- the weirdest or worst or most alien people in the universe will be relatable to us! -- if we’re taken through a story that requires us to identify what their emotions are, what they want, and what it’s going to cost them to get it. That’s how people process a story. There’s a joke I’ve heard a lot about how bulletproof a Romeo & Juliet story is -- that you can write about a young dinosaur who loves a robot, and as long as Society objects to their union, you’ll have the audience in tears by the midpoint, going I just think that dinosaur and robot should have a chance! In fiction, people don’t identify with the identity of the characters, they identify with story beats. They identify with emotions.

And that’s what we’re really still afraid of, right? The Straight Audience is comfortable with the existence of people who live in the gay box, comfortable with being friendly toward them and supportive of them -- but once the story hinges on identifying with emotions of attraction and desire, well, The Straight Audience is now being put in the position of either following along with the story and allowing themselves to identify with those emotions, or noping out of the story altogether, of distancing from it or outright rejecting it. And for a lot of straight people, it’s a very, very different experience to watch a character you know is gay, versus to experience the story from the perspective of a character who wants to fuck that dude. And that’s how you get stories like The Imitation Game and Bohemian Rhapsody and DaVinci’s Demons (apparently; I haven’t seen that last one) -- where it’s allowable to say that the character has a queer identity, but not allowable to make the story about what it feels like to desire men.

And I get the bind that creators are in. The Straight Audience is your audience; it just is, at least when it comes time to find someone to pony up and pay for your film. if you try to sell a story where the emotional beats of the story demand that The Straight Audience surrenders those distancing boxes and invests in genuinely wanting your mlm character to achieve getting a man as the story goal -- you’re running the extremely real risk that your audience is just not going to stay with you through that. At best, it’s going to feel like a story that’s not for them so they never see it at all. At worst, they’re going to feel manipulated and pressured to vicariously experience an emotional reality that they have something invested in not experiencing. At worst, their ability to relate to a story of love or desire between two men is going to challenge their notion of what is and isn’t part of them, and people do not take kindly to that.

So everything kind of gets split off into Queer Films that just assume from the jump that the straights are not going to watch it so who cares, and Mainstream Films that require the drive-shaft of the story to be something else, something it’s safe for the audience to relate to. Which isn’t always bad! Like, I think The Old Guard is a great example of that being done well: Joe and Nicky exist, are mlm, are solid and likeable characters, and don’t really demand a lot from the viewer, other than not to be a total douchebag and object to their existence. People can clear that bar. And I do not have any issue with that! It’s fine, I have no notes.

But Joe and Nicky are not, from a story perspective, the protagonists of the film. You can make a solid argument for either Nile or Andy as the primary protagonist, since they both have story arcs that drive the action, and Booker is a really great antagonist. Joe and Nicky are around for the story, but it’s not their story. What works for them doesn’t work when constructing a mlm protagonist.

It seems to me like the cutting edge of moving the conversation from “is there a queer man in it?” to “are we telling a story where the audience can’t avoid this man’s queerness?” is in television, because of the nature of ensemble shows. If you’re making a Roswell New Mexico or a Shadowhunters or a The Magicians, you have this space to operate in, because if The Straight Audience is unable or unwilling to participate in this story, they can kind of mentally check out and still have other storylines, other characters, that they are willing to invest themselves in emotionally. And once the unwilling portion of your audience has safely checked themselves out -- while still being viewers of the show -- then you get to have these stories included, you get to have an Alex Manes or an Eliot Waugh whose story-driving wants and needs include men. A movie can’t do that. There aren’t enough plotlines or enough lead characters to allow a portion of your audience to opt out of some of them without them just, like, not going to see your movie at all.

But eventually we’re going to have to stop trying to play both sides against the middle by making movies about mlm that are aggressively not about their attraction to men. We’re kind of easing into discovering how The Straight Audience reacts to queer romcoms; that’s kind of the kiddie-pool level, since we’re already aware that straight folks tend to respond pretty well to “love is love” -- that dinosaur and that robot shouldn’t be kept apart by society, man!

Eventually, though, we’re going to have to deal with the fact that American masculinity is still, despite all the progress, constructed almost entirely around the two load-bearing pillars of Not a Woman and Not Gay, and it can be existentially challenging for straight men to allow themselves to invest in a story that’s about experiencing the world as a woman or as a queer man. Becoming absorbed in stories like that suggests that there’s no significant qualitative difference between themselves and a woman or a mlm, and -- that’s a real tough sell, especially in the midst of a massive cultural backlash against deteriorating gender distinctions, when anxiety about how to do masculinity is running high.

I don’t have a solution to this, except I guess the same way we pretty much solved the representation problem -- just chipping away at it over time. I just think it’s interesting to have lived through the decades when mlm representation became pretty normalized, and then to see what its limitations are, how you come to the end of that quest and you realize that there’s a whole new dimension of what it means to be inclusive of queer people in our cultural narratives.

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speedyseastars · 3 years

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Ranking F1 2021 Liveries

Decided leave this until after testing because the cars look best on track. So here is my opinion of the liveries, testing results are being disregarded. The bonus points do not count towards the score.

Alpine: 1000/10 Bonus Points: 0 because I only like the livery Alpine is the hot girl. The blue chrome is so bright, so beautiful, so stunning. I am in love with this car. Dare I say it she is sexy. I am in love with this car. Yeah she’s kind of ‘fat’ but just look at her... she’s pretty. This is how you do a flag livery.

Mclaren: 11/10 Bonus Points: 5 for the launch, 3 for Daniel, 4 for Lando 2020 livery but improved slightly. There is nothing about this livery that I dislike, I like all of it. The orange sparks joy, the rainbow sparks joy, in a world of cars that all look very similar this bright livery stands out and makes me happy. The blue is a beautiful shade, sponsor logos are well placed, no matter the tyre type they look good with the car. It’s perfect.

Red Bull: 10/10 Bonus Points: -1 for using the 2020 car, -1 for no camobull The RBR livery is iconic, they make matte paint work, and I will never complain about them not changing the livery. That being said I miss the days when they did camobull liveries just for a bit of fun. I do not see the point in them changing the livery when it is so timeless and recognisable, maintaining a brand and being easily identifiable is important.

Aston Martin: 8/10 Bonus Points: 5 for Seb and Lance Classy, elegant, sexy. The pink and green work so well together, it has a modern interior design feel to it. I had higher expectations for something less simple but I do love the car a lot already. That being said I think it’s got too much blue undertones, at times it looks more sea green than racing green.

Williams: 7/10 Bonus Points: 3 because someone hacked their app (sad) Why don’t people like this? It’s fun and different. If there wasn’t so many other blue cars it would stand out. ‘Video game livery’ and??? it look good why does it matter if it looks pullled from F1 2020, we are in the age of gaming embrace it.

Mercedes: 6/10 Bonus Points: 20 million for Sir Lewis Downgrade from last year but still so fucking hot. The AMG thing is a bit messy but I get it (everyone except me and Valtteri seems to forget it’s Mercedes AMG) HOWEVER that does not excuse it being ugly, the rear end of the car is just not a good look. The car is so shiny you could use it as a mirror so they do redeem themselves.

Alpha Tauri: 6/10 Bonus Points: 5 for Yuki (short representation!) Serious downgrade from last year. Really do think the blue and white should swap places. It’s not ugly, just a bit disappointing. My opinion changed over testing, the livery is nice it just looked really bad in the launch but I still like last year’s design more and it’s just in that weird space of ;could be better but I like it’ now so maybe it’ll grow on me throughout the season. And I still kind of miss the bright and shiny Toro Rosso.

Alfa Romeo: 6/10 Bonus Points: 0 because I forget they exist Did I forget they even had a car launch? Yes. The car is very nice, but in certain lights the red just looks really weird. Did anyone tell them you can’t read the numbers at certain angles where the number should be readable?

Ferrari: 5/10 Bonus Points: 10 for Charles and Carlos Bright green on a red car... okay Ferrari you got people talking about your ‘totally not tobacco’ sponsor but it messes with my eyes when I look at it. The gradient on the rear is pretty, but I feel it’s too sudden it needs to be dragged out more. That being said it’s a very lovely colour oh no ferrari is making me like red. Yes the photo is different I wanted to use a Charles photo and I liked this one.

Haas: 0/10 Bonus Points: 10 for Mick (he deserves better this is unfair), -1000000 for everything else The design itself is not that bad. Simple and vintage. But the symbolism of the livery, it’s just a glaring reminder of what the team has become, of the fact that you know who is driving that car. I actually feel so bad for Mick and hope he gets out of there soon. Also how is it allowed to have Russian flags everywhere? No photo because I can’t bring myself to look at the car without crying.

#f1 #watch no one care about this idc it's just for fun and personal reasons #also i need to write to maintain my literacy #mai.txt

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queensinthemedia · 5 years

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Usually in movies or tv shows or video games, when there is a female character who is unnecessarily objectified, a lot of women get upset because there’s no reason for her to be like that. We want our representation to be seen as a person rather than an object for men’s enjoyment. I’ve noticed a lot that, when this happens, people will try to point out male characters that are objectified for women. I’m here to say that that is rarely the case. I’ll be focusing on the action genre since it’s my favorite.

Let’s look at one of Black Widow’s moments in Iron Man 2

Here she is changing out of her dress to put her suit on and Happy gets distracted and swerves the car. There’s no point in us needing to see her in her bra. Yes, this is kind of funny, but this is really just for the male audience to gawk at Natasha. The scene easily could have just been her changing in the car without needing to show us her breasts. She could have been fumbling around in the tight space to make it funny.

Here’s a scene where Thor wakes up shirtless in Ragnarok

There’s really no reason for him to be shirtless, and women do like how he looks, but it’s not the same as Natasha’s moment. This is to show that Thor is a god, and he has the body to match. This is to show how powerful and strong he is. This is to prove to us why he almost defeated the Hulk. Natasha’s moment was to prove what? That she has nice breasts?

Here’s the scene of Harley Quinn getting geared up to fight

Why do we need this? To show how crazy she is? We already know how crazy she is, we don’t need this to show that. And to make the scene worse, she’s surrounding by men staring at her getting dressed. I was honestly terrified for Harley when I watched this scene.

Steve is very attractive, but this scene isn’t to show how attractive he is. Like with Thor, this is to show that he is a super soldier with the body to match. He’s surrounded by people who are staring at him, but that’s because the experiment worked. This scene is to show how powerful he is after being injected with the serum.

There are movies that have the men be objectified, such as Wonder Woman

There is no need for us to need to see him naked with just a towel over his junk. Yes, he’s in the bath, but there was no reason to have a camera angle that showed us that much.

From my observations, most of the time men are shown without clothes to show how strong they are and how powerful they are. Men see themselves represented in that character and they feel like they can be that powerful. Women are shown without clothes for the male audience to lust over. Women see a character treated like that and we feel like objects.

The only instance I can think of of a woman being shirtless to show how strong she is is with Mikasa from Attack on Titan

Here’s a female character with a six pack. This is a training montage to show how strong and powerful she is, why she’s ranked number one. There’s no close-ups of her breasts, and there’s never a boob bounce when she’s training. Here is a woman who’s body fits with her job. Female characters that are superheroes or fighters should look somewhat like this (maybe not as buff because Mikasa is a special case). Usually these women look like models, not like athletes at all.

This is not representative for all forms of media in the action genre, these are just my observations and opinions. There are exceptions to the points I’ve made, but they are uncommon.

#feminism #marvel #black widow #thor #captain america #harley quinn #dc #mcu #mikasa ackerman #aot #snk #representation in media #wonder woman #male gaze

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maxwell-grant · 3 years

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Your Top Five Pulp Heroes that you wish were better known? By Pulp Hero fans, I mean. Since pretty much all of them except Conan and Tarzan are fairly unknown.

It’s actually quite hard for me to narrow it down to just five, because I’m having to choose between characters that are my favorites that I wish were more well-known and appreciated (which is all of them), and characters that aren’t quite my favorites but I very much think should have achieved great popularity for a myriad of reasons. So instead I’m going to pick some of each. These are not necessarily ranked by their importance or my personal taste, just 5 characters I felt like highlighting in particular.

Honorable mentions goes to characters I already talked about prior and don’t want to repeat myself on. These aren’t “lesser” picks, just ones that I already talked about: Imaro (who in particular definitely feels like he could, and should be, a pop culture superstar if he was only more well-known), Kapitan Mors (who’s got a lot in common with one of my favorite fictional characters, Captain Nemo, but also has a lot of interesting things going on for him as his own character). Sar Dubnotal (a character that appeals a lot to me and I think should be included much more often in pulp hero team-ups). The Golden Amazon (again, definitely a character that feels like it’s just begging to have a pop culture breakout, even comic books rarely if ever have female supervillains this ruthless and over-the-top), The Mexican Fantomas (who absolutely deserves a better name than what I’m calling him here, because he’s incredibly awesome and leagues ahead of just being a knock-off). And of course my homeboy, The Grey Claw, whom I would consider Number One of the list if it wasn’t for the fact that his obscurity has left him untouched by copyright and I got plans of my own for the character that wouldn’t be possible if he was more well-known, so I guess I’m ultimately glad he’s obscure (even if I’m still bothered by how little he’s known).

Allright let’s go:

Number 5: Sheridan Doome

Sheridan Doome appeared in fifty-four stories and three novels from 1935 to 1943. As chief detective for U.S. Naval Intelligence, Lieutenant Commander Sheridan Doome’s job was a grim one. Whenever an extraordinary mystery or crime occurred in the fleet, on a naval base, or anywhere the navy worked to protect American interests, Doome was immediately dispatched to investigate it. Fear and dread would always precede Doome’s arrival in his special black airplane. For, in an explosion during WWI, he had been monstrously disfigured.

He was six feet two inches tall; had a chalk-white face and head. It appeared as though it had once been seared or burned. For eyes, he had only black blotches; glittering optics, that looked like small chunks of coal. His nose was long, the end of it squared off rudely. He had no lips, just a slit that was his mouth. His neck was long, as white and as bony as his face…. Sheridan Doome looked more like a robot than a human being. He was tall and ghastly; his uniform fitted him in a loose manner. Long arms hung at his sides; his face was a perfect blank. He had no control of his facial muscles; consequently, his countenance was always without expression, chalky and bony.

But behind the ugliness was a brilliant mind. Sheridan Doome always got his man. Before Sheridan Doome became a staple in the pages of The Shadow magazine, two Doome hardcover mysteries were written in the mid-1930’s by acclaimed hard-boiled author Steve Fisher (I Wake Up Screaming) and edited by his wife Edythe Seims (Dime Detective, G-8 and His Battle Aces). Age of Aces now brings you both books in one huge double novel, presented in a retro “flip book” style. This book is currently Out of Print.

I sadly don’t have any more information on the character other than this. The book is unavailable for me to acquire in any capacity, and the text above is taken from the Age of Aces website as well as Jess Nevins’s personal profile for the character. I’m not even sure if any of those 54 stories even exist anymore, since although he was published as a backup in Shadow Magazine, there doesn’t seem to be reprints of them anywhere, at least as far as I can find, and the original Shadow magazines have largely turned to dust by now.

A character who combines aspects of The Phantom of the Opera and The Shadow, whose adventures are set in a backdrop that can easily lead to ocean adventures? That’s like, what, three of my favorite things in the world combined. I really, really wish I could at least read the stories this character stars in, but as is, this description is all I can provide. Again, time really has been cruel to the pulp heroes.

Number 4: Harlan Dyce

This is another character I’ve only been able to learn about through Jess Nevins’s archives and have not been able to attain any further information on, which is sadly the case with a lot of pulp heroes that nowadays only seem to exist as footnotes in his Encyclopedia or records in libraries. I don’t post more about these characters because I really would just be copying the stuff he wrote without much to justify me quoting him verbatim, and I hate the idea of doing that.

I especially hate that in Harlan Dyce’s case though. Here’s his description

“Dyce had brains, taste, money, ambition, and a total lack of physical or spiritual fear. But—

“Dyce was thirty-three inches tall and weighed sixty pounds.

“That was all the world could ever hold against him. That was what had made the world, most of it, in all the countries of the world, stare at Harlan Dyce, billed in the big show as “General Midge.””

Harlan Dyce is a misanthropic and venomous private detective. He has an “amazingly handsome face,” and the aforementioned brains. But all anyone sees is his stature, and he hates that and turns his cold eyes and acid tongue on them.

The only person Dyce likes and gets along with (besides his dwarf wife, a former client) is his assistant, Nick Melchem, a six-foot tall former p.i.’s assistant with bleak eyes and a strong body. Melchem ignores Dyce’s stature and treats Dyce normally, which Dyce responds warmly to.

Dwarfs may be the single most maligned group of people depicted in pulp magazines, even more so than the Japanese in the war years or the Chinese during the peak of the Yellow Peril’s popularity. Evil dwarfs, murderous dwarfs, sexually depraved dwarfs, they are all loathsome, ugly cliches that are, sadly, the only instances you see of dwarf characters being represented at all, with the only ones who are awarded any measure of sympathy are doomed henchmen or tragic villains. Even outside of the pulps, the only other examples of heroic, protagonist dwarfs I can think off the top of my head are Puck from Marvel Comics and Tyrion Lannister from Game of Thrones.

I’m not gonna say Harlan Dyce is great representation because I’m not a little person and can never make that kind of claim for a group I’m not a part of, but Harlan Dyce may be the first time I’ve ever seen a dwarf character in pulp fiction who was not a villain or a murderous goon or a victim, but an actual person and a heroic protagonist, and that definitely counts for something. I’m not sure how popular this character was or could be if someone picked up the concept and ran with it (and I’m pretty sure he’s public domain), but I definitely think this is a character that should exist and should be popular.

Hell, this character has Peter Dinklage written all over it, give it to him. Maybe then he will get to play a smart, fearless, cynical, misanthropic but good-natured and heroic character in something where he actually gets to keep these traits until the show ends.

Number 3: Audaz, O Demolidor

Audaz is a Brazilian character who was created and published by Gazetinha, the same publishers of Grey Claw as well as properties exported from elsewhere like Superman and Popeye, and much like The Grey Claw, he is also completely unknown even here. I’ll get to Audaz more in-depth sometime but here I’m going to provide a quick summary:

Audaz, The Demolisher is a gigantic crime-fighting robot controlled and piloted by the brilliant scientist Dr. Blum, his close friend Gregor and the child prodigy Jacques Ennes, who pilot the giant robot from a massive laboratory inside it's head rather than a cockpit. He takes on a variety of ordinary human criminals, mad scientists, supervillains and invading armies, towering over skyscrapers and grappling with jets.

Audaz was created in 1939 by illustrator Messias de Melo, a year before Quality Comics's Bozo the Iron Man and 5 years before Ryuichi Yokoyama's Kagaku Senshi, and decades before the debut of Mazinger Z. Although he is not the first giant robot of science fiction, he is the first heroic giant robot piloted by human pilots, and thus the first true example of "mecha" fiction.

Number 2: Emilia the Ragdoll

This is another Brazilian character, although nowhere near as obscure as Audaz as even a cursory Google search can show. Although Brazil did not have a “pulp era” in the same way the US had, we’ve long gotten past the point of sticking to it as a definitive rule, and I’m including Emilia as a pulp hero because she’s a 1920s fantasy literature character who was created under a publishing company that released pulp stories, because she doesn’t quite belong in the mold of fantasy literature characters she takes after, and because I like her and if I was putting a bunch of pulp heroes together in the same story, I would definitely include Emilia in it. It’s not like she really has anywhere else to go, now that she’s public domain and she’s outlasted her franchise.

As you can tell by the above image, Emilia’s had a lot of variations over the years and that’s because the work she was created for, Sítio do Picapau Amarelo (Yellow Woodpecker Ranch/Farm), has become a major bedrock of Brazilian fantasy literature, one of the only works created here that you can find substantial information about in English if you go looking for it. Here’s some descriptions of Emilia’s character:

Emília is a rag doll described as "clumsy" or "ugly", resembling a "witch" that was handmade by Aunt Nastácia, the ranch's cook, for the little girl Lúcia, out of an old skirt. After Lucia takes her on an adventure and the doll is given a dose of magic pills, Emília suddenly started talking, and would never stop henceforth.

Emilia has a rough, antagonistic personality, and an independent, free-spirited and anarchist behaviour. She is rogue, rebellious, stubborn, rough and intensely determined at anything she sets her mind on, eager to take off on just about any adventure. She is often immature and behaves like a curious and arrogant child, always wanting to be the center of attention.

She is extremely opinionated even when she constantly and confidently mispronounces words and expressions. Her attitude often gets her into trouble, and she very often has to fight against the villains who attack her home on the Yellow Woodpecker Farm and mistreat her friends.

In the stories, Emilia often takes the role of a heroine who travels through different realms and dimensions, as the books include not only figures from Brazilian and worldwide folklore, but also several characters both real and fictional, such as Hercules, King Arthur, Don Quixote, Thumbelina, Da Vinci, Shirley Temple, Captain Hook, Santos Dumont and Baron von Munchausen.

She's fought scorpions and martians and nymph hordes, her arch-enemy is an alligator witch, she rescued an angel from the Milky Way and tried to teach it how to become a human, and once shrunk the entire population of Earth to try and talk the president of the United States into ending war forever.

To little surprise, she has become the most popular character and the series’s mascot.

It’s a little strange to consider Emilia underrated considering she is one of the most famous original characters of Brazilian literature, but hardly anyone outside of Brazil even knows who she is, and regardless of the quality of the original stories (and Monteiro Lobato’s views on race that tar much of his reputation), Emilia definitely feels to me like a character that should be a lot more popular globally.

She is the only character from Yellow Woodpecker Ranch that has transcended the original stories, since she was always the most popular character and there’s been a couple of stories written about her that usually separate her from the ranch and just set her out on the world by herself. The latest story about this character has been a series called The Return of Emilia, that’s about her stepping out of the books in 2050 and discovering a Brazil that’s been ruined by social and ecological devastation, and traveling back in time via a flying scooter in order to try and prevent this calamity.

Now that she’s public domain, I definitely think there’s some great stories that can be told with the character that just about anyone could get to, and I definitely think she’s a character that deserves more appreciation. Anything goes in stories starring her and it’s that kind of free-for-all freedom that I think can benefit future takes on pulp heroes. I would be very happy to place Emilia among them.

Oh yeah, and there was one time she kicked Popeye's ass by tricking him with a can of mouldy cabbage instead of spinach, making him sick and then beating him, which possibly puts her as one of the all-time badasses of fiction, except she would be pissed at not being number one and likely embark on a quest to beat everyone else just to prove she could, because that’s how Emilia rolls.

Number 1: Luna Bartendale, from The Undying Monster (1922)

Not necessarily my favorite of the bunch, but one who sort of epitomizes what you asked, a character who is both incredibly obscure and incredibly underrated in every sense. Despite the book being somewhat known, mainly thanks to the movie, the character is so obscure that I don’t even have an illustration of her to display here, not even fan art, just one of the book’s covers that I think best conveys it. Luckily, the book is also available freely online, so you can all go check it out here. The movie adaptation does not feature the character of Luna Bartendale which makes it pointless to talk about.

To not spoil it too much, The Undying Monster is a very fascinating book, ahead of it’s time in quite a few ways. You expect it to just be a detective story centered around a werewolf cursed, except the subtitle of the book is “The Fifth Dimension” and then it goes to talk about dimensions of thought and post-WWI trauma and love and hypnotic regression that travels through time and ancient runes and Norse mythology. It’s not exactly an easy book to get through in one setting, but I’d recommend it much the same if only because it’s got supersensitive psychic sleuth Luna Bartendale, literature’s first female occult detective, and she’s an incredible character who absolutely feels like she should have become a literary icon.

She lives in London but is world-renowned for her many good deeds. She is a small, pretty woman, with curly blonde hair, dark eyebrows and a high-bridged nose, and a slight build. She has a voice described as a light soprano that "does not make much noise but carries a long way".

Petite, bedimpled and golden curled, Luna is completely in charge of events, dominating every scene that she appears in with her welcoming disposition and cleverness.

Bartendale has various psychic powers, including mind reading. She is well-versed in psychic and occult lore, is a “supersensitive” psychic, and has a “Sixth Sense” which allows her to trace things and people through both the Fourth and the Fifth Dimension. (The Fifth Dimension is “the Dimension that surrounds and pervades the Fourth–known as the Supernatural”).

Her extensive knowledge of occult rites and practices puts John Silence, Carnacki and Miles Pennoyer to shame, and she beats them all with her "super-sensitive" gift of being able to psychically connect with troubled souls and hypnotize them.

She uses a divining rod for various tasks, including psychic detection and tracking, and distinguishing between benevolent and malevolent forces. She has various (undefined) powerful psychic defenses, can carry on seances, and can even cure a person of “wehrwolfism.” And she can always rely on her massive, intelligent dog Roska for help.

Luna sadly doesn’t show up in the book as often as I’d hoped, but everything about this character is so delightful. In a lot od ways she hardly feels like a pulp hero, at least the ones I usually talk about. She feels like a lost protagonist from an incredibly successful kid’s adventure series where a kind and eccentric detective witch and her giant dog go around solving occult mysteries and encountering all sorts of weird supernatural beings while counseling and helping people, like Ms Frizzle meets Hilda. Like this character is just waiting for Cartoon Saloon to make a film about her.

Its not so much “this character should/could be popular but it’s clear why that didn’t pan out”, it’s more me being confused as “why the hell isn’t she super popular? This character should have had a franchise ages ago, holy shit put her in everything””

#pulp heroes #pulp fiction #answer tag #sheridan doome #harlan dyce #audaz #boneca emilia #luna bartendale

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periodicreviews · 4 years

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Last of Us Part II

I went into Last of Us Part II without many spoilers and completed it today. I’m writing out my thoughts before reading any other reviews of the game.

Technical stuff

On a technical level, the game is a logical successor to Uncharted 4. The same great sound design is key to trying to locate where enemies are and I feel like playing with headphones is key. There’s a moment where if you fail a jump, your partner will say “hey you know if you run before the jump…” and the character you control says “yeah yeah, I know.” This is a great way of guiding the character without interrupting them with a prompt.

Returning from Uncharted 4 is the ability for characters to pause mid conversation when you walk away and for them to continue when you get closer. There aren’t quite as many chances for this to be triggered without vehicles but it’s good to see.

One of my big problems with the graphics in Uncharted 4 is that the facial models felt almost unrecognizable as they made them match the actors faces way too much. Nathan Drake just felt like Nolan North, as did Elena’s model. Maybe they learned their lesson because all the faces in TLOU2 felt like the characters I remembered from TLOU1. The only exception being the young Ellie model. At times, her eyes kind of felt dead. I don’t know if that’s a result of porting it from PS3 or not.

I also felt like the default control scheme was too hard to get used to. Dodge being mapped to L1 just did not feel natural coming from a first person shooter background. I eventually remapped it to the circle button, put crouch on the left control stick click, and other changes.

The number of options with respect to controls, which are fully configurable, and visual settings, particularly for motion sickness, are something that every console game should provide.

Speaking of motion sickness, the settings never quite eliminated it for me and although it became more manageable, there was this constant physical discomfort while playing the game. I believe Neil Druckmann said something to the effect that TLOU1 is about hope and TLOU2 is about hate. In that sense, I guess I felt more immersed by hating the game itself for causing my motion sickness.

The plot

The game can be arguably be broken into two parts, Ellie’s story and Abby’s story. You play a tiny bit of Abby in the beginning of the game but then the focus is mainly on Ellie, until the two intersect at the theater confrontation. After the theater confrontation, you take control of Abby primarily, then finish things off as Ellie.

Once this midway switch happened, I figured they were going to have you play as Abby as you kill Ellie and Dina. I also wasn’t sure whether they would make you be the one to torture Joel. If you don’t know already, the game opens with Abby torturing and murdering Joel, which sets the plot in motion.

For a time, I was kind of upset that they were making me play as Abby. Your first big segment as adult Abby after you know who she is, is the slow walk through the WLF base. It feels like it drags on forever as you walk past children in classrooms, play with the dog, see all the animals, everyone eating in the cafeteria, etc.

Obviously, this is supposed to mirror the beginning of the game with Ellie as you walk through the Jackson level and see every single one of these same things. The level is supposed to get you to empathize with the people you have been murdering for 20 hours. “See? Abby’s not so bad, she wants pine scented soap at the commissary.”

But does everything need to be the same? There’s people running away from Jackson, the Seraphites, and the WLF. Characters on both sides are dealing with the internal power struggle. There just happens to be two pregnant women in Mel and Dina. It just happens to be that both Abby and Ellie are seeking revenge over the death of their father figures. Both WLF and Jackson engage in torture to get the info they need. At times all these coincidences just felt forced.

In the end, the game seems to be saying that this cycle of revenge is pointless because we’re all the same and it just causes more pain. The cycle plays out in this order in the game:

1. Joel murders Abby’s dad

2. Abby tortures and murders Joel

3. Tommy, Dina, and Ellie torture and murder Abby’s party members, in the search to find Abby

4. Abby murders Jesse, seriously injures Tommy, Dina, Ellie

5. Ellie attempts to murder Abby but eventually stops

But it bothered me the whole time that the game didn’t attempt to explain why Abby felt the need to torture Joel, when there’s no evidence that he tortured her father. Then it proceeded to make this equivalence between Abby and Ellie like they were equally guilty. Granted, Ellie tortured Nora in the hospital but that’s only after she egged her on by gloating about Joel’s screams.

Another thing that bothered me in the final pointless battle between Abby and Ellie is that they choose to portray Abby as the better person who doesn’t want to fight. Maybe it’s not necessarily a moral call, but just that she doesn’t think she can win in her current state.

Abby’s redemption

I guess my bigger complaint is about Abby’s whole redemption arc. After being rescued from the Seraphites by two kids, Lev and Yara, she returns to Owen where the two argue about Owen leaving to find the Fireflies. At the heat of the argument, they decide to have sex, despite Mel being pregnant with Owen’s baby.

That night, Abby has a bad dream where she walks through the door of the hospital where she found her dad’s body and instead finds Yara and Lev dead hanging from a tree. When asked by Yara or Lev why she came back to help, despite all the protests from Owen, she says something like she had to do something or she couldn’t live with herself.

I guess there’s some indication of regret for what she has done in the past. But it’s never made clear if this is about Joel or just her life choices in general. Later on, after rescuing them, she has the same dream but this time, she sees her dad alive instead. That temporary peace is then destroyed by the murder of Owen and she goes on a rampage to try to kill everyone associated with it.

I feel like there’s both not enough of Abby’s past in order to sell the regret and/or not enough regret in the present to sell the shift in behavior.

Trans representation

I should have done my research before assuming what I had heard was true. It turns out Abby isn’t trans at all, only Lev is (who is in fact voiced by a trans actor). I thought I remembered reading a paper in a Young Abby segment that mentioned “transitioning”. Maybe I read it too fast and it was about another character, not Abby. Thanks to the helpful commenter who corrected me.

It seems people are mad at Laura Bailey just because she voices a character and they don’t like what that fictional character did, which is absurd but unfortunately not surprising.

The game obviously takes a risk by featuring not just one trans character but two. By risk I mean both politically from a company standpoint and from a writing standpoint.

I’m writing this prior to reading any other reviews or to know what exactly the controversy is surrounding Laura Bailey, who plays Abby. I’m assuming the problem is that she is not trans and is playing a trans character. I’m unsure if the same is true for Lev or not. I understand the problem of trans actors being rejected from roles because of that identity. But I don’t think all of the blame for that should lie with Laura Bailey, rather with Naughty Dog for making the choice not to cast a trans actress. If the audition was blind and Laura was select purely based on performance, that would complicate things. But given TLOU2 is almost a movie in terms of all the motion capture that is done, I feel like that probably wasn’t the case.

As a straight man, I felt like Abby and Lev as characters were done tastefully. Their identity is never really centered around being trans, just like Ellie’s character has never been centered around her being lesbian/bisexual. The other characters in the world don’t seem to treat them any differently because they are trans. There also aren’t the usual “trap” tropes or accusations that they aren’t “real” women or men.

Things that suck

I was kind of surprised at how emotional I got during the game. There have definitely been games that have scared me (Dead Space) and games that have made me cry both out of sadness and joy (Mass Effect 3 Citadel DLC). But I don’t think a game has made me feel the same combination of anger, despair, and disgust in quite the same way.

The game starts off with a very graphic torture scene where Abby murders Joel but that didn’t really affect me. The scene was for sure shocking and I empathized with Ellie. But what really affected me was first having to control Abby as you attack Ellie and maybe even more so, watching Ellie leave Dina to continue to pursue Abby. It just hurt so much to see her give up the perfect life in pursuit of this pointless struggle.

Was it good?

But is it a good game? Did I enjoy it? Do I agree with the message it’s trying to send?

It’s hard to describe a game like TLOU2 as fun or enjoyable when it’s a horror-action-drama. There are some great scenes between Joel and Ellie, Ellie and Dina, and Ellie and Jessie. It was also nice to see characters like Lev and Yara who have grown up exclusively in this infected world.

I’m 100% on board with seeing a conflict from both sides. I just feel like they portrayed Ellie as evil, in order to make Abby more likeable, all to make both sides seem equal. On a technical level, the game is great, despite it crashing once and some other minor visual issues when the camera would clip through the level. I’d probably give it an 8/10.

#tlou2

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miyu-hyperfixates · 4 years

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The Untamed and MDZS appreciation and recommendation post

Okay so fair warning to my small amount of followers, this blog will probably be full of MXTX contents starting from now, because I’ve fallen into MXTX’s hell and I don’t see myself climbing out any time soon.

I’m not even kidding in the span of three months, I’ve watched CQL (like 4 times), watched the special edition, watch the MDZS donghua, read the novel, read the manhua, read a fair amount of fics, discovered the SVSSS’s characters through a few crossover fanfics, started to read SVSSS, then TGCF (as well as their respective manhua up to the last translated chapters) and well generally immersed myself into the fandoms. And I LOVE it! And I have so, so many feelings and thoughts about the characters, the plots, the relationships, everything, that I don’t even know where to start!

Okay so for those who don’t know what the hell I’ve talking about. MXTX stands for Mò Xiāng Tóng Xiù who is the author of three amazing novels: Mo Dao Zu Shi (MDZS) [also called Grandmaster of Demonic Cultivation], The Scum Villain’s Self-Saving System (SVSSS) and Tian Guan Ci Fu (TGCF) [Heaven Official’s Blessing]. The Untamed or Chen Qing Ling (CQL) is the chinese drama adaptation of her most well known (as of now) novel MDZS.

I am going to talk about CQL/The Untamed and MDZS (novel version) in this post... But it will probably be followed by posts about TGCF and SVSSS too.

I’ve tried to be pretty vague on several points so that should keep the spoilers at minimum, in case you didn’t watch CQL yet.

[More under the cut]

Okay so as someone of Asian descent who was born and raised in an European country and spent her formative years watching wuxia and xianxia, The Untamed/CQL is the kind of representation that I really didn’t know I needed and I am so, so glad that I gave it a chance. (Big, big thanks to @shit-happens-bitchachos for reblogging so much CQL contents that the frequent presence of it on my dash got me curious enough to start watching it).

Watching The Untamed for the first time feels like coming back to a home that you once thought would be frigid but actually became very warm and welcoming without you noticing because you have been away for so long. And it feels both nostalgic and new, in the best possible way. It’s a wonderful feeling, really.

Where to find it?

You can watch the drama english sub version on Netflix, Viki or Youtube, just typed “The Untamed” and you should find the episodes easily.

To be honest, though I am very thankful for the existence of such platform, I have a slight [read huge] dislike of Netflix’s choice of translation for any Asian movie/tv shows. I mean I’m not going to go off on a debate about official translation vs fan translation, nor westernization and how doing so not only take off a huge layer of subtle/or not so subtle communication but also participate to erase part of the culture. [Because I have opinions about this and I am still very much so cringing about all the “Yanli”s, it is really not the point I’m trying to make right now. ]

So out of the three version, I’d lean more on the Viki version. To be clear though this choice isn’t based on the accuracy of the translation, but strictly on the choice of naming and title convention.

As for the novel, you can find here a complete english translation made by the Exiled Rebels Scanlations group.

The plot

I’m not going to go into detail about the plot, because I’m sure a lot of people out there managed to do so in a way more articulate way that I ever could.

So basically CQL is about Wei Wuxian, aka the Yiling Patriarch. The Yiling Patriarch is like this huge urban legend that everyone warns their children about, except he actually existed. Why such a reputation? Well, in a Cultivation society where people used spiritual energy to fight and exorcise creatures full of resentful energy (such as ghost, ghouls and other things), the Yiling Patriarch is actually the guy who decided that he was going to use resentful energy to fight resentful energy. What he is doing is called “demonic cultivation” and if you want a western equivalent it would be quite close to using necromancy. And if you want an idea of how blasphemous such method of cultivation is deemed, it would be the equivalent of going to a Christian exorcist organization and yelling loud and clear to all the people there that you’re gonna desecrate the tombs of all holy people and use their corpses to fight ghost and other dark creatures.

So the legend/story of the Yiling Patriarch goes as follow: The Yiling Patriarch and his army of corpses were actually quite useful to turn over the tide of a war that shook the foundations of the Cultivation World, annihilating the strongest Sect of the five Great Cultivation Sects (that lorded over the cultivation society). But some time afterwards the Yiling Patriarch revealed his true colors, and killed more than 3000 cultivators (among them his elder sister and her husband - orphaning their one month old son) before finally ended up being killed by his own little brother.

And now sixteen (or thirteen in the novel) years later, Wei Wuxian’s soul got called back because of a dark ritual. The ritual involved giving up their own soul and offering their body to summon up the soul of a dead, evil, person. The soul summoned would have to accomplish the task the summoner wished for, or the soul would be forever destroyed without being able to ever reincarnate. And so, Wei Wuxian woke up in the body of Mo Xuanyu, a young man who was abused by his family and wished for revenge. While trying to work out what he is supposed to do, Wei Wuxian quickly realized that the Mo family is actually being targeted by fierce corpses that are acting way more aggressively than they should. Turns out that it was because of a possessed spirit sword [a cut out arm in the novel].

Afterwards he encounters Lan Wangji, an esteemed cultivator, one of the strongest of his generation, coming from one of the most righteous Cultivation Sect. And the thing is, Wei Wuxian and Lan Wangji appear to have quite a complicated history that dates back to their teenage years. And CQL/MDZS is not only about how they decided to investigate the mystery of the possessed sword/arm (which ended up digging up a lot of secrets and conspiracy ), but also about Wei Wuxian’s past, starting from when he was 15 and meeting Lan Wangji for the first time.

The few things that you’re probably going to feel/think while watching the few first episodes

Confusion I think I’m not even kidding when I say you’re supposed to be in a state of perpetual confusion for the first two episodes... There’s this huge info dump, in the first five minutes of episode 1, then you’ll have to navigate this new world feeling as confused as dead-for-sixteen years Wei Wuxian... You’ll meet dozens of characters and if you can’t remember their names or who they are it’s normal don’t worry. Each character has a birth name (Wei Ying, Lan Zhan) and a courtesy name that (Wuxian, Wangji)... And so if you see Wei Ying or Wei Wuxian just know that it refers to the same person. And to complicate things further some characters also have a title (Yiling Patriarch, Hanguang-Jun) other people might use to refer to them. So really, if you want to understand what is going on, you might want to note the name, title and relationship down... But it’s kinda tedious? I promise it is unnecessary as those characters will all be introduced properly in the flash-back starting at the end of episode 2, and you’ll fully be able to get used to them and keep track of them. Of course, if you managed to remember a few names, once the character is being introduced in the past, you’ll get a “ Oh so at some point, this is going to happen to them” sort foreshadowing/foreknowledge, which is neat, I guess. [I recommend going back to watch the first two episodes, once the flash-back is over, to fully grasp what was going on there].

What the hell am I even watching? Okay so this one might only just be me but I was pretty hooked by the story by episode 3... and then I reached episode 8 and 9 and I kid you not, I went “Oh boy... that’s.... yeah okay... *cover face with hands*”... So I was cringing pretty hard for those two episodes out of second-hand embarrassment at the extras actors acting level... Like woah... It was supposed to be scary and threatening and all but I couldn’t just take them seriously? (You’ll know what I’m talking about when you get there)... That with some plot points made me seriously consider stopping right there.... But thankfully I didn’t. So you really just need to pass the first two episodes [which are really good] and cringe your way through the two most abyssal episodes in the show (in my opinion) and everything will go smoothly afterwards. Though to be fair, it might be explained by the fact that no one expected that CQL would have the highest number of reviews of Chinese drama, nor that it would be the highest earning drama of 2019 and certainly not that it would accumulate 8 billions views on Tennent by May 2020. Where am I going with this? Well it was certainly no Game of thrones in terms of budget... That’s what I’m trying to say. It had a low budget production... and well in a fantasy world where everyone and their grandma use supernatural power to fight each other and demonic creatures, special effects are a must. Choices had had to be made [and while I am very thankful for the aspects they decided to use the money on] the special effects were very touch and go.

Okay but are they going to be together or is this another case of queerbaiting? So if what you’re asking is “will we ever get a kiss, a love confession or definite proof of their relationship?”. The very short answer is “No.” You’ll never see any of those on screen for the very simple and good reason that there are censorship laws in China regarding queer relationship on screen. “So it’s basically queerbaiting?” Again no. CQL was adapted from a BL chinese novel. In the novel there is absolutely no room for doubts that they are together. But because of the censorship the producer teams had to remove all definite and obvious proof of romance, but it also means that they had to be creative and anything in the subtext or subtle areas was a go. Like really they crammed more homoerotic text (like at this point is this even subtext) in the show than in all other kinds of adaptations (including the novel, where we get kissing, sex and eloping). It got the point that contrarily to the novel, donghua and manhua where the whole Cultivation world thought Lan Wangji hated Wei Wuxian and that they couldn’t stand each other,in the show everybody and their dogs knew that the two were very close. Also, while I absolutely hate that those censor law exist and am very disappointed that such homophobic mentality still exist and that we won’t get a full adaptation and explicit of their love story, I must say that because of this my demisexual ass absolutely love the depiction of their love in the show. I mean, when you don’t have the “easy way out” of kissing and sex and so all to show that they is definitively romance material going on here... You have to get creative, you have to convey it with all other gestures... touching, gazing at each other and so on... And it creates such a soft but intense and intimate environment around them...By the way I’m not trying to negate their sexual relationship in the novel (#LetWangxianFreelyExpressTheirSexualLives)... I’m just saying that I’m not sure the producing teams would have gotten to such a length in the show if they could just have adapted the explicit romance scenes. Now if somehow they’d had managed to keep the same level of intense subtext and be able to adapt the romance scenes too, that would have been the best, but well...

The reasons you should still absolutely watch/read it?

The plot

The way all those character journeys and stories are interwoven in such a cohesive picture is nothing short of amazing. And the way that Wei Wuxian and Lan Wangji unravel events that happened more than a decade ago piece by piece [or rather body part by body part] is so very well done. And of course half way through, you think that you’ve got the full pictures, and you’re sort of gloating all the while because you see it coming from miles away and how can the cast be that stupid... And well you are not wrong. Watch out for the canary though. The show chose to move a few things in term of timeline (character appearing and events happening way before they were supposed to... )... They also added a few original plot points in the past.... So as a results it feels slightly less cohesive and coherent than in the novel. Anyway I won’t go into details here because I’ve got this super long post planned where I’d detailed all the differences between the novel and the show and why some things worked in my opinion but not other. CQL and MDZS are what a properly balanced plot-driven and character-driven show/novel look like.

The relationships

Of course, Wangxian (Wei Wuxian/Lan Wangji) should absolutely be mentioned. Because throughout the story in the past, you watch as young, wild, ingenious, thinking-out-of-box Wei Wuxian meet an equally young seemingly inflexible, impassive, following 3000+ rules in his daily lives Lan Wangji, you watch how their personality clashes before finally acknowledging each other skills, you watch how they hurt during the war, how quickly they had to grew up, you watch how one of them had to watch the other walking down a quickly crumbling path, being alienated by the world without being able to help, you watch how they lost each other, before finally finding each other again after sixteen/thirteen years. And then you can finally watch how soft they are with each other, how in-sync they are, the trust, the devotion, the willingness to stand by each other against the whole fucking world. And as I already mentioned before, because of the censure law in China, you’ll never can’t and will never get to see Lan Wangji and Wei Wuxian say “I love you” to each other on the show. It still manages to convey “I love you” in every other possible way without having them actually say the words. I mean at this point it can’t even be considered subtext... It’s plain text written in bold underlined font that can be read in every single one of their interactions, and sometimes even when the other isn't even there, [It's basically subtitles! Hah! Okay getting out of there].

It helps that the chemistry between the two actors is absolutely mind-blowing. And the acting is nothing short of amazing. If you’ve been in the spn fandom then you might know that Jensen is king of the micro-expressions ... well I’m afraid that he has been dethroned by Wang Yibo (Lan Wangji’s actor) in my mind.

But really, wangxian is not the only relationship worth mentioning in CQL/MDZS. One of the other huge highlight in my opinion is the several siblings dynamics. There are about seven sets of siblings among the whole cast and because shitty, shittier and shittiest parents were apparently the norm for their generation, we get to see the trope of “eldest child basically raised their younger siblings” in five different flavors. Of course the main focus is on Wei Wuxian and his siblings, but it doesn’t mean that you can’t see the sheer care and protectiveness oozing out of the other four sets of siblings. As someone who loves family bonding (and especially found families), I really appreciate the fact that among those sets of siblings, there are some that are related by blood, some who are half-siblings and some who are not related biologically but consider themselves siblings regardless. And while all their relationships are different - because they are different people - they all do share the same love for their siblings. “How far are you willing to go for your siblings?” “How much are you ready to sacrifice for them?” The show answers those two questions in various all throughout the story in a more or less oblique way, and right there lies the motivation behind a lot of the characters’ actions, good or bad. Their relationship with their siblings is actually one of the major driving force of the characters (Wei Wuxian among them). And I love it, because it shows that love comes in a many, many forms.

The overarching themes

“What’s right, what’s wrong? Who’s good, who’s evil? Who’s strong, who’s weak?”

In such an elitist society who will judge you at the drop of a hat (especially if you have the bad taste of coming from a more unfortunate lineage), how can you define the difference between “right” and “wrong”? Wherein the midst and the aftermath of a blood thirsty war, the distinction between “good” and “evil” more often than only lies on where you were born and/or your family name rather than where you actually stood or what you did in the war. This right here is the very huge underlying theme that is being woven throughout the show/novel. Not only are we, the viewer/reader, invited to think/judge for ourselves based on the actions of the characters... But our main character, Wei Wuxian verbalizes those doubts and questions explicitly a few times and implicitly in the stand and choices that he decided to take. And due to Wei Wuxian’s influence, Lan Wangji who is used to follow his 3000+ rules on a daily life basis without ever questioning them, starts to do so. (“Do not befriend evil.”, “Be righteous.” ) What does it mean to be righteous? Must the notion of righteousness always align with general opinion? How do you define the ‘evil’ that you are not supposed to befriend? Is my definition the same as yours? Is my definition the same as the rest of the world? And if it is not the case, does it necessarily means that I’m in the wrong? And the very obvious answer to those questions is “No, there is no visible line between ‘right’ and ‘wrong’, ‘good’ or ‘evil’... Nor is there any universally agreed on way to act in order to fit in one category or the other...” And this answer is illustrated in all the ways those numerous characters are depicted: their love, their hatred, their fear, their pain, their joys, their tears, their motivations, their frustrations, their shortcomings, their hidden or not so hidden agenda, their flaws... All of them are depicted in such an awesome and wholesome human way. They are not fully good or fully bad, they are human, with all that it entails... Main characters and main villains included (or rather, I’d say especially them) [Though the show tended smooth and cover this aspect a little bit more than the novel in my opinion]

“Don't you understand? When you’re standing on their side, you’re the bizarre genius, the miraculous hero, the force of the rebellion, the flower that blooms alone. But the second your voice differs from theirs, you’ve lost your mind, you’ve ignored morality, you’ve walked the crooked path.” (Jiang Cheng)

Another theme that is strongly address here is the matter of “Public Opinion”. Despite (or rather because of) how fickle it is, public opinion, rumors (no matter how unfounded) could so easily ruins your reputation, your standing. And if you loose their favors than all your previous actions (no matter how praised it had been in the past) would be seen with a blackened lens. I remember feeling as frustrated as Wei Wuxian at the lack of logic, the rhetoric employed and the sheer hypocrisy that had been portrayed by the mass. I think that there is one character that can be easily recognized as the pure personification of “Public Opinion”, he is without a doubt meant to be the “voice of the mass, of the bystanders whose opinions shouldn’t really matter but actually does a lot”. I won’t tell who it is, it’s pretty obvious if you watch the show... And I think that we are meant to feel annoyed at such characters. I think we are meant to be as frustrated as that one character who at a mass gathering tried to make a stand, tried to do the right thing, but was quickly shut down with dubious rhetoric and blatant disregard because their voice didn’t carry enough power. And last but not least, the show/novel broaches the issue of how social standing is considered very, very much dependent on your circumstance of birth. Like I said before the cultivation world in CQL/MDZS is inherently elitist. In order to be able to cultivate you must learn the proper techniques and at a quite young age. But it is not something that you could do on your own unless you’re some kind of genius or prodigy. Which means that you must attract the attention of a nearby sects or begs them to take you in as a disciple. It means though that you’ll probably start a little later than the disciples that were born directly within the sect [inner disciples], meaning you’ll probably end being weaker. However even if by some truly dedication and perseverance you manage to the same level as the inner disciples, you’ll still only be seen as an outer disciples, nothing more than cannon fodder in the eyes of society. In all the major sects, there is a distinctive mark, objects that only disciples coming from the sect family line are allowed to carry, as an irrevocable sign of their high standing in society and their inherent privileges. There are some exceptional circumstances though where someone of low birth status might reach this elitist sphere. But no matter how high they reach, how outstanding they are, in some way they will always be reminded (sometimes behind their backs, sometimes subtly, sometimes right in their face) of the stigma of their birth. There are three characters in particular, whose journeys mirror and foil each other a lot. And I think it is very interesting to see this “son of a prostitute” or “son of a servant” or “street rat” or “bastard” advanced through society. They all received very different upbringings, despite all starting more or less at a low point. And I liked that the way they decided to live later on and how they tackle/handle the cultivation world is very much reflected and influenced by their upbringings rather than the circumstances of their birth. It brings up this very strong message that, if they are the way they are it is not because of who their parents are, but rather how the people around them reacted to them. The way they are right now is not the fruit of their birth but a direct consequences of the rejection/acceptance of society. And so when you look at them, you can’t help but see their journeys as a three forking road paths reflecting the other like twisted mirrors. You look at their actions now, then back their different circumstances and you can’t help but think “Ah, that is what might happened if things were different.” [There is a reason that canon-divergence and time travel fix-it are my favorite tropes... my bias is really showing here... haha] And it really, really hammers on the importance of kindness in the face of misery and discrimination. Kindness and acceptance at the right moment, no matter how small can change everything. Sometimes, something even as small as a candy.

The movie sets and props So I mentioned before that the budget of CQL really wasn’t that high and they had to make choices. And I could only applaud their choices, because really, wah! Just look at the main sects locations, the scenery, the backgrounds. It’s so beautiful!! [Had I had any gifing talent I would have included them so that you could get the full mind-blowing experience... so I’ll just send you to @gusucloud blog, where all the gifs and edits are amazing, (Cloud Recesses here and Lotus Pier here) and in this post have my lame-ass screenshots instead.]

The fine details, the workmanship in most of the props in the background, the swords!!! *Incoherent flailing*

[I didn’t manage to get any close-up of the swords... but believe me, they are piece of arts!]

The music

The soundtrack of the show is absolutely amazing and beautiful.

You know how in movies and tv shows couples always seem to have “a song”... like “Oh! Look our song is playing!”... Weeeeeell...

Wangxian do too and it’s literally their song, as in their actors are singing it. You can of course hear it in the ending, but... but! I think the way it was used within the episode was very striking. It’s one of the many ways the producer teams managed to convey the romantic aspect of their relationship. And it was very well done.

Wuji, by Xiao Zhan and Wang Yibo

Wuji, instrumental piano + flute + Zither version

Just imagine, dude just resurrected from his 16 years of deadness and you see him moping at night by playing this beautiful tune with a freaking leaf... just because he saw some cultivators wearing the same uniform as Lan Wangji... So at this point you know that this song might means something but well, you don’t really get it...

The second time you hear this tune, we are on a mountain, and it’s through a bamboo flute that Wei Wuxian used to appease and calm down an agitated corpse [who he apparently knows]... He is luring ‘it’ out to a safe place, so he is playing the song while slowly moving back one step at a time. Then his back suddenly bumps into someone... This person catches his hand. The flute playing abruptly stops and the full instrumental version with piano+flute is suddenly blaring out in the background. And then it’s as if the whole world stops as they gaze at each other, while the music keeps playing. And really, you might fully understand the weight of their gazes, or their history, but you know that it’s there... That’s the moment where you look at them looking at each other, grasping at each other wrist, where you can still hear their song in the background... and can only go “Oh. Oh.” [Then of course a purple ball of pure anger just had to come and interrupt them. Excuse you, they were quickly having a moment there. Kidding aside, It was such a nice scene, it’s hand down one of my favorite scene of the whole show, and the music played a really huge part in my opinion.]

And if it wasn’t enough to hammer it down. The third times will definitively do it. So both of them are fifteen years and meet each other for the first time, when Wei Wuxian goes to study at Lan Wangji’s sect. Of course there first impression of each other is disastrous, what’s with Wei Wuxian insisting to come inside despite having lost his invitation and Lan Wangji clearly stating that no one is allowed without invitation. Of course it doesn’t help that after running back to fetch his lost invitation, Wei Wuxian snuck in after curfew (breaking a protective ward on his way), while smuggling two jar of alcohol. All of the above are forbidden in Cloud Recess, by the way. So our boy just casually broke three rules and then who catch him, right when he is climbing over the wall? Lan Wangji, who’s on patrol, of course. [Like I said, disastrous first impression]...And so after frostily listing all the rules Wei Wuxian broke not even five minutes in , Lan Wangji tries to bring Wei Wuxian to be disciplined. Wei Wuxian, of fucking course, resists. And the two proceed to fight (sword and all).

Cue their song playing as they cross swords on the rooftop of Cloud recesses, under the light of a full moon night.

If that is not a meet-cute I don’t know what it is.

Anyway this song is played many, many more times in the show and I’m not talking about them because I don’t want to spoil anyone.

Also as an aside, they don’t appear in the show... But there are character songs that have been recorded. Some of them sung by the actual actors and other not. And while all of them are really good, if there is absolutely one that you must listen to, it’s “Bu Wang” by Wang Yibo the actor of Lan Wangji. Make sure to watch the official MV only after watching the whole show (because it’s spoilery) and to activate the cc for the lyrics translation. It’s such a beautiful and painful song; and a very insightful reflection of Lan Wangji’s character. I love it.

Lan Sizhui and A-Yuan

No argument or explanation needed, you’ll see when you get there. I dare you not to like those small fluffy cinnamon rolls!

The Junior Quartet

Okay those ducklings deserve a whole sub-section on their own. Not only because they are all amazing kids but because of what they represent.

What is really great here is that since the story takes place over the span of 16/13 years, you get to see three different generations at various stage of their development. In the past you get to see the parents generation at their sum-up while there child, the following generation [Wei Wuxian, Lan Wangji etc] from their teenage years to young adulthood. Then in the present you see the teenagers reaching the age their parents were (more or less, probably slightly younger) and the next generation (the ducklings) about the same age as Wei Wuxian’s generation were at the beginning. And the juxtaposition between the two pictures is just so, so very telling because the differences are glaring.

I’m going to borrow the words from qrbat who wrote this wonderful fanfiction, “tell some storm” on ao3.

The parents generation was a generation of Pride and Greed, it was a generation that lauded standing your ground no matter what and refusing outsider help. They were the generation which raised their children as a “generation of War”. A war that they started and that their children, teenagers, had to fight and end for them. And in comparison the junior generation seems so unexperienced so soft... and that’s a good thing, because it means that those children hadn’t had to experience the hardship of war, hadn’t had to grow up so fast because they basically didn’t have any decent parental figures to help them. Instead of perpetuating the cycle of hate and war started by their elders, the generation of War raised the next generation as a generation of peace, as a “generation of Love” and acceptance.

And it is amazing because the juniors, simply by being who they are, are embodying this message from Wei Wuxian’s generations to their parents “See? This is what it means to parent. I had to sacrifice my childhood and innocence to fight your war and I still managed to raise such amazing and kind children, what was your freaking excuse? I will not be like you. Times are changing and they are changing for the better.”

*Look at length of the post* *snort* Right. Okay, would you believe me, if I told you that in the beginning this post was supposed to be an appreciation post for all three of MXTX’s works and not just MDZS because I was afraid it would be too short? Yup so turned out I had a lot more things to say than I thought. Please feel free to react or just message me about anything MXTX’s fandom related... I am desperately in need of friends to discuss with about MXTX’s stuff!

#mo dao zu shi #mdzs #mdzs appreciation #cql #cql appreciation #the untamed #mxtx #wei wuxian #lan wangji #wangxian #mine

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