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emotionallychargedtowel · 4 months

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Since you're familiar with tokusatsu actors and their journeys into BL, what kinds of careers historically have tokusatsu actors had as they start to get more credits and mature?

Thank you for the ask! This is a great question. It’s something I’ve been curious about for a while, as you know.

I never get tired of this gif of Seto Toshiki (a Kamen Rider alum with two BLs under his belt) eating cake. (It's from Kamen Rider Ex-Aid, which he starred in with Iijima Hiroki of Our Dining Table fame.)

Oh, I should probably say at the outset that I'm talking about the suit transformation type of tokusatsu shows here. Technically the category is broader and also includes kaiju movies, but I'm focusing here on the kind of tokusatsu series in which human characters (or human-like ones) transform into masked heroes. I think that's what you had in mind, Ben, and it's the type of tokusatsu that tends to overlap with the BL world.

Another thing you'll notice is that I'm mostly going to talk about men here. Tokusatsu has been making some progress as a genre when it comes to gender equity, but it still has a long way to go. And since most of the progress that has happened, like the increase in female Riders, has been in the last few years, the actors who played those characters haven't had much of a subsequent career yet.

Now, to your question.

Unfortunately, I haven’t figured out a way to really look at this systematically. So, definitely take my conclusions with a grain of salt. (If anyone reading this knows more about this or has thoughts about how to get more/better info, I'd love to hear them.) The main source of information I have--aside from just soaking stuff up from watching tokusatsu shows and reading toku fans' tumblrs, of course--is looking at toku actors’ entries on MDL and seeing how many roles they’ve gotten, if they’re “guest,” “support,” or “main” roles, and trying to find out about the type of shows and movies they’re in.

One of the biggest weaknesses to this approach as an American viewer is that it's usually hard for me to tell what constitutes a popular or prestigious series or film even if I go to the listings for specific shows/films. I should also note that one thing that biases my “data” (to use the term loosely) is the fact that I’m more likely to look up this information about actors I like. Well, occasionally I’ll also look at info on some sample of actors out of curiosity, like a bunch of lead Ultraman actors’ subsequent careers or something like that. But it's usually more random.

A little background. As you're aware, tokusatsu roles often go to younger actors who don't have much previous experience. They tend to function both as a way of getting a foothold in the industry (building a resume, starting a fanbase, etc.) and as a way of learning on the job. Part of the reason they work so well in this regard is that they have long seasons. Ultraman seasons are typically around 25 episodes long, which is pretty long compared to many shows in Japan, but Kamen Rider and Super Sentai seasons are usually around 50 episodes long. This means two things: a toku part gets you a lot more of the aforementioned work experience than you'd get in other genres, and it provides a solid year of consistent work with additional work to follow (particularly hard to come by in Japan's entertainment industry, from what I understand). The additional work is substantial, too. There are typically post-series TV movies and touring live shows and there are often guest spots on other series in your franchise.

When it comes to landing other roles, as in other types of media, it makes a big difference what type of role you had. This is stating the obvious, I know, but there are some specific ways this works with tokusatsu series, and it relates to who ends up in BLs and in what capacity. So, all of the big three tokusatsu franchises are pretty ensemble-based but they still have distinct leads and some degree of a hierarchy of roles. Ultraman has the strongest leads, Kamen Rider has lead/title Riders and secondary (and often tertiary) Riders, and Super Sentai shows are especially ensemble-y (the word sentai basically means "squad," after all) but they always have some kind of group leader.

When I look up subsequent work by tokusatsu actors who had sizable roles in their toku series--lead roles, or other parts that are what MDL would call "main" roles--what I see most often is a lot of supporting and guest roles in a variety of TV shows and some films. You can usually find a smattering of lead roles as well, but if you look closely they may turn out to be smaller productions (but not always). When it comes to the number/frequency of credits, there's a lot of variation but an average case would be 2-3 such credits per year. Like I mentioned above, it's hard for me to tell how desirable/prestigious/well-paying those guest and supporting roles are. But they don't usually seem to be scraping the bottom of the barrel or anything. So, yeah. Lots of these actors have different paths, but this is what I see most frequently.

Given how challenging it is to make a career out of acting in Japan, this is nothing to sneeze at. Despite its relative influence, the Japanese entertainment industry is still comparatively small, and there are only so many opportunities. In that context, regularly getting guest and supporting gigs constitutes a pretty uncommon level of success.

Could these folks support themselves on this amount of work? I often see just a few credits per year, so maybe not. But when I like a one of these actors enough to follow them on socials, it usually seems like they are supplementing those parts with other stuff like stage plays, toku fan appearances, modeling gigs, or other types of performance including music. Even with these different sources of income, some probably still can't live on their entertainment industry pay alone. But it appears that some can.

So that's the most common thing. One less common outcome is leaning really hard into being a tokusatsu actor for life. It's not typical to get significant roles in multiple toku shows, but it does happen. And some actors manage to play the same character in a lot of post-series movies, miniseries, etc. stretching out for years after their actual series. For example, Tsuruno Takeshi, who played Ultraman Dyna's human host Shin Asuka, has been in ten different Ultraman things including his main series, a short series, a lot of TV movies, and a special. Dyna aired in 1997, and his last appearance as Asuka was fairly recent, in 2016. That's almost a 20-year span. Yet Tsuruno has never had a non-Ultraman main character part. (Though this is partly because he seems to have focused more on his music career and related variety show type things post-Dyna.) There are even some actors who are tokusatsu superfans whose whole career plan is centered on the genre from the get-go.

For those who are looking to branch out, there are a lot of trajectories. So I'll try to talk about some of them through a few examples.

Takeda Kouhei

You probably knew I was going to bring him up. On Kamen Rider Kiva, Takeda's character was important but not the lead (he played the main character's father in the 1980s, in a timeline that ran parallel to the present day one). That was in 2008, when he was 22. Nine years later, in 2017, he was in Kamen Rider Build, in which he was the "tertiary" Rider. This character was a potato farmer-turned-antihero. As tertiary Riders go, he was pretty popular. But Takeda seemed to be mostly hovering at a certain level at that point. Then Old Fashion Cupcake happened. It's significant that he went from playing supporting characters (albeit important ones) to a lead character in OFC. It's also helpful that OFC came out at a point when the prestige of BLs was on the rise. It seems like Takeda has had more consistent and larger parts since then. The difference isn't night and day or anything, but it's observable.

If you look at Takeda's Build costars, Inukai Atsuhiro and Akaso Eiji, here’s what you'll find. Akaso has a similar trajectory to Takeda's only somewhat steeper. His role on Build (the secondary Rider) was a bit bigger, he seemed to get slightly bigger roles overall after Build, and Cherry Magic gave him a significant boost from there. Inukai had a bigger upswing early on followed by slower growth that still had him outstripping both Akaso and Takeda. From what I can tell, his “data” more closely resembles that of Yamada Yuki, who I’ll talk about in a second, though they have different niches.

Suda Masaki

Suda Masaki was only 16 when he played the main rider in Kamen Rider W in 2009, which is unusually young. (W has a unique premise where two different people inhabit the same Rider, so Suda played a lead rider but so did his costar Kiriyama Renn.) From what I can tell, he seems to have had a pretty organic path to larger and larger roles while varying genres and styles quite a bit. At this point he's definitely a very respected actor. (One interesting bit of trivia: Hagiwara Riku has said Suda is his biggest acting role model.) He's won two Japan Academy Film Prizes and been nominated three more times. I don't know of a more successful ex-tokusatsu lead. Actually, I looked him up for this post to fill in some details and found out for the first time that he also has a pretty successful career as a jpop musician. It's almost annoying that he's that talented in yet another area.

I don't see any indication that Suda has ever played a queer character, though he has definitely done some pretty bromantic stuff. He did kiss a man once in a drama series, but it was for plot reasons and was 100% played for laughs in a gross way. He also played a gender nonconforming character in the 2014 live action version of Princess Jellyfish. (Another bit of trivia: when another live action adaptation of Princess Jellyfish was released in 2018, the same character was played by another former lead Rider, Seto Koji from Kiva.) I wouldn't put it past Suda to play a queer character, if it was for a highbrow movie or something analogous to what Nishijima Hidetoshi has done in What Did You Eat Yesterday?, but I'm also not holding my breath.

Yamada Yuki

A less extreme case. Yamada was on Kaizoku Sentai Gokaiger. He was the blue member of the team, a soldier-turned-pirate. It may have helped Yamada along later on that Gokaiger is an especially popular Sentai series. Post-Gokaiger, Yamada didn't have any sort of big breakout role that I can find. It just seems like fairly soon after Gokaiger, he started having significant roles in TV dramas and has pretty much continued from there, with some upward momentum but no huge changes. When he was in a drama with Akaso Eiji recently, his part was first billed and a smidge bigger. Yamada's trend line seemed to have a biggish upward swing early and then just a slight slope from there. But I just saw him in something different: he plays the younger member of the minesweeper crew in Godzilla Minus One. I wonder if that will mark any sort of shift for him.

Yamada hasn't played any queer characters as far as I can tell. His Sentai role was shippy as hell, though. It's a tradition among Sentai shows that subtext-level queer ships happen between the red and blue team members, and that's exactly what happened in Gokaiger. Sometimes the subtext pretty much became text. If magazine images from that time are any indication, their relationship seems to have been a promotional angle for the show. There's even one where they seem to be in some kind of high school AU that looks like it's straight out of a BL.

what about women?

I tried looking up a few women I know from tokusatsu roles while I was looking up these and other dudes. Some of them were still in the business, at least. Some were getting the same trickle of guest and supporting parts a lot of men do after a tokusatsu show. A few had a slightly bigger trickle. But many of them seemed to have disappeared from the public eye entirely. Not only are women underrepresented in tokusatsu, and not only are their roles often relatively small and two-dimensional, but it doesn't seem like they get even a slight career boost after these roles.

It's possible this will change for some of the actors who got bigger, more interesting toku roles in recent years. Here's hoping!

The changing relationship between tokusatsu and BL

The relationship between tokusatsu and BL has been changing as BL gains more prestige, like I alluded to when I talked about Takeda Kouhei. There was a time when they seemed to be pretty analogous in terms of how hard it was to get a role and how effective they were as rungs on a career ladder. If you went from being a tokusatsu side character to a BL lead (like Takeda), that was a step up, but only because you were shifting from a supporting spot to a lead one. Tokusatsu leads usually didn't usually do BL or, when they did, only played straight supporting roles. I think it was seen as a lateral move. But now, BL is becoming a very established next step after tokusatsu. It's like BL has moved up in status so that the consensus is that it's above tokusatsu on the ladder, but just by a little bit. It's also kind of an organic transition since we're seeing more queer ships in tokusatsu that, while they mostly happen on a subtext level, are close to being canon (and in some cases, arguably already are). It occurred to me while I was writing this that there's also another type of role that is in a similar zone of accessibility and prestige to both tokusatsu and BL. It's a franchise, not a genre, but with so many movies and such huge casts it almost functions like a genre for the purpose of this discussion. I'm talking about the High&Low movies. If you're a fan of tokusatsu or BL, you'll see actors you know in every High&Low movie and if you're a fan of both, you'll see tons.

Case in point: Here's our ol’ pal Yamada Yuki. He's in quite a few High&Low installments. If only he’d do a BL and complete the trifecta! The only person I know of offhand who’s done a tokusatsu show, a BL, and a High&Low role is Takeda. I bet there are others, though.

the new (?) prestige tokusatsu

There's another piece to this I should probably point out as well. In recent years there have been some more high-budget, prestigious takes on existing tokusatsu properties. First, Anno Hideaki, who's best known for the Evangelion anime series/films, put out three live action features that are new, well-financed takes on three big tokusatsu properties: Shin Godzilla, Shin Ultraman, and Shin Kamen Rider.

Last year there was also a Kamen Rider series geared toward adults that had higher-than-usual production values called Kamen Rider Black Sun. It did that “you can tell our show is for adults because it's all gritty and grimdark" thing, which I'm not a fan of. But it definitely had its points.

Really distinguished actors starred in both the Shin movies and Black Sun, including Nishijima Hidetoshi, who's about as distinguished as it gets. Nishijima was in both Shin Ultraman (in an important supporting role) and Black Sun (as a co-protagonist--and he's the biggest highlight of the series). So these are examples of toku media that are too prestigious to be a springboard into the industry for most actors.

This seems to be a new phenomenon, though I could be wrong about that. I don’t expect the trend will continue at this pace (after all, so much of it is attributable to Anno alone and I don't think he'll continue down this path indefinitely), but I bet some other shows/movies in this vein will come out sooner or later.

Here’s Nishijima doing a henshin sequence. He does these moves with such commitment. Is there anything he can't do?

before tokusatsu

As I was writing this, it got me thinking about what actors do before their tokusatsu roles as well as after. It's not uncommon for toku roles to be someone's debut, but that's not really the norm. Even when it is, most of those actors were doing something in the realm of performing or modeling beforehand. I don't usually look at this sort of information as much as I do later roles when I'm investigating toku actors I like. So I looked up some people to try to get a sense of where the actors tend to have done before their toku parts.

There's one starting point that a whole bunch of tokusatsu leads share: winning the Junon Super Boy Contest. When I first saw references to it, I thought, OK, this is some kind of national talent contest. I guess there are probably lots of them. But when I looked for others, I didn't see anything come up. Maybe I'm just not looking in the right places or using the right search terms. But I think maybe this contest might be pretty unique in Japan.

It's run by a magazine called Junon and, well, if I describe how it works it's going to sound really familiar to you and anyone else who's seen Utsukushii Kare, because it's pretty much exactly the contest Kiyoi participates in. Like, if it's not what Nagira Yuu was thinking of when she wrote that part of the UK novel, I'll eat my shoe.

A ton of tokusatsu leads won, placed in, or made it to the finals of that contest. The Tokupedia fan wiki even has its own page dedicated to the contest with links to various winners' toku characters. The majority of Junon Super Boy contestants who ended up in a toku series went to Kamen Rider, but there are some Sentai dudes as well and at least one Ultraman lead.

So I guess if Kiyoi had won that contest, he probably would have ended up on Kamen Rider or something. Weird.

Inukai Atsuhiro and Iijima Hiroki both won that contest. Those are the only two Junon Boys (that's what people call the contest winners) who became tokusatsu actors and were on a BL that I know of right off the top of my head. But it seems likely that there are other toku-and-BL or just BL actors who won, placed, or made it to the finals of this contest.

Other dudes who ended up on tokusatsu shows started out in other ways. Some were simply signed to agencies as actors. There's a fair number of them who were in idol groups. (Though when an idol/ex-idol is looking for a gig as a transition into acting, BLs seem to be a more popular choice.) Some mostly did modeling prior to their toku series. Some already had quite a few acting credits, though usually not very big ones. Although he's a Junon Super Boy winner, Inukai had eight other acting credits before Kamen Rider. Takeda had the same number, and he started young--his first credit is for a TV show that came out when he was 10 (though it took another six years to get a second).

I also looked up some women who've had prominent roles in tokusatsu shows, including more recent ones. The most frequent things I found when I looked for information on their pre-toku careers were that they had been models or idols (or both). It's also not uncommon for women in toku roles to be former or present gravure models--basically models who pose in bikinis or comparably revealing outfits.

The coolest thing I found was that Imoto Ayaka, who played Igarashi Sakura/Kamen Rider Jeanne, was an award-winning ballet dancer. Which is not only incredibly cool but makes a lot of sense in terms of preparation for a tokusatsu hero role.

I mean, just check out this henshin.

Well, this has gotten ridiculously long. Sorry about that. I may have gotten a little carried away. But thanks again for the question.

And now, I have something to write for @wen-kexing-apologist...

#tokusatsu to BL pipeline #tokusatsu #takeda kouhei #yamada yuki #suda masaki #junon super boy contest #kamen rider #super sentai #kamen rider kiva #kaizoku sentai gokaiger #kamen rider w #nishijima hidetoshi

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chaos0pikachu · 2 months

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Filmmaking? In My BL? - The Horror Influences of Dead Friend Forever

Okay off the bat I'ma say that this isn't me definitively saying these specific films or tv series are what inspired 100% DFF. I simply do not know what stuff the screenwriters were pulling from influence wise when writing the script, nor what the director was pulling from when directing the series, with 100% flawless certainty.

Rather, this is a chance to talk more about horror, from films, comics, visuals, and sub-genres and how these various mediums are what I see in the fabric of DFF's horror makeup. Also, general point, this post will be discussing minor spoilers of: Scream, DFF, and Girl from Nowhere. So like, be aware~~

This post is partially inspired by an ask from @italianpersonwithashippersheart in which the anon had mentioned Scream.

I couldn't really respond to this in detail before cause I hadn't watched the series, but I have now and I can say that the show is very thoroughly nothing at all like Scream. I'm not confident in much - other than my inability to reach the top shelf at the market - but I am confident in saying that lol

But this got me thinking, what type of horror IS DFF? I've seen a lot of folks say it's a slasher, and I both agree and disagree.

Horror as a genre is vast with sub-genres, it's probably one of the most universal and popular genres globally, and every culture has their own horror legends, cult classics, mainstays and shlock.

So that's what I'm going to talk about in this post, the slasher genre, why I don't think DFF 100% can be boxed into that sub-genre, what type of horror I think DFF is, and the influences I see in DFF's filmmaking and thematics.

So if we start anywhere, we gotta start with Scream (1996) since that's a comparison I've seen being made a lot.

The main reason I disagree in the comparisons to Scream is that Scream is considered a work of satire first and foremost. Through the power of capitalism and franchising, it's also consider a "whodunit" series.

“Scream” is the first movie of its kind to execute a satire genre within a horror movie, which is one of the most iconic and memorable elements of the film. The original movie makes many references to other well-known horror films and mocks them, while simultaneously leading the same plot points. [...] Although the following films in the “Scream” franchise do not follow as much of the same mockery of horror films, they are still considered to be satirical because of their use of mockery toward the movie franchise. “Scream 2” mocks film sequels and “Scream 3” mocks film trilogies." (source)

[sidenote one of my favorite examples of satirical meta horror is Wes Craven's New Nightmare]

DFF isn't satirizing anything in horror, it's almost entirely self-serious. Sure there's a couple of moments of hilarity - dick biting, and scooter snatchin' - but overall the show plays things pretty straight (gay sex notwithstanding). I've seen some folks claim it's subverting horror tropes, but I don't see that either (would be interested in discussing that tho cause I'm curious).

I get why people make this comparison though, Scream is a 27 yr old franchise, and probably the most relevant slasher franchise currently. The new Halloween movies were...cute but aside from the first Halloween (2018) the rest of the reboot franchise had diminishing returns; each film made less than the previous, and received lower critical scores.

However, Scream has actually grown as a franchise in the States in terms of box office draw. That said, Scream is actually not a huge earner overseas, Scream IV (2023) earned more than 60% of it's box office revenue domestically. In Thailand, according to reports, it only earned about 300,000 (compared to other international territories like Brazil where it earned around 4,600,000).

So I don't think DFF is pulling much from Scream in terms of setting, tone, or story. I do think the show most resembles Scream in directorial style, specifically in the imagery of the Killer's design and in the slow-crawl mask reveals that have happened so far.

youtube

[very obviously spoilers for all the scream films watch at your own risk etc, gif by @my-rose-tinted-glasses]

So what is a slasher film or story?

"A slasher movie is a horror sub-genre that involves the murdering of a number of people by a psychopathic killer, typically via a knife or bladed tool (such as a scythe).

In general, the horror genre is known for its fear, violence and terror. It will typically feature a menacing villain, whether it be a monster or a supernatural evil spirit, for example." (source)

Other common but not inherent secondary characteristics of a slasher story will include: young adults as central characters, sex (typically as a means of punishment "sex gets you killed"), the killer is motivated by revenge, lots of gore and/or violent kills and a "final girl".

I point out common but not inherent because the main tenants of a slasher story is the overall body count, female protagonist and a mysterious (typically masked) killer.

For example, in Scream (96) Ghostface is motivated by revenge, however in Halloween (1978), Texas Chainsaw (1974), Prom Night (2008), You're Next (2011) and Wrong Turn (2003) the killers are not.

If there is a western horror franchise or film that the setting of DFF more closely aligns with, it's Friday the 13th (2009). Which was a sequel/reboot to the original Friday the 13th (1980) starring Tumblr's own Jared Padalecki as one of the leads (that was an interesting year as Jensen Ackles also starred in a remake of a classic 80s horror film My Blood Valentine).

In Friday (09) the bulk of the story takes place at a mansion styled cabin in the woods near Crystal Lake owned by one of the characters rich parents. Jason eventually hunts down each of the characters, killing them in various ways, and they even find his home with a shrine to his mother there. There's also like, a lot of sex and nudity in Friday (09) none of it fun or sexy as it's pretty, unfortunately, misogynistic.

Being in an isolated area, like the cabin in the woods in DFF and Friday (09) is also not a requirement within the slasher sub-genre.

Many slasher films, especially American classics during the genres 80s peak, actually take place more often in suburbia rather than in isolated locations like the woods. Which reflected real world anxieties from predominately white communities and a turn towards more conservative politics of that era in America.

"Those same well-kept neighborhoods and quiet backyards of my childhood were also the battlegrounds of the ’80s horror movie, a radical pivot in the genre’s history. The decade’s opening years were bracketed by the kidnappings of Etan Patz (which inspired the Missing Kids on a Milk Carton program) and Adam Walsh (which inspired his father John Walsh to later create the TV show "America’s Most Wanted"). Combined with the conservative turn in crime and punishment law brought on by the Reagan administration, horror appeared to turn from the supernatural curses of the decade before ("The Exorcist," "The Omen") to a homegrown product of our own sins. Michael Myers, Jason Voorhees and Freddy Krueger are psychotic loons but also human beings who come not from afar but from down the street. The possibility that one of them could be lurking just beyond the sliding back door of a sleepover birthday seems too darkly delicious to pass up, a fictional killer standing in for a warning your parents and society gave you about “stranger danger,” real-life evil lurking in the dark." (source)

Isolated settings, while can be a setting in slashers are more often found in psychological horror films: The Strangers (2008), When A Stranger Calls (1979, 2006), Hush (2016). Also the Evil Dead (1981, 1987, 2013).

[The latter has it's own interesting history of wanting to be psychological body horror, to horror comedy cult classic, back to psychological body horror. Honestly if any franchise has influenced the "horror set in a cabin in the woods" it's Evil Dead, which is paid major homage to in Cabin in the Woods (2011).]

Sooooo is DFF a slasher?

Hm, for me, yes and no. Slashers require a high body count and pretty gory deaths. So far we've only had 3 deaths, only two of which were even committed by the killer themselves and not even by their own hand (ie directly).

For me, the slasher elements of DFF exist in the directorial styling of the film, meant invoke a classic slasher film but that's not where the true horror of the story exists.

I'm a big slasher fan, so I'm not trying to discount the sub-genre at all, lots of slasher films are good, and when done well, they're truly scary. But they also tend to be straight forward in design, the fear comes from the feature of being stalked by an unseeable and unstoppable force infiltrating what should be a safe space (your home, your school, your neighborhood, your camp grounds etc).

Which is why slasher films are also the most common horror sub-genre to be parodied (Scary Movie franchise) or made into horror comedies like Freaky (2020), The Final Girls (2015), Happy Death Day (2017), and Totally Killer (2023).

[sidenote slashers have this in common with the zombie sub-genre of horror as zombie films in America have also tended in recent years to be horror comedies or horror action like: Little Monsters (2019), Cooties (2014), Zombieland (2009), Pride Prejudice and Zombies (2016)]

I'd argue that DFF is much more in line with psychological horror than slasher horror. Because it is anything but straightforward and also has a strong emphasis on relationships and isolation as does most psychological horror.

Films like: It Comes At Night (2017), Us (2019), Perfect Blue (1997), A Tale of Two Sisters (2004), The Forgotten (2017), Dark Water (2002) all have similar elements in terms of tone as DFF.

The isolated setting, the allure of the mundane normality being a veneer for the violence lurking beneath the surface, the existence of the paranormal, the use of drugs to increase fear, the unsettling paranoia, and slow burn crawl towards all the characters being unteathered from themselves, the growing distrust between them and their loved ones, the plot twists and turns, the emphasis on human relationships and the horror that comes from those.

The backstory with Non is what pushed the show past slasher horror to psychological horror for me. Because Non's "downfall" as it were, feels more akin to the slow burn psych horror rooted in a lot of Japanese, Thai films/tv shows, and modern A24 style horror films.

The horror of Midsommar (2019) doesn't come from jump scares, or violence, but in slowly watching the protagonist grow more and more unteathered, mistreated, gaslit, more and more with each passing moment, slowly inducted into a horrific cult and being able to do nothing to stop her descent.

A big influence I saw in DFF was Girl from Nowhere (2018); the school setting, the crimes committed by a group of students against a singular student, class exploration, structural violence, the exploration of retribution are all topics explored in the first season of Girl from Nowhere.

Even the series trailer for GFN and the pre-release trailer for DFF are similar in production design and tone:

youtube

Titled "BFF" the two-part finale from season 01, is about a high school reunion, where a group of now established adults come back together for a party (their reunion) only to be confronted by their past via Nanno (the shows protagonist for lack of a better term).

Through Nanno we learn about the chars past misdeeds in high school - bullying, physical assault, stealing, the works - and their current crimes as adults. As more and more layers of the truth, lies, and betrayal are revealed, the friend group begins to crack, fracture and turn against each other, growing more and more paranoid and angry.

Nanno tells the group that they've also all been drugged with poison and there's only one vial of antidote left, the "friends" all horrifically murder each other in order to get the antidote. In the end, no one survives. EXCEPT, it was all a mass hallucinate and the group wakes up, remembering everything, and quietly leave one-by-one. No longer friends, no longer not-friends, everyone forever changed by the experience.

It's an unsettling ending that leaves things open ended. This group of friends were responsible for the bullying and death of Nanno (she's fine she's like immortal or something I'm pretty sure GFN was partially influenced by Tomie by Junji Ito) and they simply refused to acknowledge what they did to her, nor talk about her, eventually forgetting she existed until forced too through a traumatic retribution by Nanno herself.

[Nanno from Girl from Nowhere, Tomie from Junji Ito's Tomie series]

DFF has a lot in common, from my perspective, with GFN in terms of tone, themes and even parts of it's story.

Nanno isn't doling out "justice" she doles out retributions, punishments, sometimes they're outright torturous. Whether the recipients "deserve" these punishments or not, is really up to the viewer. The show does a good job of showcasing a wide variety of characters who are unrepentant, sympathetic, and somewhere in between. The fears it plays upon are more slow burn, it boils the characters rather than setting them on fire like slashers do.

DFF is similar in this aspect, it boils the characters. Watching Non's story, you already know at the start it's nothing good. We know from the first flashback something bad has happened to Non, but it's not really something, it's many things - so many things - that have led to whatever tragedy the main group must pay for.

It's these compounding factors one after another that brings Non to a boil, and the same thing happens with Tan/New. The horror of DFF is more about getting under the skin, causing the characters discomfort by forcing them to confront the sins they've committed (is there anything more horrific than being seen? Especially if you ugly?).

I mentioned Junji Ito in reference to Girl from Nowhere, to say Ito has been influential on horror feels like an understatement. His series Tomie has been adapted into 7 different Japanese films, he's won 3 Eisner awards (the highest award you can win in America for comics publishing), along with a slew of awards in Japan, his series Uzumaki has been referenced in super popular anime like Jujustu Kaisen.

A big factor of Ito's work is body horror and psychological horror. His work unsettles, and is very visceral. Since Uzumaki was referenced in DFF I think rather than being influenced by specifically Uzumaki (which DFF doesn't have much in common with in regards to general story) I'd argue the show is more influenced by Ito's desire to unsettle.

[from Uzumaki], 1998]

Also potentially to take symbols of piety, faith and protection (the temple, the cross at the chars high school) and turn them into places of horror for the characters.

Like Ito did with the spiral motifs in Uzumaki, said Ito in an interview:

"The "spiral pattern" is not normally associated with horror fiction. Usually spiral patterns mark character’s cheeks in Japanese comedy cartoons, representing an effect of warmth. However, I thought it could be used in horror if I drew it a different way." (source)

[I am also begging y'all to check out Junji Ito's book Cat Diary it's hilarious, even more so b/c his style of art is so rooted in horror]

I think DFF is actually very Thai in it's exploration of what's unsettling and horrific to youth culture in Thailand currently. The feeling of haplessness, judgement, an inability to exert control over one's circumstances, mental health, consent, bullying, these were themes and topics explored in both seasons of GFN but also some of these were explored in The Whole Truth (2021) a Thai horror/mystery film.

There's a scene in The Whole Truth in which one of the protagonists school friends secretly films their younger sister getting undressed without her knowledge, and when caught, the classmate threatens to release the clip publicly and claim the sister is "a slut". One of the protagonists is also bullied at school - including by this disgusting classmate who they still consider "a friend" - but puts up with it in order to be in a friend group at all (this bullied char also has a physical disability which contributes to their mistreatment at school).

I think DFF is exploring a lot of these same topics but most of the characters are just gay this time around.

Okay I'm losing steam here a bit, this has gotten very long, but overall I'd argue that DFF is much more psychological horror than a slasher, in terms of it's tone, and story. Whilst invoking slasher imagery in it's directorial style.

That said it's much more in line with Thai and Japanese horror than American horror in regards to it's themes. If the series was going to be boiled down just to the basics, I'd quantify it as psychological horror mystery.

And those are my thoughts on DFF and horror, I guess lol I'm not 100% satisfied with this but god damn I'm tired this took forever lmao if y'all made it this far, bless and stay safe out there cause the ship wars are wildin out in these parts.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes? | Trends in BL (Sorta): Genre Trends

[like these posts? drop me a couple pennies on ko-fi]

#dff the series #dff spoilers #dff meta #dead friend forever #dead friend forever the series #chaos pikachu metas #pikachu's bl film series #fuckin a this is long #almost ran through my entire final fantasy soundtracks playlist #and that's a lot of freaking final fantasy games

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blueskittlesart · 1 year

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hi! im really curious about your thoughts on oot, i'm trying really hard to like it and i wanna see what you enjoy about it

Hi!!! I'm going to do my best to explain exactly why I like oot but there is a TON of ground to cover. i have already written a bit about the story and my thoughts on it in this document, but this is a much more in-depth analysis of the symbolism and implied narrative which i think may be more helpful to you if you're struggling to get into the story and gameplay!

oot is my favorite zelda game of all time and was what made me fall in love with the series, but I will concede that it shows its age, especially with the insane advancements that video games have made over the past 2 decades or so since its release. Try to remember when playing it that it came out in 1998, when a game with any sort of 3d graphics at all was still new and exciting. some of its gameplay is going to be a bit dated, unfortunately, and it's totally reasonable to dislike that aspect of it i think! If you really find yourself struggling with gameplay, i recommend zeldadungeon.net for dungeon walkthroughs. they have very concise and easy-to-follow walkthroughs for the entire game which make the gameplay MUCH smoother for first-time players! there's no shame in needing walkthrough help in these dungeons, ESPECIALLY some of the later ones which get notoriously convoluted and difficult. that being said, even if you use walkthroughs, I'd encourage you to still pay attention to the dungeon's designs and details as a lot of thought was put into these designs and I think they're still some of the strongest in the series! gameplay-wise I'd also say that there are a lot of little collectibles that will seem like they're way more important than they are to new players. you don't need the skulltulas (they get you a bigger wallet), you don't need to complete any trading sequences, you don't even REALLY need to go out of your way to collect any of the extra heart pieces, the game is perfectly beatable with just the hearts you'll get from dungeons. Knowing all these things going in will really streamline your gaming experience and make things easier for you if you're getting put off by the 90s-style game design.

As for what i really love about the series, it's the story. And i understand that if you're not someone who makes a habit of analyzing media to an obsessive degree, at first glance oot doesn't seem to have a lot of story. A simple fact of old game design is that more dialog and cutscenes meant more storage space was needed, and the biggest constraint in game design at the time was the limited amount of storage a disc or cartridge could hold. What this means is that storytelling in older games like oot takes a very different form than the cutscene and dialog-heavy storytelling that games tend to use nowadays. the storage restrictions on the game meant that a lot of oot's story had to be told implicitly, via details and worldbuilding and actions carried out by the player. I know this can make it difficult to grasp at first glance! that's why i love to analyze it and talk about it, because I want people to understand how rich and well-told oot's narrative actually is and i know that most people aren't as willing to put in the work as i am, lol. with that being said, this is where the spoilers are gonna start! i'm gonna recap and analyze most of oot's story here, so if you're not looking for spoilers scroll away now and experience the game for yourself!!

oot is at its roots a story about adults failing children. i will elaborate on this point a bit more later, but for now let's look at our opening segment. We are introduced to our link, the youngest link in the franchise, at nine years old. From the get-go, we as the player are told that link's hylian parents died in a conflict very shortly after he was born, leaving him in kokiri forest to be raised by the deku tree, among the kokiri.

The kokiri are a race of eternal children. what this means, essentially, is that we begin the story with a link wearing rose-tinted glasses. the kokiri live forever without aging or dying, and they never leave the forest. Link has grown up isolated and without any concept of aging or death. he has been told by the deku tree, his father-figure, that he IS a kokiri and therefore will never age or die. Despite this, link does have a crucial difference from the rest of the kokiri that even he is aware of--he has no fairy. If you talk to the kokiri in the initial kokiri forest segment of the game, many of them will talk down to you or make remarks about you finally getting a fairy, reminding the player that link knows SOMETHING is wrong with him, that he's different from the other kids somehow, but he's not yet been able to pinpoint what.

we come to our first dungeon segment, where the deku tree summons link and tells him that he's dying and that link must defeat a monster to save him. when the player completes this objective, the deku tree dies anyway, revealing that he knew all along he couldn't be saved and lied to link about it in order to get him to do the dungeon. with his dying breath, he tells link to leave the forest and find princess zelda. (worth noting that up until this point, link has been told that leaving the forest will KILL HIM.) this is the first major failure of an adult we see, and as the inciting incident of the game it sets the tone very nicely for the rest of the shitshow. The deku tree lies to link his entire life about who he is, and then spends his dying moments lying to link AGAIN, specifically in service of a greater plan to turn link into the savior of hyrule by sending him to help princess zelda. this point is crucial--the deku tree has clear-cut, understandable reasons behind acting the way he does. It would have been much easier on link to allow him to grow up isolated among the kokiri, and it removes a lot of the potential danger he would have faced as an orphan in hyrule in the aftermath of the war which killed his parents. (we will later see that hyrule is in no way a safe place for a child on their own.) Explaining all the magical-destiny lore to a nine year old had the potential to scare him away from the task ahead, as did admitting to him that there was no way to save the deku tree. But lying to him about it all still ultimately deeply hurt him. this is the stage upon which the rest of the game will build.

Link, freshly traumatized by the death of his tree dad, leaves kokiri forest. he goes to castle town and meets princess zelda, a girl no older than him. Princess zelda tells him that she fears for the safety of her kingdom, but that no one will listen to her when she tries to warn them of the danger. this is our second adult failing--the entire conflict around which this game centers could have been prevented if only any adult was willing to listen to zelda's concerns about ganondorf. But because she is a child she is dismissed over and over again until she finally turns to ANOTHER child for help. her plan for link involves him retrieving objects needed to open the gateway to the sacred realm within the temple of time, which i know sounds like a bunch of confusing lore shit but all you really need to understand is that there's a gateway to what is essentially godlike power inside this temple, and zelda wants link to open the gateway and claim the power before ganondorf can. link already has one of the 3 keys he needs--it was the reward for killing the deku tree beating the first dungeon in kokiri forest, and zelda takes this as proof enough that he will be able to find the other two.

in these first three dungeon segments, link is confined to his nine-year-old form. His sword is wooden and deals considerably less damage than it will later in the game, and in each of the dungeon segments there are reminders of the way being a child affects his autonomy in hyrule--the guard at the gates of death mountain won't let him pass, the zora princess berates him for not being enough of a man, several collectibles are clearly visible but impossible to reach with his current size & ability, etc etc. this section of the game is deliberately juxtaposed against the initial segment in kokiri forest, in which everything was built for someone of link's size and strength and no part of the map was unexplorable or all that challenging. What you're supposed to realize here is that being a kid in hyrule is HARD. you have very little autonomy and are constantly condescended to. One of the few hylian npcs your age, Malon, is a good example of this--in her mini-quest she vents to link about how her father can't see that his stablehand resents him and she's constantly having to look after him without being listened to. She is being given adult responsibilities (looking after her father & the animals on their farm) without adult social status. Her situation is a deliberate parallel to both link and zelda's, though during this 3-dungeon segment of the game it's not immediately clear yet just how much adult responsibility link is actually shouldering. in any case, this is our third example of adults failing children, and the theme begins to be echoed in the worldbuilding of hyrule during this stage as well.

now we come to the initial confrontation, the scene which alters the trajectory of the game and divides what i consider the first and second halves of the gameplay (although the second half is probably much longer lol). Link, having found all 3 keys to the sacred realm, returns to hyrule castle, only to find that ganondorf has attacked, forcing princess zelda to flee with her attendant. He catches one final glimpse of her where she throws him the final key needed to unlock the temple of time: the ocarina. although no words are exchanged between them, it's clear that she's asking link to carry out the rest of her plan on his own and claim the power sealed in the temple before ganondorf can. and so link goes to the temple of time and opens the gateway, but link is nine years old and so link doesn't notice that ganondorf, a trained thief, is following him. When he opens the temple, ganon siezes the power zelda was trying so hard to keep him from finding.

we then pan down to link again, but different. he's changed, he's older. notably, he isn't an adult. he is sixteen years old, physically, but mentally, for both link and the player, no time has passed at all. this is important to keep in mind for the rest of the game--no matter how link may look, he is mentally still nine years old. he wakes up to essentially a lecture from the world's biggest dickhead, the sage rauru. Rauru places the blame for ganondorf's rise to power squarely on link and zelda's shoulders, noting that if link hadn't opened the temple of time in the first place, ganondorf would have never been able to sieze power. he tells link that he placed him into a deep sleep for the past seven years because, at nine years old, he wasn't strong enough physically to take on ganondorf and win. But now, he says, link is old enough to be a real asset. it's time for link to defeat ganondorf.

Once again, we have a clear-cut case of adults failing children. Link and zelda took matters into their own hands BECAUSE of the adults in their lives. for link, it was the deku tree (HIS FATHER)'s dying wish that he help zelda. for zelda, her plan was a last resort after begging every adult in her life to see what was coming and being constantly ignored. now that what she predicted has come to pass, she and link take all the blame for it, for being kids in a difficult position doing the best they could with NO ADULT HELP WHATSOEVER. you can't place the fate of an entire kingdom on the shoulders of two nine year olds and expect it not to fall. but that's what hyrule's adult leaders did, and when the kingdom fell they let the nine-year olds take the blame for it. zelda hasn't been seen for years. she's either dead or in hiding out of shame for her mistake. meanwhile, Link has once again become a pawn in someone else's game. The sage rauru decides for him, without ever consulting him, that he can't be trusted to remain conscious for the seven years between gameplay segments. that he will be safer and happier to remain asleep. anyone who stops for a moment to consider what this might do to link's mental state would have not done this, but rauru sees link as a child, which in hyrule is synonymous with an object to be controlled, with no feelings of his own. he needs to be protected and hidden, regardless of what effect it has on him when he wakes up. nothing else matters as long as he can be kept alive and unharmed. this is a deliberate parallel to the way the deku tree treated link while under his care in kokiri forest--he doesn't need to know the truth, because it's easier and more convenient for everyone else if he doesn't. its effect on his mental state doesn't matter. what matters is that he is kept in a position which is convenient for the adults in his life. this is another reminder of the way in which being so young hurts link, and if I can diverge into real-world relevance for a second, it's an obvious metaphor for the way trauma steals one's childhood. Link was never allowed to grow up normally. he went from being a kid one day to an adult the next, with no time in between to figure anything out. his childhood, his coming-of-age, was stolen from him by greedy adults who needed him to be a pawn in their war.

the dungeons in the adult segment of the game can technically be completed in multiple different orders, but the usual order (and what i think is probably the way the narrative is intended to progress) is to get to the forest temple first, which requires you to reenter kokiri forest, all grown up. it's important to note that up until this point in your gameplay, link still has plausible deniability about his race. sure, he didn't die when he left the forest, but maybe that was a lie told to ALL kokiri. maybe he's still a kokiri and he won't grow up. but now he's got solid proof that he was lied to, and that the safe, beautiful sanctuary he's spent the majority of his life in was never actually meant to be his home. When you return to kokiri forest as an adult, you find that it's nothing like the safe-haven you remember. it's been overrun with monsters that are taller than you now, as an adult. This is a metaphor, obviously, for returning to someplace changed. link goes back to his home and it doesn't feel like his home anymore with all that he knows now. And if the monsters weren't enough, if link talks to the kokiri, cowering in their little kid-sized houses, not a single one of them recognizes him. they address him as an adult they've never met before. to them, it's been seven years, and they've never known a kid to grow into an adult before. but to link, it's been a few days at most, and inside he's still the little boy they knew.

the dungeons in this segment of the game are mostly straightforward training exercises to give link the necessary skills and assets he needs to fight ganondorf. I'll skip over most of them, but there are three things i DO want to highlight about this section of the game: malon, sheik, and the water temple.

Malon is introduced in the first half of the game as an example of another child with very little agency and power. Seven years later, if link visits her again, he will find the ranch in an even worse state, with the stablehand having taken over and kicked out malon's father. Malon stays purely out of fear of what will happen to her horses if she leaves them in his hands. She is an adult now, as you are, and yet she has even less power than before. So much of the first half of oot is framed in such a way that the player wishes link was older. It wants you to think, wouldn't this whole thing be easier if I was an adult? Wouldn't I have more power, more agency? but now that you ARE an adult, you're confronted with the fact that nothing has changed. you are still a pawn in a war against ganondorf. Malon is still trapped at the ranch, forced to endure daily abuse or leave her animal friends to die. however, this segment is also the first time you as the player are given the option to fight back. If you, as a child, have taken the necessary steps to befriend malon and epona, one of her horses, you are able to use the bonds you forged in childhood to run the stablehand off the ranch and return power to malon. this mini-arc with malon is a teaser for the overarching arc of the game--having no power in childhood, believing that adulthood will be your savior, but finding the same powerlessness in adulthood, and ultimately returning to pieces of your childhood in order to finally reclaim your power.

next up is sheik, who is deliberately a mystery for the majority of this segment, but. well. we all know he's zelda, so i'm not going to beat around the bush. Sheik is what has become of zelda in the years since ganondorf took power--where zelda was once strong-willed and refused to stand down in the face of danger, sheik now moves among the shadows, darting in to offer link a bit of help or advice but never getting too close. My reading of this is that zelda, after growing up in the aftermath of her failed plan, was afraid of what she'd done to link. She saw her influence as the thing that brought hyrule to ruin--after all, link never would have opened the door in the temple of time if not for her. The way she sees it, her choice to use him back when they were nine destroyed his life and her kingdom. This is why she's largely absent in this segment of the game, only stepping in for brief moments and disappearing the second link tries to reach out for her. Her character at this point is essentially representative of self-isolation as a coping mechanism.

finally the water temple, which I promise i didn't single out just because it sucks, but i will warn any potential players that it sucks. it's the most convoluted ass design in the world and even with a walkthrough it gets confusing and hard to navigate at times. this is not the point of this paragraph, though. the point of this paragraph is that there is a miniboss in this dungeon that is INCREDIBLY important to link's character and to this day is one of the most well-done and impactful battles i've ever had the pleasure of playing. (side note, why the hell did the himekawa manga make this battle happen at the bottom of the fucking well?? ive believed for years that he was a shadow temple boss because of that. whatever. anyways)

about halfway through this dungeon, you come upon a room that looks like an endless sea of water, with bits of ruins and a single rotting tree in the middle. when you walk into the room, you'll be attacked by a mini-boss that takes the form of link's reflection, black and translucent with glowing red eyes. the miniboss dark link will mimic your attacks and block when you swing, requiring players to be crafty and strategic in order to beat him instead of just swinging with the right weapon at the right time. from a purely gameplay-based standpoint, this fight is sick as hell. it rewards you for thinking on your feet and forces you to come up with real time strategy to beat a foe who genuinely seems to think the same way you do, which is REALLY cool, especially for a game released in nineteen fucking ninety eight. narratively, though, there are symbols upon symbols upon symbols to be picked apart in this fight alone. there's the obvious metaphor of fighting onesself--representative of an internal struggle of some kind. pair that with the set dressing for this arena and the information we already know about link, and things start to fall into place. Link was raised in a lush forest, surrounded on all sides by walls of trees that kept him safe and isolated from the world at large. the minute he left that forest, bits and pieces of his worldview started to fall apart--he learned his identity as a kokiri was a lie, experienced the hardships of being a child in hyrule, and now he's grown up and become a pawn in the fight against ganondorf, losing what little agency he had along with the ability to return to his home in kokiri forest. He finds himself in this illusion room, with a shadow version of himself waiting to attack him, clearly indicating that this room is representative of his state of mind. an endless, desolate landscape stretching out into infinity. no walls to keep him safe, no cover at all save for that one single, ROTTING TREE in the middle. This tree is a symbol of link's mental state. (my evidence for this one spans across a couple games but just trust me when i say this interpretation is grounded in reality it would just take too long to explain) and the tree is not looking good. it is dying. and from this dying tree springs a reflection of himself that link must fight to progress. I think there's an obvious message that's being conveyed here: link regrets leaving kokiri forest. he regrets the way he's been used, the hard truths he has had to learn about the world since he left. He is still mentally nine years old, and as a child he still yearns to return to that safety he was promised in kokiri forest despite knowing that it's no longer there for him to return to. Dark link is representative of all link's fear and regret and turmoil surrounding his destiny and what has been done to him over the last seven years. Because this is a video game, he is able to physically fight those feelings, to defeat the reflection of himself that torments him and walk out of that room at peace, having faced his fears and confronted his true feelings. Narratively, this battle is representative of the ongoing internal struggle link is grappling with over the course of this segment of gameplay, and shows the player how link must overcome those feelings of fear and inadequacy in order to gain the power to defeat ganon.

now we finally come to the ending segment of the game. this is where the lore gets a little bit convoluted and trips some people up. if you're not a lore slave you can basically ignore the triforce thing. the only affect it has on the narrative is that it gives ganondorf a reason to need both link and zelda, since they have the other two pieces of the powerful relic he's after. this is why he kidnaps zelda and taunts link to come rescue her instead of just like. hunting them both for sport in the wilds of hyrule.

the final battle with ganon is the culmination of all your efforts throughout the game. in the leadup to it, the final dungeon reminds you of this by having each of its rooms be a mini-version of one of the previous six temples you completed in the second half of the game. once you finish this final dungeon, you're able to get into the castle. I have to mention one of my favorite design choices in this whole game here, which is the fact that the background music in the castle gets louder the closer you get to the final room, and when you finally get there it's revealed that ganondorf was playing it the whole time. the details in this game make me crazy they're all so well-done. anyways. to discuss this battle we first need to discuss a crucial character who i realize i've forgotten to mention this ENTIRE time somehow: navi.

I love navi. i hate the way she became a joke among fans. this is not the point of this post. the point is that narratively, navi is one of the only GOOD adult figures we see in the entire game. (one could argue that she isn't an adult, but she takes on a guiding and mentor-like role for link so i consider her one despite some of her more childish mannerisms.) Navi is the one character who has been at link's side since the very beginning, the only consistent good influence on his life. the only adult mentor who hasn't somehow tried to fuck him over or manipulate him somehow. She is INTEGRAL to his survival through all the crazy bullshit he gets caught up in. the game makes her importance clear to the player in two ways: the first, obviously, is that she's the tutorial character--she tells you where to go, what to do, explains mechanics and puzzles, etc. The second, and the detail that's gonna be super important in our discussion of the final battle, is that she's tied to the game's targeting mechanic. It's subtle enough that I actually didn't notice it my first time around UNTIL this final battle, but every time you target an enemy to attack them (which with the way the camera movement is designed in this game is basically a required element of combat) navi flies to their weak spot and hovers there, which is the in-game explanation for what targeting is--navi is showing link the monsters' weak spots. in the first phase of the final battle with ganondorf, he erects a forcefield which prevents navi from entering the battlefield, removing the player's ability to target completely.

i absolutely LOVE this battle in terms of both gameplay and narrative. removing the targeting mechanic is a genuine handicap that makes the battle genuinely difficult for the player, and narratively it serves to remind you of the importance of navi, a positive adult influence, in link's life. without her, dealing damage is so much more difficult, but as soon as you have her back the battle becomes super intuitive and you're able to strategize much more effectively. Eventually, you deal enough damage to get navi back and flee the castle with the princess, before making one final stand against Ganon, a mutated beast-form of ganondorf. with navi by your side, his massive weakness becomes easily targetable, and you're able to defeat and seal him for good.

the end-credits scene of the game shows link time-traveling back to his nine-year-old self, before any of the events of the game have come to pass, and re-entering hyrule castle to warn nine-year-old zelda about what is to come. this is a time paradox, i know, but i LOVE this ending thematically. As I mentioned extensively earlier, link and zelda's stories are both representative of the way trauma robs you of childhood. they were both stripped of their chance to be children and grow up and come of age due to what happened with ganondorf. Allowing link to go back and prevent those events from ever occurring is a promise of healing. it's a promise that he and zelda will be able to reclaim the childhoods that were stolen from them by war and by adults who wanted to use them as pawns in it. it's a reclamation of the agency that these characters have been consistently denied throughout their stories. it's. a good ending. it's a really good ending. I like it a lot.

So uhhh wow that was a lot! what it comes down to is that i think oot is a story a ton of people can relate to. being a kid with responsibility but no agency and longing to be an adult, but then growing up and wanting nothing more than to return to the childhood you lost... that's something that really resonates with me, at least. and yeah oot has a lot of quirks and convoluted story and stuff but at its core it's a really beautiful coming-of-age that deals REALLY well with trauma and childhood and growing up!! tldr it's just. a genuinely incredible story and it means a LOT to me lol

#THIS IS SO LONG IM SO SORRY IM CRAZY LMAOOOO #zelda analysis #everyone please play ocarina of time. im going insane here

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hollowtones · 1 year

Note

Just wanted to say, thank you so much for all the wiki streams they really are GOOD background noise for when I'm trying to focus on study! (Atleast when there's not an absolute slop of sandwhich to marvel at) Was curious to ask, was there any Sonic games in particular that has your interest since you're planning to go through them?

I'm glad people like 'em. Back when I was listening to a lot of podcasts, my favourite "genre"(?) was ones with a more educational/informational skew. Made for fun listening while on the train or while playing a video game that doesn't demand a lot of focus. Feels cool to be able to make something adjacent to that, haha.

There isn't really any one particular Sonic game that made me want to dive headlong into the whole franchise, no! It's kind of the same reason I'm checking out "Danganronpa" and "Kingdom Hearts" eventually: there's a lot of strong opinions on all ends of the spectrum about the games, and other media associated with it, and the franchise as a whole, and I've always been fascinated by it! I want to dive deeper and see what it's all about for myself.

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noxiatoxia · 1 month

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HEY so I know its been a minute since I've sent an ask, but I saw some of your posts about danganronpa, specifically regarding another episode, udg, and I was agasp because I was literally in the middle of playing it for the first time lmao. So after finishing the game last night I really wanted to ask, if you want to ofc, your in depth thoughts on the game and why you like it so much, or even thoughts on the gameplay and mechanics since its so different than the danganronpa staple. I quite liked it personally because of Komaru and Toko's relationship, them becoming two of my fav characters in the franchise so far, and because I became very endeared to the kids by the end of the story. I have some qualms with how Kotoko was handled in chapter 3 at... that part... but she's also my favorite of the kids at the same time lol.

Anyways yeah no pressure at all, I just was really curious because I liked the game a lot and found it so funny that you posted stuff about it as I was playing it. Also because I really enjoy your ouran opinions. But again I get if not, the game has some senstive subjects for sure. Thanks!

THIS IS LIKE THE BEST ASK EVER FOR ME TO RECEIVE. I AM SO PASSIONATE ABOUT THIS GAME AND HAVE BEEN FOR NEARLY A DECADE AT THIS POINT.

Okay....where to even START....

(I will be referring to UDG as DR:AE or just AE in this. SPOILERS FOR ALL OF DR:AE.)

Firstly, the environment. Unlike the main series, DR:AE does not take place in a secluded area away from the real world. It does the opposite; you are in such a vast area, you are not caged, yet you are still trapped. Even if Komaru didn't have that wristband on her, where would she go? The game is great at highlighting what the world outside of what we are told in the mainline games is actually like, how caged things are even outside, all while expanding upon existing characters' backgrounds by introducing family members, or little pieces of dialogue that serve to flesh out the world.

The gameplay itself, personally, I find VERY fun. I'm not a shooter game person, but DR:AE was a game I could play many times over. I love the different types of ammo, the puzzles, the possibilities with how to destroy the monokumas. Just a fun game all around. It's by far the most replayable Danganronpa game, as the main series games are all about the story. Once you know the story, there's really no reason to replay them. In fact, they are quite slow and boring without the intrigue of the mystery.

But the highlight, obviously, is the characters. As is Danganronpa's specialty.

While I still maintain Hajime is the most interesting protagonist of the series, Komaru serves as a great subversion of the expectations set up by Makoto's actions in the first game. Makoto is someone who preserved no matter what, changed those around him with his hope. He was your quintessential paragon protagonist. While Komaru displays this a little in some scenes (namely rallying the adults under Haiji's protection) this is only the result of speaking from her own wants and experiences. That is to say, unlike Makoto who always tried to help others even if it cost his own life, Komaru is much more realistic. She cares, first and foremost, about her safety. Her helping others to stand up for themselves comes from her own desire to keep fighting so she can live, and so she imparts that onto the people around her. Fight so you can live. She says it herself: she is not like Makoto. She is selfish, she is not endlessly optimistic. She's more like Hajime in this way, but unlike Hajime who find his own brand of philosophy, Komaru really doesn't. Rather, while Hajime's character serves to show you don't have to choose a predetermined path (hope or despair) and rather your path can simply be believing in yourself, Komaru's character shows that sometimes, and maybe even most of the time, believing in yourself or a specific ideal is not feasible. Komaru believes in the people around her - namely Toko. She believes in her friend, and believes with her friend that things can keep going. This in my opinion is an excellent twist on Makoto, who was, by all means, that friend that people believed in, not the one doing the believing.

And, as an aside, Toko and Komaru have the best development of any pair of characters in the series. Yes, even moreso than Hajime and Komaeda (who I maintain never really had "development" between each other than just a very, very good dynamic from the get-go that was influenced at points by outside plot forces on Komaeda's end. Think Light and L from Death Note in this manner).

Now, let me talk about the real meat of the game, and my favorite characters to date in the whole series: The Warriors of Hope.

I won't lie that I'm biased. I'm very biased for these guys. But I think a lot of people don't give these guys the credit they deserve considering this is a Japanese game. In Japan, child abuse is a bit of a taboo topic (that thankfully has been resolving over time). Due to the nature of Japan's politeness system and "family above all else" attitude, many child abuse cases not only go unreported, but are flat out ignored. The epidemic of babies dying in coin-operated lockers being an especially egregious example of rampant child abuse that occurred. Despite being prevalent since 1971, it took till 1993 to be socially addressed.

This is just one example, but I think it serves my point: child abuse is/was an issue in Japan when it comes to socially speaking of it. ( In fact, in the game itself, Nagisa and Kotoko both directly say they tried to reach out and get help, but were ignored by adults). This is why art regarding child abuse is so important. And that's why a huge series like Danganronpa centering a game about child abuse is such a huge deal. It sparks discussion and promotes visibility of the topic. Not to say media before hadn't talked about it - in fact, there is a lot of Japanese media about child abuse for this very reason - but that does not undermine the importance of Danganronpa deciding to portray it so openly. It is even more important, to me, that they do not stop at physical or sexual abuse. Rather, abuse focused on verbal harm and emotional neglect are portrayed as being just as damaging, which is one of the most overlooked and underplayed forms of abuse in general.

Their portray of abuse also is rather accurate. I will make a confession: I was definitely a bit too young to play danganronpa when I did. Definitely not 18 yet. But I was a teen, and very aware of different types of abuse, sexual abuse included. But despite all the PSAs, books I had read on my own or even ones assigned to me for classes, I had never seen a sexual assault victim be portrayed as hypersexual before. In fact, I didn't even know such a thing was possible. Yes, it is very, very likely I just got Komaeda levels of unlucky to not encounter that in any of my reading or research material at the time, but I think it's common, nonetheless, that people to this day still have the misconception that sexual abuse victims are all afraid of sex or anything sexual. While that is true for some, many people are now becoming more aware that sexual abuse survivors can often display hypersexual tendencies. In this way, I DID learn a lot about the effects of sexual abuse based on how Kotoko acted, and was able to do my own research from there to learn more. Furthermore, the game is good at portraying things like specific triggers in the form of words, smells, items, or specific phrases. Again, I feel it's mostly stereotyped that most triggers are objects that "make sense" like cigarettes or alcohol (much like with what Masaru was afflicted with). But the game made sure to include ones that were "non conventional" like specific words ("gentle" in Kotoko's case) and portrayed both triggers, no matter how common or uncommon, as equally severe. The game also shows negative effects child abuse can have on those around the children. After all, the WoH would not be doing the things they were doing if it weren't for how they were treated in the first place.

(Aside: This is particularly WHY I get so mad when people hate on DR:AE for being "icky". If you are personally uncomfortable with topics of child abuse, that is wholly reasonable and you do not have to play or even like a game that centers on that. You are in your full right and perfectly valid to say "I think this is gross and uncomfortable, therefore I do not like it" or "I don't like this game because I felt personally overlooked/triggered by it" or "I don't like this game because I felt it was not fun or well written". But to say it is objectively "problematic" or "disgusting" to have a game like this exist? That is just spitting in the face of people trying to advocate for visibility of child abuse. You are doing nothing but making people like myself who felt vindicated, seen, or educated by this game like bad guys. Sincerely, please do not call a game that does not shy away from the uncomfortable realities of child abuse "problematic" based on that alone.)

(Aside aside: there are "problematic" elements in the game and things to criticize as is true of all media. The Kotoko minigame I would say is the biggest "why is this in here" moment and is definitely just a fan service scene. I don't like it either. This does not mean the game itself and as a whole is valueless or bad.)

That leads into my next point: I love how morally gray the "good" and "bad" guys are. The WoH aren't doing what they're doing (save Monaca) because they want to hurt people for the lolz (though they have fun with it, as kids would). They think what they're doing is genuinely good. It's a good way to rival Junko, who knew she was evil and batshit crazy, but didn't care. These kids think they are helping children and keeping them safe. And they're kids - young kids can't really think in very complex manners. If you were treated horribly by most adults in your life, and your peers were as well and shared the same sentiments as you, you would be 100% convinced your convictions were righteous then. Hell, I've met adults that think this way (pretty much all extremists who think anyone part of x group, race, gender, religion, etc is evil). A kid thinking this way is very realistic. They are also all different levels of "morally gray". Nagisa, for example, ends up helping Komaru because he feels that a paradise for children is more important than the sole idea of killing all adults. Meanwhile, Monaca, perhaps because of the abuse she suffered all her life, has become a person that we can assume will just enact similar abusive tactics on everyone around her till the day she dies. While it's a misconception that people who suffer abuse often turn into abusers themselves (they simply just have a higher chance to commit crimes, anything from petty crimes to violent ones) there are undoubtedly cases where this does happen. A real life example is Douglas Spinx (HUGE TW; CSA & BESTIALITY). My point is: the portrayal of abuse victims in many different lights from people who can inflict harm unintentionally but with help and intervention can make recoveries to those who, in the rarest and saddest of cases, will turn to a full life of inflicting harm on others intentionally, is important - for someone like me, at least. Without the proper care or attention, horrible things like these can happen. I find this a very important thing to be open about.

Then we have Haiji. Haiji is supposed to be a "good guy". He's cowardly, yes, but he does fight to help the adults being killed. He attempts to bolster moral. But...despite having good intentions and even doing some good things, he's kind of horrible. After all, he's the one who contributed to Monaca's abuse and made her the way she is now. He's just like the kids except reversed; he thinks all children are evil because they're the ones killing everyone. And in his position, I do think most people would feel that way. I mean, if literally every kid in your area was wearing a helmet that turned them fuckin murderous and were killing all your friends and family would you, after enduring months of this, still bother to be like "not all kids though!". Likely not. Even though it is wrong, it is still a realistic way these things would pan out, much like how it did for the WoH. I mean, for a real life example, one need not look further than one of those extremist radical feminist blogs here on Tumblr that believes every single person born male is a brute. Most of those people believe that way because they have personally been hurt by one or several males in their lives, and y'know, fear and pain leads to hate and all of that.

Speaking of, I like the brainwashing in this game far more than in DR3 the anime (spoilers for that later on but tbqh DR3 is not worth anyone's time). I never liked brainwashing as a trope - I feel it is lazy. However, in DR:AE and DR1 they're utilized pretty well. In DR1 it's literally glossed over as "does it really matter? The outcome is more important than the means" which considering DR1, moreso than any other game in the series, is a satire and is supposed to focus on absurdity, I think having the brainwashing LITERALLY be hand-waved as "eh, it just happened" makes a lot of sense thematically with the goofy writing. But as you know, as DR went on, it became more and more serious with itself (for...better and worse...) in DR:AE, I like how the brainwashing affects only the nameless children. DR3's anime was lazy by having all the main characters get brainwashed by a funny little video, both in future&despair arc. In AE, it's a helmet. I think this makes much more sense as theoretically the helmet could be attached to the actual brains of these people. Plus, as said in the game, they blow up when the controller is destroyed, giving credence to that theory. The brainwashing in AE is not a vehicle to explain why main characters act the way they do. Rather, it's just a device used to create background conflict/build up the main villains, leaving the main characters to be affected by persuasion and manipulation (the objectively better version of "brainwashing").

Circling back to the WoH, outside of their thorough portrayals of abuse and standings as "villains who think they are doing the right thing", they're just fun. Like, legit, I just think they're fun. Outside of their trauma, they aren't very complex, but that's the point. The game is a commentary about abuse and how it affects you, the people around you, and the world. The WoH are not the characters meant to be developed and complex entities who undergo deep changes - that is left to our protagonists. As most series with static characters do, they assign each member a core personality. Every Warrior of Hope has a number of traits influenced by this personality (the "sporty" one, the "smart" one, etc) that make them vastly different from each other, making them not only distinct but just fun to watch their personalities clash. After all, if they were not bonded by their trauma, they probably wouldn't be friends at all. it's honestly like a Teen Titans situation in that way, and I've always loved stuff like that. Of course, their personalities are also heavily influenced by their trauma, again a realistic depiction of how trauma can and will change who you are as a person and present itself in many facets of your actions.

I THINK that's all my MAIN points. Suffice to say, DR:AE is my favorite game in the series. I think it's the most fun, has the best character developments and dynamics, I think its story is the most emotional and deep-cutting, and it really spoke to me during a time that I needed something like this to reach me. I won't say it's the best DR game in terms of overall narrative (that honor goes to SDR2) but it comes close. And I know not everyone will feel the same way about this game that I do. Thanks for this ask; yet another reminder I need to do my bi-yearly replay of this game.

(Footnote so I don't get "so you hate waffles"'d: my bringing real-life examples into this is not to say those instances are exactly like what happens in the video game nor to say they are on the same level of importance. Obviously real life is far more important and complex than anything that could happen in a game. I only bring them up to support my points about certain aspects being realistic by using, well, real life examples.)

#;noxiatalks2ya #danganronpa #danganronpa another episode #ultra despair girls #dr:ae #dr udg

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sapphire-weapon · 4 months

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Hey Sirea! How's your Sunday going?

So, I know you're not really into discussing the whole Aeon community thing, but I'm curious about your take on it.

Do you think they've kinda turned into this entitled part of the fandom because of the OG timeline and Capcom pushing Aeon? (I haven't been mingling with the fandom for long, even though I've been a fan for ages, and maybe I should've stayed away from this drama, haha). Orrrr, do you think they've just misunderstood a lot of what happened in the OG events and cling to their own ideas about the characters? Personally, even when I was a teenager and leaning towards liking Aeon, I always thought, "Sure, they've had some intense moments and saved each other's skins, but are they really all that transparent with each other? Nope. Does Leon trust her unreservedly? Not really and he never will." And I thought that was the whole point of their relationship; it was doomed even before it started and it was just teasing and more of an frenemies situation. I never really believed they'd ride off into the sunset together; I thought their "romance" was more of a fan service thing, to be honest. But now I see not many folks share that view in the OG RE crowd and shippers are very intense.

And with the remakes, the changes to Aeons dynamics are significant, but I'm seeing the same attitude (a lot worse, actually), as if Aeon being canon is a given and they're destined to be together, and any other woman interacting with Leon is irrelevant and he has no chemistry with anyone else who isn't Ada, and the other ships are trash because they're not canon and only Aeon has that benefit in the franchise. Not sure where all that entitlement comes from. Was it always like this, or is it generational?

Anyway, feel free to ignore my ramblings if I'm being annoying, haha! Have a fantastic day/night!

hello friend

so, for clarification's sake, i'll answer stuff about fandom history. i just can't stand it when people come to me like "did you see what they're doing? did you hear what they're saying?" no, i didn't fucking see what they're doing, because i don't care what they're doing or saying, and neither should any of you. don't seek them out. leave them alone. don't look for reasons to make yourself mad. if they come to you, block them.

but in this case, like

vigorously rubs face

okay so like

this is actually a really difficult and complicated series of questions, because fandom was just... different back in the day. it didn't function the same way it does now. there was no passive engagement; there was no like button, there was no reblog/retweet option. if you wanted to engage with fandom back in the day, commenting on livejournal or participating on a forum were your only options. you had to TALK TO PEOPLE. yes, even people you disagreed with, yes even people who shipped other things.

and there was no algorithm; there was no curated feed. on livejournal, you joined a community dedicated to resident evil, and you played nice with the other people in it or they banned your ass and you got cut off from a huge portion of the fandom. sure, you might have your ship community on the side, but the general fandom communities always had more people and were often the best place to get news.

so you would have aeons and cleons and valenfields and everyone under the sun sharing this community together. so you literally COULDN'T be obnoxious about your ship, because chances are, that was against the rules.

that didn't mean that tribalism and ship wars and shit didn't happen. of course they happened. but it was just... different. the discourse was more nuanced. people would write essays back and forth at each other.

and it was fueled by the fact that there was a significant period of time in which RE canon could've just as easily gone the way of cleon as it did aeon. there was a push-and-pull there constantly. sure, aeon had the on-screen kiss in RE2, but SD Perry shipped cleon and people were under the impression that she knew what future canon held. but then RE4 happened and "she's like a part of me i can't let go" happened. but then degeneration happened and it was leon and claire, with no ada in sight. and then darkside chronicles happened and aeons were pissed that claire and leon were co-op partners, but then the aeon kiss was in there and cleons got mad about that.

it really could have gone either way.

basically, cleon existed as a hard check on aeon fandom for years and years, back in the day. they had the numbers and the standing in canon to do it, so they did it.

but then damnation happened. and when damnation happened, a huge portion of cleon fandom surrendered. there was no comeback for "canonically leon and ada most likely fucked."

and then when RE6 happened and leon's campaign was framed as the culmination of the aeon love story, whatever cleons that were still hanging onto hope then also laid down their arms. the war was over, and they'd lost.

and when aeon won, they were sore winners. they'd been in this fight for over a decade, and they wanted everyone to know that they came out the victors. especially since their victory was actually kind of precarious. yes, leon and ada likely fucked, and yes they had whatever the fuck was going on with RE6, but... leon and ada still weren't together. the ship was canon... but it also wasn't. and i think they knew just how easily it could be taken away from them again.

so, fast forward to modern day fandom, and i think what we're seeing is the result of an insecure aeon fandom clinging to their victory, which then got amplified in an echo chamber when fandom moved to social media, until they all basically became radicalized.

and there was no cleon fandom there to body check them back to reasonable levels anymore. not to say there were no more cleons; just that cleon fandom had lost their will to fight.

so the aeon fandom of today came into this frenzied WE'RE CANON WE'RE CANON EVERYONE ELSE FUCK OFF WE'RE CANON, not even knowing why the fandom was like that or where it was coming from, and they just parroted their elders, and now it's a cancer spreading through wider RE fandom.

because what didn't happen was: the fever never broke. there never came a point where aeons calmed the fuck down and took a step back and looked more objectively at the canon. and because they were so loud, no one else did, either.

so, to answer your questions:

Do you think they've kinda turned into this entitled part of the fandom because of the OG timeline and Capcom pushing Aeon?

yes.

Orrrr, do you think they've just misunderstood a lot of what happened in the OG events and cling to their own ideas about the characters?

also yes.

the OG timeline came to favor aeon. there's no disputing that. and because of that, people started to make assumptions that aeon was endgame, and they never let go of those assumptions. this has caused them to misinterpret the ending of RE6 and completely miss the fact that leon rejected ada in the end.

aeon fandom doesn't want to believe that aeon was a journey, not a destination.

so they don't.

and no one challenges them anymore. even though cleon fandom still has the numbers to do it, they don't. and even though eagleone has the canonical standing to do it, they won't.

and it's because fandom is just set up differently now. we don't talk to each other anymore. we're not forced to play nice with each other anymore. in fact, we're incentivized by social media to be cunts to each other, because that earns us clout within our own echo chambers.

and it sucks, dude. because you can't have a conversation about the story in good faith anymore without people wringing their hands and going "b-but aeon..."

even though it's abundantly clear that remake is different and aeon is different in it, people are still too afraid to challenge the status quo. so we're left going around in circles with the same fucking shit over and over again, and just

sigh.

that's why i say just ignore them. block them. because the discourse has basically cemented itself in place, and there's no reason to put yourself through the misery of dealing with it.

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felassan · 1 year

Text

A few more snippets of interest and insight from Mark Darrah, from an older Mark Darrah on Games YouTube video where he was livestreaming playing Dragon Age: Origins some months ago -

"Solving the endings of Mass Effect 3 [for the Next Mass Effect], I don't know, I don't know what you do. I mean, looks like from the trailers to me like maybe they've moved it pretty far into the future, so, that would let you kind've collapse the probability spaces maybe, I don't know, it is a problem for sure".

"I'm curious to see what the Mass Effect TV adaptation ends up looking like because they've taken a crack at it a couple of times". [note this video was streamed ~1 year ago]

[source]

He also talked more generally about DA:O and the franchise and things in general. These bits are collected under a cut due to length -

"I don't remember how long the pre-Fade part of the Mage Tower is, all I remember is that Luke filled it up with stuff"

The Deep Roads in DA:O "probably could have been half as long as they are"

There are so many interactables in the Mage Tower in DA:O, "probably a bit much"

"I have one memory expansion mod installed to make it a bit more stable. The reason it crashes and is so unstable on modern computers is because you crank up the fidelity which makes it use more memory, and it's a 33-bit executable and it literally can't use more than 2 gig of memory and then it explodes. So yeah there are a couple different patches that let it use more memory, that definitely improve the stability"

Early in the Broken Circle quest, you can talk to a blood mage that you've just fought while she lies on the floor, and she asks you not to kill her. At this point in the quest, Mark said "Yeah, I feel like this bit, in a modern BioWare game would've been a little bit more circumspect. They wouldn't have been labelled 'Blood Mage' and maybe there would have been a conversation before the fight"

Chat asked "What do you think about canon endings in games like DA or ME?" Mark replied, "I mean you need to have canon endings. My feeling on canon, I don't really like what we did with some of the comics and that for DA where they just assumed things about Alistair. DA:O in particular, well ME3 is the worst, DA:O of the DAs is the most divergent, so if you wanna reuse some of these characters you kind've have to decide what canon is for those. The games have tried to respect peoples' choices. The comics and that have been a lot less good than that because I think the writers wanted to use Alistair, Wynne, Isabela or whatever. So you kinda have to treat those as if they are, y'know, multiverse a little bit if your canon is divergent. I don't love that but DA:O in particular is so divergent that to use the characters at all we had to do something. I kind've feel like maybe we should've just not used the characters but I wasn't the one driving the narrative on the comics"

[in the Mage Tower in Broken Circle] chat asked "So what exactly are those darkspawn flesh sack things on the wall?" Mark replied, "Blight corruption. I guess, demon pods.. unclear. Just something to differentiate it from Mage Origin I think, to be truthful"

DA:O is a little "confused in terms of magical sources and what goes with what. The team started to disentangle some of the magic sources since DA:O. It's a bit confused here, like is all magic from the Fade? Then what about blood magic, what about the Blight, what about lyrium? And so it's been sort've a [effort to reduce these a bit]"

Because the PC can be a healer, solo fights like against Duncan in the Fade in DA:O had to be balanced super-easy

(pls note that in places there is a bit of paraphrasing of the info, the best source is always the primary source with full quotes in their original context)

[source]

#dragon age #bioware #video games #mass effect #alistair theirin #fav warden #next mass effect #long post #longpost

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mar64ds · 8 months

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Can I know what's exactly sam and max and where should I start watching/play/reading it? Your posts make me feel curious and the energy of these two fill me with good vibes

Sam and Max is a comedy series about two guys solving strange crimes, they are married too, it's a lot of fun

It started with comics but then had a tv show and lots of videogames adaptations

-If you search 'sam and max comics' they are pretty easy to find

-The whole tv show you can find on youtube, there is even hd upscales

They have five videogames, you can either play them yourself or watch playthroughs on youtube, your choice

-The first game is Sam&Max Hit the road, an old pixel art game made by Lucasart. It's very short but this game is famous for having extremely difficult puzzles, unless you have a guide it's going to be almost impossible

-Then there is three seasons of Telltale games: Sam&Max Save the world, Sam&Max Beyond time and space, Sam&Max The devil's playhouse. They have remastered the first two seasons and they are working on the remaster of the last season right now, it's meant to come out this year apparently. My advice is to play the remasters, they look better and have removed a couple of bad 'jokes' from the original, as well as giving a black voice actor to a black character that used to be voiced by a white man

The first season starts slow but gets better as episodes go, it's a silly season, it has 6 episodes, the other two seasons have 5 episodes. The second season has a lot of highs and a lot of lows, when it's good it's good when it's bad it's bad, it feels like it has less of an idea of what they wanted the story to be but i suppose that doesn't matter much with sam&max. The third season............... oh, well, let's just say it gets a little less silly sometimes, there are high stakes here, there are tense emotionals moments, if you like these two characters you might cry. But truthfully, it's also a very dumb game with dumb adventures lol

-Then we have a VR game, I wouldn't buy a VR set for it, just go watch a playthrough. The gameplay is not that good and i'm pretty sure the devs are cryptobros, so just enjoy seeing sam and max talking to each other and to you for a couple of hours and then move on

I think it's important to warn that some stuff in this franchise hasn't aged well, some because it was the 80s/90s (comics, tv show, hit the road), others because some writers wanted to be edgy family guy writers i guess even though that's not the humor sam&max is supposed to have (the telltale games). No excuse for either of those though, it sucks that stuff is here at all and it would be bad that i talk about how much i enjoy these characters and not warn that there is bad stuff here from time to time. From the top of my head i remember the comics, show and Hit the road have racist caricatures of indigenous people (the comics have a one page comic long that includes this, hit the road has bigfoots that are kind of meant to be that as well and i would skip episode 3 of the cartoon altogether + edit: i forgot to add that there are characters in season 2 episode 2 of the telltale games that are also racist indigenous stereotypes), the telltale games have a bunch of fatphobia (mostly towards sam), ableism (mostly with a character named timmy, honestly skip the cutscenes once he shows up, you can skip dialogue in these games) and racist comments and stereotypes (like making max say a bunch of conservative stuff for no reason when he canonically kills n*zis and white supremacists in the comics. Caricatures of mexican people in s2 and romani people in s3, you could say the way they write black characters can be a bit stereotypical too but it's not my place to talk, but just a warning overall). There is more and if anyone wants to add more warnings go ahead

It's a fun franchise with fun characters, especially the main duo, when it's good it's really good, but when it's bad it's really bad, it's important to be critical about it. Wether you want to give it a try or skip this franchise altogether it's your choice, i'm always here to give the information necessary for newcomers of the franchise

#samandmax #ask to tag

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absolutebl · 1 year

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I’ve read your posts about honorifics in Thai bl with an older seme/younger uke and how usually the younger character tries to subvert/get out of that traditional honorific system quickly. (For power, maybe equal footing, whatever the reason.) I’m watching Future and Fuse is younger by 3-ish years (?) which I wouldn’t think much about except the age gap has been mentioned in almost every episode, usually by people being surprised/having negative things to say. But Fuse seems to have no problem calling Ana P, and even seems to enjoy it. He acts all cute when he’s drunk and really drags it out. What are your thoughts/opinions on this if you have any? I’m just curious as to your input ☺️ Do you think it’s just a natural bl progression, or that the seme/uke dynamic isn’t strong enough for it to matter? Do I even have them classified correctly or am I just spinning my wheels?

I think all your observations are pretty accurate. And I think part of it is progression of the industry. But a lot of it is this franchise which tends to be soft and fungible in its role assignments (Mark, for example, basically switches from seme to uke in between installments). With the exception of Vee (who's a disaster) it wields soem of the softest semes in the biz.

But note they are still dropping meehas like they are going outa style? So the script is still married to top/bottom, if not necessarily seme/uke.

But to me, most of it is in the characters.

Fuse thinks he wants the S/u dynamic, but he's not actually that into it. And that's because he has no experience, so he only had his fantasies. He's still figuring it all out.

I think this is all a comment on Fuse's innocence. Language play and everyone calling him a dek (kid/child) and the way he kinda relishes being a drunken baby with P'Anaaaaa. He's more uke clingy than seme obsessed, although we saw jealous angry seme in this recent ep. Fuse was clearly uncomfortable with those emotions too.

In the end a lot of Fuse's uke-ness feels natural because he is an innocent and acts younger. His seme-ness feels performative as a result. He's just a big baby puppy. He growls if he has to, but he'd rather flop around with his head in his bf's lap getting belly rubs.

This is his first relationship, and Ana has all the experience and heartbreak. That's what the script and linguistics are revolving around. The age difference is being emphasized for that reason. The implication is that P'Ana might be "too much" for Fuse to handle.

But then the story keeps showing us that this doesn't matter. Fuse doesn't really want to handle Ana, he just wants to be with him, and he's willing to go whatever direction is necessary for that.

I guess what I'm saying is, putting S/u aside, if Fuse turns out to be a top in the end, he's definitely a service top.

#asked and answered #thai bl #future the series #fuseana #ore is it?#anafuse

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fumizous · 3 months

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PINNED POST

Context for my blog:

I started this in 2020 following an intense hyperfixation based around what I dub the 'Kemamoto-mura gang': Keizou/Nathaniel, Fumiaki/Kenny, Yukiko/Lucy, Mariko/Kelly and Fuyunyan/Hovernyan - my main blog is @tousakamis , and my ao3 is @makochiu ! (with this in mind, please note many of my posts and older fics were written in 2020 and a lot has changed since this initial hyperfixation, but I keep things up for archival purposes!)

I often refer to characters with their Japanese names because I got into the franchise when the second games had only just released in Japan and thus the Japanese names just sort of stuck in my memory, but I will always respond to their English names (and for some characters I swap between the two)!

Beyond the Kemamoto-mura gang, my favourite characters are the Koma brothers, Hanako Noroino/Foiletta, Touma Tsukinami, Buck and Hailey-Anne!

I colloquially dub the 8th of February as 'Fumizou Day' as it was my first public post about the two characters which remain the center of my hyperfixation, so if anyone sees me talking about this please know it's more of a personal tradition than anything else - though, if anyone ever wants to join in even if it's just a singular post, I'd be absolutely honoured!

While I do have posts exploring headcanons for the Kemamoto-mura gang on this very blog, it's been roughly four or five years since I first made those posts... I don't have much faith in 14 year old Alina to effectively demonstrate my headcanons and choices for this group of characters, and so I wanted to make a post offering quick summaries and explanations for anyone who may be confused or curious as to my choices.

I know as well that I am definitely not the spokesperson for these characters nor am I the only one to have headcanons for them (I might jokingly call myself the Fumizou CEO but that's been a running joke since I was once again 14), so please know my ask box is always open for people to ask questions and discuss/debate/share headcanons. This doesn't just count for the Kemamoto-mura gang either - while they are 100% my niche in Youkai Watch, I have a lot of untapped love for other characters and I'm always open to any questions or discussions!

Headcanons below:

Nathaniel Adams:

12 years old, lives by himself

Depending on the work, his parents are either wholly absent or only his mother is present - his parents are depicted as neglectful in my later works and his mother is depicted as abusive in earlier works (this, I will admit, was reflective of my youthful amateurish writing). This plays on the fact that in the whole second game, there is no mention or recognition of Nathaniel's parents being present or caring for him and it can therefore be presumed that Hovernyan is his only real support system. I often play on this as reason for him being very independent and determined to be a hero, because while it is canonically due to wanting to defend friends, I also like to factor in that he may feel as if he is all he has to rely on.

He can be quite snappy and rude, which leans close to canon, but I like to show him as being quite mellow or childishly playful around Hovernyan in comparison to others due to their closer bond

Kenny Forester:

12 years old, lives with family and moved to Kemamoto-mura at age 12

Can see youkai if he is a companion to Nathaniel and not the grandfather role - I wanted to play on the fact that he is Katie's grandfather and if you play as her he is gifted with that bond with youkai, and the fact that both Guts F and Guts K exist in later games such as Youkai Watch 3 rather than just Guts K being the 'correct' grandparent. Therefore, whether he has the watch or not, I wanted to write him with a unique bond with youkai either way; otherwise, what is the point of such a cute medallium entry? ("He was a boy that loved Yo-kai so much that he became one himself. That love still spreads through hundreds of Yo-kai friends.")

Friendly, playful, polite and enthusiastic to befriend Nathaniel, though... I try to write this in a way which makes him feel just as mysterious and confusing as it does friendly and endearing. In every work of mine, I try to give him this somewhat unsettling and confusing air - like, why CAN he see youkai, why is it that in every universe par the canon one he is drawn to the one boy destined to create the youkai watch, what is his whole deal? I want it to feel as if his existence is an unanswered question sometimes, but Nathaniel is too happy to just have a friend that he doesn't pry. I guess this plays into the fact that he's, in itself, an alternative universe watcher and he doesn't exist in what is classified as the 'correct' universe with Nate as the protagonist? Therefore he's not really meant to exist in Nathaniel's universe anyway, but despite that, he perseveres.

He and Kelly are the two characters which veer most into OC territory as I wanted them to feel different from Nathaniel/Lucy, but I do try to lean into canon elements of his personality as well, like the way he bickers with Nathaniel and a passion for moxie/guts and stuff like that

Lucy Adams:

12 years old, Nathaniel's neighbour and childhood best friend

She remains fairly close to canon in all my works - a sweet, friendly girl that sticks close to Nathaniel and teases him just as much as she cheers him on, also with a weirdly unexplained bond with youkai (because loving a watcher does that to you!)

However, in quite a few of my works, I try to play around with her character since she and Kelly don't have all that much in canon to work with in the first place - I like to show her matching Nathaniel's adventurous spirit and fierce moral code of defending people, for example. I want to explore her more, so perhaps I'll update this in future with more little tidbits about her character?

Kelly Forester:

12 years old, Lucy's classmate who has lived in Kemamoto-mura her whole life

I headcanon her as a trans girl with a fierce defensiveness over Lucy and a playful one-sided rivalry with Nathaniel which usually just leads to banter and teasing. Her transness is, in part, a headcanon which stemmed from my own untapped gender issues as a teenager, so it's one of those which has just always stuck because while I'm transmasc, having a character to weave the beauty of transness in youth into is very meaningful to me :-)

In my works she and Kenny... don't really interact that much? This was a completely unintentional thing, and while it definitely brings up questions of continuity in the grand scheme of things (like how tf does Katie exist), we ignore that. I'll probably play around with their bond more in my works! She and Kenny are the ones that feel most OC-like but I try to draw on canon alongside headcanons LOL

Hovernyan:

Nathaniel's best friend and youkai companion through thick and thin

One of my favourite things to do with Hovernyan is place that silly, bantering and ridiculous side of him shown in the movie and sometimes in the games next to a wistful, deep, brooding wanderer with a lot under the surface (which is brought to the light because of how a wandering spirit stayed stagnant for his human friend). He and Nathaniel have a bond which is rich in potential, namely in the forms of angst, and I like to play on the fact that they both adore each other and bring out the best in each other when they play around but also that underlying awareness especially on Hovernyan's side that their time is limited and Hovernyan just wants to care for Nathaniel and keep him safe while also not messing with fate too much.

Therefore, he will sometimes go on wistful, deep analysis's of his friend in my fics, right before going back to banter and teasing. I like to position him as a more logical and 'intelligent' figure than Nathaniel but also demonstrate that he, too, is just a silly goofball underneath that guise of put-togetherness

#my post #long post #my headcanons #pinned post #fumiaki kodama #keizou amano #nathaniel adams #kenny forester #yukiko amano #lucy adams #yukippe #yokai watch 2 #kelly forester #mariko kodama #marippe

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sbc-moved · 4 months

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Hi, how are you? I'm curious about your (or your S/I's) relationship with other Mario characters like Luigi and Peach. Are you in good terms with them? What about Bowser? 👀👀

Thank you. Thank you SO MUCH for asking me this question. There is nothing I would love more than to answer this THANK YOU. Thank you so much I love you. You’re an angel.

Now not to go over the obvious but ofc we’ve got the man himself. Mario Jumpman Mario. We’re lovers. Soulmates even. There isn’t a character in this world who has meant as much to me as he does, I was actually talking to my friend about this the other day but anyways. Not important. This isn’t about him.

I actually made a big long post already talking about Peach, but just for the sake of saking, I’ll reiterate a bit here. We are best friends. I’m her second in command, her lady in waiting. By extension of being so close to the princess I would also be very close to the toads as well.

Luigi is a character I feel i personally don’t talk about enough but obviously. If you’re going to be close with Mario you are going to be close with Luigi. They are a package deal that’s just how it is. Luigi is my good good friend and I care for him deeply.

Characters like Yoshi, Daisy and Rosalina I haven’t thought much about, but I like them both a whole lot and would also consider them to be friends as well. Most of the time I consider every character from a source to be my friends because I love all the characters so much, if that makes sense. Like I want to hang out and hold hands n shit.

And that brings us to Bowser. Despite it all I really like Bowser actually and used to consider him a platonic f/o and still largely do but it doesn’t make much sense from like. A story stand point for us to get on Y’know? So I like to imagine it’s one of those like. ‘We’re teaming up because we have to’ moments that him and Mario have except. Like. Always? We’re hanging out for some reason but we do. Have beef. We’re playing golf together but I will fight you. I will babysit your kid but we’re still enemies. That kinda thing.

And. Once again not to get unnecessarily personal on a post about Supa mario. But most of my relationships with characters stem from like. My relationships with them in real life. Like if that makes sense. Like I’ve had it bad for Mario since I was 6 so like. Obviously we’re in love. For the longest time peach was my all time favourite Mario character (even above the man himself for a moment) therefore we’d be close etc etc. idk. Smb is my special interest and it is like. One of the biggest pieces of my life and it’s really shaped who I am. It’s important to me and I love. Including myself in this franchise that I love <333 whatgfgfhg cringe okay byeee

#THANK YOU. thank you so much I love rambling #this made me so happy u have no idea #princess peach #Luigi #bowser #self insert #smb oc #self shipper #platonic f/o #♡.mail box

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emotionallychargedtowel · 6 months

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That post about Higuchi Kouhei and his cat got me thinking about some other tokusatsu-to-BL pipeline actors that are on current or recent BLs, so I thought I'd do a screenshot post about Kamen Rider Revice, a recent toku series that features two lead actors who star in current BLs, plus an actor in a smaller role who was part of a side couple in a BL series that recently completed a second season.

The main character of Revice is Igarashi Ikki, played by Maeda Kentaro, currently playing Ohara Yamato in I Can't Reach You. His siblings are very central to the story as well--by the end of the series, the story is centered around his whole family. Ikki's younger brother Daiji is played by Hyuga Wataru, currently playing Yamasuge Ryuiji in If It's With You.

Here they are having a bath in the opening credits for the show (the Igarashi family runs a public bath house).

I should say at the outset that I can't entirely recommend Revice, especially to folks who don't already have some tokusatsu-watching under their belts. It's a hot mess in a lot of ways. But it does have some really outstanding highlights. The best aspects of the series, in my book, were:

Kagerou (Daiji's demonic alter ego),

George Karizaki (my beloved),

Igarashi Sakura/Kamen Rider Jeanne (the most formidable female Rider I've seen in any series in the franchise), and

the relationship between Sakura and Natsuki Hana (a rare example of a convincing Sapphic ship in a franchise well known for "heated drama between men").

I'm not going to get into 2 and 3 here, as tempting as that would be, but I'll include as much of 4 as time/space permits.

It might seem weird that I'm not recommending a series with some of my favorite characters in the entire Kamen Rider franchise AND a relationship between girls that is a hair's breadth from being canonically queer. It's just too much of a trainwreck to endorse as a whole. But as I said, the highlights are really something.

One of the biggest issues I had with Revice was that Ikki, the protagonist, just isn't a very compelling character. As a result I don't think Maeda Kentaro really got to show the range of his acting abilities in this series. (This just makes me more curious to see him in ICRY. From the excerpts I've seen so far, it seems like he shows a really different side of himself.)

Maeda appreciators might still enjoy the many determined faces and creepy smiles he gets to dish out in this series. Here's a sampling.

It's possible they'll want to look away when he starts doing things like this, though.

Fans of both Maeda and Hyuga might enjoy some of their scenes fighting side by side, including doing their various henshin poses (the moves they do before they transform into their masked Rider forms).

Or when they do things like this bonkers flying kick.

Thankfully, Daiji is a more interesting character than Ikki, so Revice gave Hyuga some more challenging things to do. I thought Hyuga also just really made the most of every opportunity the show presented to him. He was seriously impressive. This is the reason I was sold on IIWY the moment I saw the announcement about it based solely on Hyuga's involvement.

Here's a sampling of Hyuga as Daiji.

In addition to playing Daiji, Hyuga also played Kagerou, Daiji's aforementioned demonic alter ego. Kagerou was formed from thoughts and emotions that Daiji repressed. The biggest of these was his resentment toward Ikki. But apparently Daiji had also been repressing a desire to be a somewhat gender non-conforming goth, because that's Kagerou's other raison d'etre.

In some ways, it's hard to imagine a character more different from Ryuji. If they have anything in common, it's the fact that they both place a high value on honesty.

One other thing that's worth noting about Hyuga's work on Revice is that he was only 17 when the show premiered. He showed major dramatic range in this part, not only playing two very different characters but doing everything from low-key nuanced scenes to bombastic high drama. Not to mention the stunts! Doing all of this at 17 is seriously remarkable.

Now for our bonus dude! There's a secret evil-fighting organization called Weekend that secretly keeps tabs on the Igarashi family for years before coming out of hiding to join the big central battle of the series. One of the Weekend operatives is Ushijima Hikaru.

Look familiar? Maybe not, he didn't make faces like this on his BL series.

How about now? Yep, it's Oku Tomoya, who plays Hanabusa Asuka on both seasons of Minato Shouji Coin Laundry.

Oku has some big scenes and interesting moments in Revice. He does some romantic pining, goes through big-time loss, does quite a bit of martial-arts sparring, gets seriously injured, and more. He even gets to henshin a few times. Here he is getting ready to do just that with Sakura and Hana. Those Weekend uniforms are pretty hardcore in a 70s flight attendant sort of way, but I feel like Oku really sells it here.

While we're on the subject of Sakura and Hana, I feel like I can't mention their relationship without including some moments where their story came particularly close to tipping into full-on yuri.

If you're going to do an enemies-to-lovers story, why not make them full-on superhero nemeses?

The word "date" might not technically get used by the characters, but there's no mistaking that the amusement park hangout Sakura invites Hana on--while she is still a fully-functioning bad guy, I might add--is definitely a date.

Most of the time when a Rider beats their nemesis for the final time they don't hold each other tenderly in the sunset.

By the end of the series, they're in a big tub together at the Igarashi's bath house.

There are tons more examples but you get the idea. If this isn't borderline-yuri I don't know what is.

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