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your-brilliant-lady-m · 3 years

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Part 4 - Basic Concepts of Miraculous Ladybug: Glamour

You can call it however you want: kid's show logic, superhero disguise logic, magical girl show logic, cartoon laws, suspension of disbelief, etc. But the fact that nobody recognises Marinette, Adrien and others when they are suited up IS NOT BAD WRITING. It's one of the main laws of this genre. That's not because characters are stupid, okay? So, being frustrated that everyone in the show acts stupid about this "wearing a mask that covers only eyes" trope is strange. This criticism is not valid or fair.

But, this trope has to make sense in-universe as a worldbuilding and narrative element.

Miraculous doesn't give us much direct information on how glamour works. And in this case, I think we need both SHOW and TELL. Because if you don't establish the glamour rules clearly, you are going to run into problems and create unfortunate implications with your storytelling choices.

Appearance

Miraculous obviously gives our heroes magical glamour. In "Lady WiFi" we find out that masks can't be taken off. It's magic. No other explanation is needed.

Miraculous can slightly change the appearance of users (eyes, face shape, height and hairstyles). People can identify and notice the hairstyles of heroes (numerous Ladybug wigs, statue in Copycat). Jagged Stone points out the change of hair when he mistakes Chloe for Ladybug ("Antibug"). But it's just a costume. There is no magic that prevents Jagged from understanding that Chloe isn't Ladybug. So, how does it work? But it's forgivable because it's cartoon logic. Suspension of disbelief works here, I suppose. I won't judge this too harshly.

Glamour also obviously prevents people from making a connection that Marinette and Ladybug have identical hairstyles. So people know that Ladybug wears her hair in pigtails, but magic does not allow them to notice similarities.

Another important question. Does glamour work on Kwamis? Can they see who is behind the mask?

New York Special makes it clear that magic does not affect robots and they can see through glamour. Does that mean that Markov, AI built by Max, knows the identities of Ladybug and Chat Noir? And it's never addressed.

Plagg in "Frightningale" says that holders can subconsciously choose their superhero appearance. This is actually pretty interesting and I like this idea a lot. Except the show is not consistent with this. The transformation of Master Fu looks identical to Nathalie's. And we have seen how different from each other Ladybug and Black Cat holders looked in the past. At the same time, Master Fu and Nino have different takes on Turtle superhero suit.

Age Glamour

Does age glamour exist? Do people see Ladybug, Chat Noir and other heroes as adults even when they look like teenagers to the audience (their height and build are smaller even when they are transformed)? Is that why no one ever questions the fact that children nearly die on a daily basis?

I mentioned unfortunate implications earlier. Well, this is where they come into play. Let's talk about "Copycat". A lot of people discussed it before me, so I won't bore you with details.

When I watched "Copycat" for the first time Theo's crush on Ladybug didn't bother me, because I thought that he sees Ladybug as his peer, a girl who is about 20-23 years old. Theo is an artist, his character design is that of an adult. He has his own studio, its appearance indicates that he did serious commissions in the past. The guy has no idea that Ladybug is like 13.

But then we get "Heroes' Day" and "Ladybug". And Hawkmoth calls them "kids", which means that there is no age glamour. Others see Ladybug and Chat Noir as teenagers. Perhaps, other Miraculous users aren't affected by age glamour. Therefore regular people see all heroes as adults but other heroes are able to guess their age more or less correctly. But you must spell this thing out because the audience can interpret "Copycat" differently. If there is no age glamour, then Theo is crushing on a teenage girl and he is fully aware of this fact. And this doesn't look good for your show.

The "No Age Glamour" theory is further confirmed in "Sapotis" where Alya just straight up analyses voice recordings and says that Ladybug is a girl their age. If glamour exists then it should also cover technology. Kwami can't be photographed. Face and voice recognition software shouldn't be able to analyse transformed superheroes and detect their identities in any way.

Besides, after "Sapotis" Alya should definitely be sure that Ladybug is not 5000 years old (also not an adult), especially after she wore Miraculous herself and was one door away from detransformed Ladybug.

SEASON 4 UPDATE! There's no age glamour after all.

In "Furious Fu" Su Han calls Chat Noir a child without knowing his identity. It means that everyone knows their superheroes are teenagers. "Copycat" can't be saved from that, uh, subtext anymore. No one questions the danger of their job or the balance of their lives outside of the mask. No one doubts their competence after "Origins" ever again. No one becomes annoyed after being bossed around by two teenagers in spandex. You had many opportunities to drop these details into the narrative. Someone could have been akumatized over this (I will not be ordered around by some magical kids!).

I don't know why writers decided not to use at least this idea and slightly adjust "Copycat" if they got rid of the age glamour completely. It can be explained as kid's show logic, but unfortunately, I'm reluctant to do it. If many characters sympathise with akuma victims on-screen, why not with the teenage superheroes who must fight them?

New York Special had this weird focus on collateral damage out of nowhere (the damage done by sentimonster Robostus) and yet it has 0 effect on the main story. No one in Paris is pissed that their 2 teenage protectors weren't there.

Ironically, "Furious Fu" and that one remark made by Su Han also created unfortunate implications for other moments in the show. Just hear me out. Apparently, Jagged Stone wrote a "thank you" song for Ladybug knowing that she is 13-15 year old child back in "Pixelator". Fandom is more than happy to roast Lila for lying about saving Jagged Stone's cat and him writing her a "thank you" song. Fandom claims that Lila's tale could harm Jagged's reputation, when he wrote a song for teenage Ladybug several weeks prior. Meanwhile, in-universe this lie is 100% believable.

If we put on "realism glasses", then both this whole song situation and Theo's crush in "Copycat" have uncomfortable implications. However, the show's canon can't be viewed and criticised through "realism glasses". I admit that bits and pieces of my criticisms are affected by these "glasses", but, ultimately, I'm trying to be fair and concentrate only on things that can't be justified by "cartoon logic and worldbuilding".

Could the existence of age glamour solve this problem of unfortunate implications and other concerns mentioned above? YES. Is it better for the narrative? YES. Is essential for the story? NOT QUITE. Could the absence of age glamour be called an irredeemable storytelling flaw? NO.

Disclaimer: On a side note, only older audience can notice these implications. Children, the target audience, most likely won't understand this subtext simply because they don't have enough experience. So, perhaps, this criticism is unfair, because these moments only look weird to me as an adult. It's like an adult joke in a cartoon that you don't get until you reach a certain age.

There's nothing technically wrong with adult writing a "thank you" song for a teenager. It's just an expression of gratitude. However, unfortunately, we live in a world, where adults normally wouldn't write songs for teens to express gratitude only. In real life similar actions would imply pedophilia and would be actively scorned by the public. No one would risk their reputation like that even if their intentions were genuinely pure and sincere. But this show can't be viewed through "realism glasses", because it's a cartoon and in certain cases we as the audience must use suspension of disbelief and pretend that certain things are possible for plot to happen.

Su Han also wants to give Ladybug and Black Cat to adults. Why didn't Master Fu do this then? Writers don't give us any explanation. Throughout the show we never question this up until the moment it's revealed that adults don't have time-limited powers. Then comes "Furious Fu". Story suddenly becomes self-aware here. Because apparently nothing prevented Fu from giving the most powerful Miraculous to adults who won't have time limit and will be more effective against Hawkmoth (see part 3 for more details).

I have a very good example of Age Glamour done right. It works in the story. There is no confusion or unfortunate implications. There is like one plothole connected to the glamour (it's been years and I still can't forgive them for Cornelia and Caleb) but otherwise, it's a pretty solid example of both show and tell. Clearly, writers wanted to avoid uncomfortable implications which are present in "Copycat". I am talking about W.I.T.C.H. comic books and animated series.

If you are not familiar with it, I'll give you a brief explanation. The story follows 5 girls, the Guardians of Kandrakar who are chosen to protect their world and parallel ones from evil. They receive magical powers from the amulet known as the Heart of Kandrakar. Their powers are based on elements: fire, water, earth, air and energy. Our main characters are about 13-15 years old. In the animated series they are younger and they attend middle school, making them 12-14 years old. But the transformation makes them look 18-20. They look like young women to each other and to other people. At the same time, people can recognise them, their looks and voice don't change. Most people don't know that they are really teenagers when they are not transformed and these people don't know that magic can make them look older. That's why everyone treats Guardians like adults when they are transformed. Comics establish this fact in the very beginning. In first issues characters state that they look older, we are also shown this multiple times.

In fact, one of the first side plots revolves around the fact that Irma uses her powers to sneak into the disco club to meet up with her crush. Irma is 13 at the beginning of the series, she is a high school freshman. Her crush, Andrew Hornby is a senior guy 17-18 years old. Irma has liked him for a long time and wants to impress him, so she decides to be clever about this. She transforms into her Guardian form of the 18-year-old girl, hides her wings, sneaks out to the club after her parents are asleep without any problem, and meets Andrew, who obviously doesn't recognise Irma in this girl who looks about his age. Smitten Andrew offers her a ride and 13-year-old Irma doesn't understand the implication of that offer, so she accepts. And, obviously, he decides that she is interested in more than just a ride home, since she agreed, and the comic implies that he fully intended for them to have sex in the backseat of his car. But Irma understands the implication only when Andrew tries to kiss her. She panics and turns him into a frog. And she actually pulls this "I need to look mature" trick more than once over the course of the series.

It's not the only situation where this age difference is handled well and makes sense. People who know the main characters in everyday life remark on their older appearance during transformation. Sometimes people flirt with Guardians when they are transformed. In one of the side-novels centred around Cornelia, she is worried that the prince of the realm they helped to save from famine would try to marry her. That never happens, but Cornelia actually brainstorms with her friends about how to tell the prince that she is really 15.

There are many other plot points where this happens, but I think that you got the idea. I really like how "Age Glamour" was handled in W.I.T.C.H.

How do we fix this? Create the situations where people offhandedly mention "Age Glamour" in the presence of Marinette or Adrien, use Kwami for this.

"Don't worry, dear. Chat Noir and Ladybug are adults, who know what they are doing. I am sure that they will handle this. "

Theo could say: "Oh, I wonder which university Ladybug goes to?"

"So, does that mean that other people see us as grown-ups, Tikki?"

A few words and boom, problem solved. Then allow the "show don't tell" rule do the rest.

#miraculous ladybug #ml #miraculous analysis #miraculous meta #ml meta #ml analysis #miraculous transformations #miraculous critical #miraculous ladybug critical #miraculous glamour #superhero glamour #miraculoustalesofladybugandcatnoir

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aspoonofsugar · 3 years

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What is your opinion about the Maidens in RWBY and their importance?

Hello anon!

I like the Maidens and especially how they explore two main ideas:

1) The concept of cycles and generations.

2) The trope of the chosen one.

THE CYCLE OF SEASONS

I think it is clear Ozpin created the Maidens partly because he wanted guardians and partly as a way to grieve his four daughters. He has symbolically dragged them into the cycle with him and Salem.

In a sense, the story keeps repeating. Salem kills Ozpin, he is reborn and his daughters are victims of the conflict between them.

Because of this, the four Maidens have become one of the many symbols of this endless cycle, which is clealry breaking its protagonists more and more.

This is well conveyed by the Maidens having a season theme. Seasons are in fact linked to the repetition of time aka one of Ozpin’s motifs:

At the same time, the idea of an older woman passing the torch to a younger one can be easily read as a metaphor for a mother-daughter dynamic. This is not always the case, but so far this interpretation is important for two of our four Maidens:

Penny receiving the Maiden’s powers from Fria is important on multiple levels and it plays on Penny alluding to Pinocchio. Fria (The Blue Fairy) recognizes Penny as a real girl, something she has been struggling with since the beginning:

Penny: Ruby... I'm not a real girl.

And is still struggling with:

Cinder: I don’t serve anyone. And you wouldn’t either, if you were built that way.

That said, Penny is not only struggling with enemies that consider her a robot, but also with the (understandable) overprotectiveness of people who love her:

Pietro: I lost you before. Are you asking me to go through that again? No. No. I want the chance to watch you live your life.

Penny: But dad… I am trying to.

She is not only a robot, who wants to prove she is a real girl, but also a daughter, who wants to grow into her own person.

This idea is made even stronger by Penny having been “created” through Pietro’s aura. She is a part of Pietro becoming someone completely different and independent from him. Still, isn’t it what all children are?

Raven is instead Penny’s opposite since she is not a daughter, but a mother. Not only that, but she is a mother, who fails three times.

She fails her biological daughter Yang by abandoning her and putting her in danger.

She fails Vernal, who dies for her.

She fails the previous Spring Maiden, who clearly looked up to her and was betrayed:

Cinder: Vernal was a decoy the whole time. The last Spring Maiden must've trusted you a great deal before she died. I bet that was a mistake...

This is well conveyed by Raven’s case being the opposite of what should ideally happen. Normally an older Maiden should pass her power to a younger girl, so that the cycle keeps going and that a new generation can keep fighting for good. However, Raven steals the powers of the Maiden for herself, just like she uses her shape-shifting ability for selfish objectives:

Ozpin: Everyone has a choice. The Branwens chose to accept their powers and the responsibilities that came with them. And later, one of them chose to abandon her duties in favor of her own self-interest.

She presents herself as a mentor for young women, but in the end she is a failure because she is too self-centered.

In conclusion, Rwby is both a coming of age story and a story that deals with cycles. Let’s think about the many abusive cycles in the story or the damaging cycles present in society, for example. All these cycles need to be broken and I would not be surprised if this will be the case for the cycle of the Maidens as well.

THE CHOSEN ONES

Up until now, the person who should be a Maiden never becomes one.

a) Pyrrha was destined to be the Fall Maiden, but Cinder stole the power.

b) Vernal is foreshadowed to be the Spring Maiden, but Raven turns out to be the real one.

c) Winter has been preparing herself to inherit the Winter’s Maiden’s role, but Penny is the one chosen by Fria.

Why is that so?

The story is clearly playing with the idea of the “chosen one” and asking some questions.

Are people chosen by destiny:

Cinder: It’s unfortunate you were promised a power that was never truly yours.

Or do they choose it?

Red-Haired Woman: She understood that she had a responsibility… to try. I don’t think she would regret her choice, because a Huntress would understand that there really wasn’t a choice to make. And a Huntress is what she always wanted to be.

What if the chosen person is the wrong one?

Lionheart: She was determined, at first, when she inherited her powers, but the weight of responsibility proved to be too much for the child. She... ran. Abandoned her training, everyone. That was over a decade ago. There's no telling where she could be now.

Finally, is it even right to choose a person?

Weiss: Doesn't it bother you? He practically groomed your entire military career.

Winter: It did at first, when the General first proposed it to me. But the more I thought about it, the more I saw it as a privilege, a chance to do some real good for Atlas. For Remnant.

Weiss: But your destiny was chosen for you, without your input.

So far each Maiden has explored this concept in a different way. Moreover, the story has highlighted many problems with the method used by Ozpin and his allies to select their guardians.

First of all there is the machine used to transmit aura:

Ironwood: We've made... significant strides. And we believe we've found a way to capture it.

Qrow: Capture it and cram it into something else. (gestures to Pyrrha as she takes a second to realize what that means) Or in your case ...

Pyrrha: (to Ironwood) That's...

Ironwood: Classified.

Pyrrha: ... wrong!

This method has been presented in-universe as sketchy and unethical both for the person who is having her aura taken and for the person receiving it.

It is also interesting that this machine is basically the technological equivalent of the Grimm used by Salem and Cinder to steal the powers in the first place:

One is the product of destruction (The Brother’s Grimms), while the other is the result of creation (in-universe technology is linked to creation). However, they both do essentially the same thing. They steal another person’s aura and change the one absorbing it:

Raven: You turned yourself into a monster just for power.

Secondly, there is the fact that so far several Maidens have died or have been targeted in horrible ways.

Some of them were specifically attacked because young and less experienced than others, like Amber. Some others made their choice without truly understanding it, like the Spring Maiden. And some of them. like Pyrrha, were not even given all the elements to make an informed choice.

In short:

Hazel: You send children to their deaths for a cause that you know has no victory, no end!

It is true that Hazel is a hypocrite that feels anger for Ozpin sending students to their deaths only to be the one killing them. It is also true that he does not respect his sister’s choice:

Oscar: Did she know the risk of being a Huntress?

Hazel: She was only a child! She wasn't ready!!

Oscar: She made a choice! A choice to put others before herself! So do I.

However, the narrative harshly criticizes Ozpin for not giving people all the information, “the knowledge”, they need to make that choice:

Yang: There was so much you hadn't told us! How could you think that was okay?!

Finally, we arrive at the current volumes where we see how Ironwood has tried to control Penny, Winter and Fria aka all the three people involved in the passage of the Maidens powers...only to fail miserably.

And in this failure probably lies the true mistake which has been made over and over again. The whole point is that probably the whole cycle (thematically) can’t and should not be controlled to this extent:

Goodwitch: At first, the only thing that was certain was that the powers were specifically passed on to young women. But as time went on, it was discovered that the selection process was much more... intimate.

Pyrrha: ... Intimate?

Goodwitch: As we understand it now, when a Maiden dies, the one who is in her final thoughts is the first candidate to inherit her power.

The powers are passed from a person to another through emotions. It is not by chance that the last person in a Maiden’s mind is the one who gets the power. It is because the power is linked to emotions and to ties and you should not try to weaponize them.

MAIDENS AND RELICS

Finally each Maiden is clearly linked to the theme represented by her respective relic.

Pyrrha and Cinder are both linked to the idea of destiny and choosing. I have shared some thoughts on them here.

I would say that Cinder wants to be chosen. She wants to be special and to be given value. This is probably why she is serving Salem. It is because Salem has chosen her for an important role:

Salem: When I chose you as my vessel for the Maidens, I put my trust in you.

This is not positive. It is dehumanizing:

Salem: This game is not yours to win, Cinder, it’s mine. Just because you’re more valuable to me than a pawn, does not make you a player.

But Cinder sees this as a chance.

Pyrrha is instead a person, who chooses her own destiny:

Pyrrha: When I think of destiny, I don’t think of a predetermined fate you can’t escape. But rather… some sort of final goal, something you work towards your entire life.

In other words, Pyrrha has an active role in her own destiny, while Cinder so far has accepted it passively.

This might seem ironic because all in all Cinder has been a pretty active character. She was born as nothing and fought to free herself and to become more powerful. However, she is still leaving her own life in the hands of another person, who is specifically coded as an abusive mother-figure. It is probable that her arc will be about taking back the agency Salem is clearly stealing from her.

This might very well be why she is the Maiden of choice. It is because in the end she’ll make an active choice to get her own freedom back.

At the same time, Pyrrha being active in her choices still leads to her demise. This is because she represents a choice without knowledge, as I have stated in the meta linked above:

She had been explained only a fragment of the truth, while the whole point is that one should learn, meet creation and destruction and then make a choice. This is why we have yet to meet the relic of choice.

As a matter of fact it is clear that knowledge and choice are complementary, just like destruction and creation.

This is highlighted also by their respective relics. On one hand the Lamp offers knowledge of the past. On the other hand the Crown gives its user a vision of a future choice.

This is because one has to know the past to change the future:

Bartholomew Oobleck : History is important, gentlemen! If you can't learn from it... you're destined to repeat it.

In a sense, knowledge is the passive condition of choice, while choice is the active goal of knowledge.

This is why one needs both to contribute to the world in the most effective way possible. If one acts without knowledge they might make the wrong choice. At the same time, knowledge without choice is just passiveness, as shown in The Indecisive King fairy tale.

Too much knowledge might lead to indeciveness or even cynism. This is why Raven is the Spring Maiden. It is because she is Pyrrha’s opposite aka knowledge without choice:

Yang: Which is it, mom? Are you merciful, or are you a survivor? Did you let me walk into that trap because you knew I could handle it, or because it meant you could get what you wanted?!

Raven keeps making decisions only to run away from them immediately after. Knowledge did not make her braver, but just a coward.

Finally we arrive to Penny and the idea of creation.

I have mentioned Penny in the meta linked above:

Penny is an artificial human, a creation who was given life because her father loved her so much that he sacrificed a part of his aura for her… twice. She is at the centre of the theme of creation and it represents the good sides of it. She is a creation with a soul, a child, the fruit of parental love. It is because of the love she received that she is willing to protect creation.

Penny is at the centre of the theme of creation in two ways.

a) She is a child, who wants independence.

b) She is a good declination of technology.

On one hand children are new lives that join the world. They are the embodyment of creation.

On the other hand technology is an expression of human creation and a way humans have to change and influence reality.

Penny is both. She is Pietro’s girl and a robot with a soul:

Pietro: When the General first challenged us to find the next breakthrough in defense technology, most of my colleagues pursued more obvious choices. I was one of the few who believed in looking inward for inspiration.

Ruby: You wanted a protector with a soul.

Pietro: I did. And when General Ironwood saw her, he did too. Much to my surprise, the Penny Project was chosen over all the other proposals.

Ironwood choosing Pietro’s project over others is very interesting and ambiguous. Did he choose this project because at the time he understood the importance of “a protector with a soul”?

Probably consciously yes, but the way he has treated Penny since volume 2 suggests also something different. It suggests a desire of domination. The idea that putting a soul into a metallic body would make it easier to control it.

After all:

Ironwood: For the past few years, Atlas has been studying Aura from a more scientific standpoint; how it works, what's it made of, how it can be used. We've made... significant strides. And we believe we've found a way to capture it.

Each one of humanity’s gift has another side of itself. Knowledge can lead to fear and choice is linked to passivity/agency. When it comes to creation, this gift brings with itself the temptation of control.

Why shouldn’t a creator “own” theis creation? Why shouldn’t they be entitled to it? Why should they share it with the rest of the world?

If one looks at Ironwood, at Atlas and at the other protagonists of this volume this way, a lot of things resonate.

Atlas is the most technological advanced kingdom, but instead of sharing its resources it closes off. Ironwood’s embargo is just another declination of this same idea of losing control.

Similarly the Ace Ops and Winter are all repressing their emotions. They want perfect control over themselves. They are taught they should be like drones.

Technology itself is often misused by the characters. Technolofy should be like Penny. It should have humanity and a soul, but Ironwood likes it because he sees it as something logical that can be controlled (and of course he keeps losing control over it). Ironwood wants to become like he thinks Penny is aka a controllable soul. He fails to understand that Penny is special because she has her own free will.

Finally, this same desire of control is present also in familial relationship. It is not by chance that the Schnee Family is in Atlas. Weiss’s story has always been about exploring this specific idea of a family. A family, which is cold and controlling, just like ice. Weiss’s arc is about melting this ice, in herself first and now in others as well.

Technological control and the control of people. In short, the control over two aspects of creation. This is the the idea Atlas represents and this is why it is currently falling.

In short, the creation must be free and it is not by chance the world is in its current predicament because the Gods tried to control their creations with disastrous results.

CONCLUSION

These are my main thoughts on the Maidens so far. That said, they might chance since the story is far from over as the arcs of all the maidens we have met so far.

As a final note, I find interesting that so far none of our four protagonists is a Maiden. It is an interesting choice and I think that it lets the series make a good use of its ensemble cast.

That said, I wonder if our four protagonists will end up calling back the original Four Maidens instead.

The fairy tale is interesting on multiple levels.

In-universe, it is interesting because it tells us something about how Ozpin was probably inspired by the original Four Maidens to try to save the world again. Ozpin is inspired by four normal people, who are just trying their best to help others.

This is a recurring idea in Rwby and this might be why none of the four protagonists has been selected to be a Maiden yet.

If read as a stand-alone, the story is an interesting tale on how to overcome depression.

The story starts with the old man closed in his house and it shows how he progressively opens up until he himself is able to help others.

Winter is the one who teaches him how to work on his own interiority even when the world is cold.

Springs prepares the terrain for him to come out. It makes the garden more welcoming. It is like when a person has to find the right environment to open herself up.

Summer is the one who finally drags the man out and gives him energy.

Finally Fall is the one who makes the man realize he can now share his new found energy with others.

Theirs is a virtuous cycle and I would say it is very different of the tragic cycle that sees the current Maidens as protagonists. Who knows? Maybe it is about going back to that virtuosity.

Thank you for the ask!

#rwby #rwby meta #maidens #cinder fall #raven branwen #penny polendina #pyrrha nikos #asksfullofsugar #anonymous

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shihalyfie · 3 years

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02′s influence on Adventure

You’re probably reading the title and going “...what? Isn’t 02 the sequel to Adventure? How would a series be influenced by its own future sequel?”

The thing is, assuming that Adventure was written in a vacuum and everything in 02 a retrofit runs very contrary to how both series were produced, and how this kind of anime is produced in general -- Adventure and 02 share almost identical staff members, and were separated only by a real-life single week in airing time. 02′s existence was not a sudden last-minute decision that was tacked on at the end! In fact, Adventure being extended to a second series was decided seven months into its production, right around the end of the Tokyo arc (sometime around the third cour). Despite it being a rather tonally different series, 02 is really just Adventure’s staff...writing more.

This means that by the time production had moved to Adventure’s final arc, the staff was very aware that they would be on for another year writing a sequel to this anime -- which thus likely became the fuel behind many of its creative decisions, made specifically to pave the way for 02.

The ending

Yeah, so, this ending. You know this really famous ending? The one that’s had such an impact on franchise history that a lot of later things have even tried to imitate it in some form? The one that everyone cites as one of Adventure’s most famous scenes (for good reason)? This ending only exists because of 02. You know what actually would have been Adventure’s ending if 02 hadn’t existed?

The 02 epilogue.

The ending that we now know as the “02 epilogue” was actually decided on before recording for Adventure had even started. (They weren’t even sure about finalizing the character personalities yet!) All of the most substantial details about that epilogue -- the series actually being the adult Takeru’s novel, everyone in the world having a Digimon partner, and, as it seems, even Yamato and Sora getting married -- were decided on before 02 was even in the picture. Most likely, the only material difference would have been that the four characters introduced in 02 (Daisuke, Miyako, Iori, and Ken) and their partners wouldn’t have been involved, but everything else would have roughly been the same as the “epilogue” we know now. (This especially makes sense when you consider that one of Adventure’s major influences was the movie Stand By Me, which is extremely culturally influential in Japan as a “childhood summer adventure story”, and involves a similar timeskip epilogue with one character growing up to chronicle the story as a writer.) All of this was basically intended to tie into Adventure as a narrative of “a story of humanity’s evolution”, so this ending was envisioned as the “natural conclusion” of the story of Adventure as a whole. If anything from the original Adventure ending would have been retained in this hypothetical scenario of only Adventure existing, perhaps the sentiment of “parting” at the end -- but then it would still be followed by a timeskip epilogue 28 years later and everyone in the world having a partner.

But then it was decided that a second series would be made, and at some point they decided it would be a series set three years after the first, resulting in: this.

What this means is that Adventure’s ending was only ever intended as an ending for a single chapter in the overall Adventure series narrative. A lot of people like to pose 02′s existence or epilogue as something that “undid” Adventure’s ending, as if it was supposed to be some “ambiguous bittersweet” ending about whether they ever met their partners again, but...that ignores the real-life context of Adventure and 02′s production, where Our War Game! (which depicted an easy reunion with their partners, went out of its way to cameo Miyako in advance, and, for all intents and purposes, practically spoiled Adventure’s ending by depicting them as separated at all) screened before Adventure’s last episode aired, and there’s also the Adventure mini dramas that depicted more incidental meetings (and despite the constant fourth wall breaking and absurd crack content in them, yes, they’re intended to be taken as canon).

Again: in real life, the first episode of 02 aired one week after the last episode of Adventure. Even the real-life audience was likely well aware that this wasn’t going to be the end (and if they weren’t, they certainly would be when the promotional trailers for 02 started airing right after Adventure’s last -- and that’s assuming you missed all of the promotion appearing in real life beforehand, including at the end of Our War Game!’s screenings). The production staff all knew, because they’d already been working on 02 for months now -- they postponed their originally intended ending just to make this new one, after all!

So yeah, this line isn’t supposed to be just a vague “oh, maybe they’ll meet again” in an abstract poetic sense -- it’s completely literal, because it’s hinting at said gate opening again one real-life week later.

From both a story perspective and a real-life audience perspective, this ending was never meant to be seen as ambiguous.

Takeru and Hikari’s character arcs

02 often gets an accusation of being lacking in the character development department (one that I seriously disagree with and have been working very hard to counter), but this accusation especially gets levied often at Takeru and Hikari, who are often said to be “flat” or “kind of just there” in 02 (which, again, I object to; more on this below). This is often rationalized as a theory that the writers didn’t know what to do with them because they’d already been in Adventure, but...this, again, assumes too much that Adventure was written in a self-contained vacuum and anything in 02 was just an addition done after the fact.

There’s actually quite a bit of evidence that the last cour (or at least a significant amount of it) was written with the idea that Takeru and Hikari were going to be starring in the next series in mind.

This is especially pretty apparent when you get to the last episode, where Takeru and Hikari are conspicuously the ones to leave off on the most confident “we’ll meet again” notes, compared to the other six. Of course, they do it in their own respective ways (Takeru and Patamon resolve to make it happen, while Hikari cryptically acts like it’s already bound to happen, borderline prophetically), and maybe you could chalk it up to the fact that they’re the youngest and therefore most naive of this group...but, again, remember: 02′s first episode aired one week after this one, where we would immediately be treated to Takeru and Hikari following up on this. Given that, you can basically see this as a wink and a nod: “yeah, these two have a story that’s not over yet.”

And as much as I may sound like a heathen to the fanbase by claiming this, I would actually say that it’s the opposite of the above claim: Takeru and Hikari both have pretty unresolved arcs by the end of Adventure compared to the rest of the other kids, and in fact are fleshed out more in 02. It’s honestly kind of a stretch to say that they “already got development” in Adventure -- Takeru still has a ton of unresolved issues with his family and trauma and emotional behavior that aren’t properly addressed to nearly the same degree as how the older kids have their core issues brought to the forefront, while Hikari really was only around for less than half the series, and not only is her main problem of emotional suppression told purely from Taichi’s mouth and not her own, we also get no real follow-up on how she intends to work past that.

Those are some pretty huge things to leave unresolved at the end of a series that’s known for its focus on individual character development, and considering that the premise of 02 involving an older Takeru and Hikari was likely finalized around the middle of the last arc of Adventure, it’s easy to believe that they decided to deliberately hold off on resolving Takeru and Hikari’s issues in full so that their story could be told in the next series. And, indeed, while their characters being built on “being difficult to read” makes their development not quite as visible as some of the more eccentric personalities in the 02 cast, their respective Jogress partners (Iori and Miyako) more openly discuss and get to the bottom of their issues that had been lightly displayed or hinted in Adventure but never truly been addressed.

A lot of things that were not in Adventure

Adventure was admittedly kind of written as they went along (they didn’t even originally plan to have Hikari as the eighth child at first), so it’s hard to tell exactly what was planned and what was a later addition (and at what point things were added), but considering that the 02 epilogue was one of the first things planned in the entire series, as part of “a story of humanity’s evolution” and tying into a really long theory about partners doubling every year, it’s probably at least safe to say that a lot of the worldbuilding and lore was determined very early.

02 added a lot of lore dumps about Digital World mechanics and things related to the overall state of Chosen Children, which have been said by many to be retrofits to justify a buildup to the 02 epilogue, but, again -- the 02 epilogue was supposed to be for Adventure, so it’s very likely that these lore aspects were intended for Adventure as well! This is especially because it’s been outright confirmed that there were at least certain things originally intended for Adventure that ended up in 02, or at least were in 02 because they felt Adventure didn’t sufficiently cover it:

The kids’ home lives. As famous as the Tokyo arc of Adventure is, it only covered about a quarter of it -- the rest of it was the kids stranded in another world, separated from home! It’s specifically 02 that went into all of the things like school life, family life, daily life in Odaiba, and everything closer to the real world -- basically, everything related to family backgrounds that was very likely to have been in the planning documents for Adventure but never made it.

The (in)famous 02 episode 13 (or, at least, something like it) was intended for Adventure. As much as there’s common speculation that this episode was intended to be some giant subplot that got canned, from what we’ve heard from the staff, the truth actually seems to be a lot more mundane -- Adventure was a series very big on “oddities about the Digital World that have no real explanation” (see: phone booths), and when you reframe it in Adventure’s context, it’s likely that Dagomon and the Dark Ocean were intended to be yet another of those as part of its wider lore about the multiverse, to make you think “the heck was that?” but never get any real answer to. (And while it’s unclear whether the original theoretical Adventure version of this episode would have still involved Takeru and Hikari, if you want to put a tinfoil hat on and entertain that theory, it lends even further credence to the idea that their respective character arcs were deliberately held off for 02...)

Given that, and thinking about the 02 epilogue as the eventual goal for the series, you can also easily imagine a lot of 02-introduced things leading up to it as probably also having been baked into Adventure’s lore:

You know how 02 had a subplot about Chosen Children proliferating all over the world, as a lead-up to everyone in the world eventually having a partner? This was part of a “doubling every year” formula that’s been referred to a few times in background staff testimony. If you inspect this formula, this means that there were eight other Chosen Children besides Taichi and his friends, chosen between 1995 and 1999. Now, remember how Adventure episode 52 briefly touched on the bombshell of Chosen Children existing before Taichi and co., before never addressing it again? Considering all of the above facts, it’s very likely that’s intended to tie into that formula -- and, perhaps, had 02 had not existed to continue the subplot about “more Chosen Children”, Adventure would have taken more initiative about explaining the concept of Taichi and his friends not being the only humans with partners, and led it into their originally intended epilogue.

02 episode 33 involves Miyako visiting Kyoto and learning that there may be certain similarities between Digimon and Japanese youkai, to the point where they might be related somehow, despite predating digital technology. (The concept is revisited in Mimi’s track in Two-and-a-Half Year Break and the Adventure BD drama CD, both of them having been written after 02.) The thing is, the idea that Digimon and other similar entities actually existed prior to digital technology, and that said technology only allowed it to manifest physically in the real world, also is heavily tied to the original concept of Digimon partners being a manifestation of a part of the human’s soul, and therefore having a partner being a part of human evolution -- which is, again, heavily tied to the original intent behind the epilogue. So it’s very likely that this, at the very least, was one of the original lore points behind Adventure -- and if 02 had not existed, it’s possible that Adventure might have tried to cover it as part of a lead-up to that epilogue, rather than ultimately deferring it to 02.

This is, of course, speculation -- I’m not a member of staff, so I can’t speak for them -- but I do think it’s important to consider that while 02 was a tonally different series, it wasn’t just a sequel tacked on at the last minute, and rather just (mostly) the same staff learning three-quarters of the way through that they would have more time to continue this narrative, and reorganizing things to figure out what they wanted to do now and what they wanted to touch on if they had more time. Really, this whole narrative of “02 being a bunch of random additions they came up with and retrofit” seems to almost be the opposite of what actually happened -- while some of the ideas behind 02 were certainly created later, it’s less that Adventure was some ideal perfectly crafted story and 02 an addendum, and more that they had so many things they wanted to do in Adventure that couldn’t fit and used 02 to vent more of those out:

One of the concepts behind the prior series was for us to pack in as many interesting things that we’d seen, heard about, or read about as we could into it, so for 02, we thought, what else could we put in beyond even that?, and so we looked over what we needed to have, and put in all the things we could so that they wouldn’t be left out, and the story became a multi-layered one, overlapping and accelerating. It was to the point that, after we’d gone through 02‘s story, the scriptwriters told me that they’d worn everything they had out to the ground. In any case, we put everything we had into it back then.

Which means that understanding 02 is actually very retroactively important to understanding Adventure -- Adventure’s own writing was influenced by the knowledge that 02 would be part of its story, and 02 itself carries a lot of vital facts and story points from Adventure’s narrative that didn’t fit in the first 54 episodes, and, in real life, they were both written continuously as one story over the course of over two years. It’s also because of this that I seriously warn against seeing either series in a vacuum too much -- because both series are very deeply tied to each other, perhaps more so than a lot of people want to admit.

#digimon #digimon adventure #digimon adventure 02 #shihameta

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redteabaron · 3 years

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Different anon… Here is the thing though, Drogo/Dany isn’t a parallel to sansan. People who make that comparison either lack severe reading comprehension, which is not surprising for this fandom, or they want to use it to validate sansan. (Tyrion was the older guy Sansa was forced to marry. Dany and Sansa have opposite journeys and their marriages are a part of that.) But sansan’s mirror is Jorah/Dany. Book!Jorah is an older guy who has a creepy obsession with a teenage girl. He dumps his trauma on her, he projects onto her. But he is also her advisor, her confidante early on, his protector. There are also the same BaTB elements sansans love to talk about. She even refers to him as her bear. But he was lusting after her ever since they met and then he assaulted her. He forced himself on her. She is uncomfortable with his actions, but she doesn’t possess the necessary language and she doesn’t understand consent (we know this because of how she frames her relationship with Drogo but also how she expected Lhazareen women to be ok, even be thankful for being married to their rapists, and her dubcon relationship with Irri) so she recontextualize what happened and chastise Jorah for kissing her not because she is a teenager and he shouldn't and she didn’t consent to but because she is his Queen. That's the language she has, so she expresses her discontent, disapproval, rejection with that. Sandor was verbally, psychologically, physically abusive to Sansa but he also occasionally protected her in King’s Landing. He lusted after her, made sexually inappropriate comments to an 11 year old child but he was also the only one in KL to have honest conversations with her. Then he assaulted her, held her at knife point. She was afraid of him kissing her, killing her, she had nightmare about the assault which she clearly registered as a sexual one despite what his fans claim his intentions were. Sansa has a habit of romanticizing/redefining these things. Sansa thinks Arys Oakheart was preferable, that he was kind because he beat her less hard than the other Kingsguard. She remembers Tyrion as someone who were kind to her, someone better than Joffrey even though he molested her and she had him in her nightmares too. She separates Littlefinger and Petyr in her mind because just like with the other men before him the thought of her sometimes-protector at the same time being her abuser is too much for her. Just like Dany she recontextualizes what the Hound did to her and turns the assault into a song to cope with it.

These two pairings has the same dynamic, the difference is fandom’s response to it. (The slight differences are that Dany had actual amiable feelings for Jorah -not romantic love or sexual feelings but friendly, sisterly love for him- and she as a Queen had a lot more agency than Sansa as a prisoner had. She isn't as powerless as Sansa, she could have easily banished him, punished him, even ordered his death.) But no one in fandom writes essay after essay why and how could and should Jorah and Dany end up together. It’s an outrageous suggestion. Dany is a main character, she is the heroine. She is a Queen. Why should she ever end up with someone as lowly as Jorah? Someone as old, as ugly as Jorah? But Sansa, meh she is not an important character. And she needs to be punished, first because she was a child making childish mistakes. Secondly, she is shallow, she refused to be raped by her older, ugly husband. So she needs to end up with an older ugly guy to humble her. Even when the author expressed his distaste of the trope of a noble girl running away with a lowly guy in medieval stories, nah that doesn’t matter here. Sansa being of high nobility, a princess won’t have any factor at all who she’s gonna end up with. They had to keep assuring themselves that she is not a main character so she could even end up with a villainous character, that she is not a Stark so she could end up with people who hurt/fight against her family. The hypocrisy of this fandom, and their selective reading is most clear when it comes to these two “couples”. Almost all sansans (whether it is the actual shippers or those who think it’ll happen because well it’s Sansa what else she’s gonna do besides being a reward bride for some hideous guy) hate Jorah/Dany (as they should) while trying to justify how and why Sansa should end up with the hound. Let's forget the abuse and pedophile, let's assume those never happened, even then it makes no sense. There is not a narratively satisfying way, a logical reason how Sansa could be with Sandor. But they ignore all that because it doesn't fit in with their vision, with their interpretation of the books and characters. Because admitting Sansa is a main character and more than a reward for their pedo fave has a ripple affect, it challenges all their theories, they all crumble. And they just can't let go of their 2 decades old theories, they just have to be right, they must be right. That's why they all took the show's ending as a personal offense, especially the QiTN Sansa. I just can't wait for the books!

Yeah, agreed. jorah and sandor are mirrors of each other. I mean I hope they both die without any glory or honor, personally. I don't really care if they have sacrificial deaths for the greater good - or whatever framing the show had intended - jorah and sandor were also whitewashed and made more pitiable/likeable.

Whenever dany x dr*go is used to validate literally ANY pairing, I am suspish. In particular when we acknowledge that dany absolutely couldn't consent - she was 13 iirc - and was sold off by her abusive brother to a man twice her age, but Sansa reimagining her trauma about Sandor's assault to something less traumatic is considered being hateful to Sandor because he's unattractive. (And I never really listen whenever ppl give me shit or deny it was assault; pertaining to my job, I'm pretty fucking aware what assault or intention-to-assault looks like, and I think most ppl do to, they just seem to lose awareness when it comes to their ships or certain characters).

I think it has to do with Sansa being the archetypal "Pretty Popular Girl" - the one who like feminine things, sort of fussy, likes feminine colors and just in general is feminine. She seems to remind people of the classic mean popular girl we saw popularized in 1990s-2000s high school movies - the one who gets her comeuppance in the end when the non-feminine girl somehow triumphs in whatever way, or she's the one who learns her lesson and stops being quite so feminine, or hooks up with a most-popular guy. The Mean/Pretty Popular girl has to be humbled in some fashion. Fans who don't like her, tend to view this as a way for her to pay for the error of her ways.

Like being a prisoner of war. Or not wanting to fuck tyrion. Or not wanting to run away with sandor.

I mean...all of asoiaf, beyond the politics and magic, is all about trauma and the human response to it - which is varied and depends on circumstances, personalities, and a lot of other things. One of the more vile things GOT did was whitewash jorah and tyrion the way they did imo. Jorah was a predator, circling Dany, regardless of whether she thought of him fondly, he just happened to not be violent towards her - she cries when he forces a kiss on her. Tyrion was a predator who molested her when he acknowledged she was a child "but he wanted her anyway". I've seen a lot of ppl react more sympathetically towards Dany. I haven't seen much recrimination against dany for refusing him the way we see sansa being hated for not wanting tyrion or sandor, hell, even petyr.

But - Sansa, imo, in the larger or at least circles of the fandom that have been around longer, is a more ideal whipping girl for the outlet a lot of ppl crave. See again the popular girl trope. She can't fight, she has no magical creatures, she is not a Chosen One of any kind. She has her wits and her ability to observe and adapt who has no choice but to navigate survival surrounded by people who have more agency and power than she does. That's it. I guess in a world of amazing abilities and magic and warfare, this is very boring, particularly when she doesn't weaponize her femininity or sexuality, where she's beautiful without being dangerous or magical or erotic. And I guess ppl feel that because of that, she needs to be punished for not being as extraordinary as she should be, OR, because she was the "Mean Popular Girl" (she wasn't) she must be humbled, and the ones to do it are the ones she refuses.

It's really delicious knowing they don't get "to have her" 🤢. Hopefully they just both fuck off to the ends of the world or die, idc they deserve zero thought.

#anti jorah #anti sandor #anti tyrion #anti Petyr #asoiaf #anti daenerys targaryen

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deathwish-koala · 3 years

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Harry, the womanizer

Okay, I’ll admit it. When Watermelon Sugar hit the radio and I suddenly had to hear it everywhere, in my head I kinda went, “Jesus Harry, we get it. You like to fuck.”

But I was just playin’! Joshin’ my boy! You know I love Harry, and more to the point, I think he’s a very thoughtful artist. I think he’s straining for an emotional truth in his work that he must constantly interrogate and shape--hence his propensity to change lyrics and cadence (the Spotify Singles version of Two Ghosts comes to mind) in live performance.

I don’t really believe that his music, allusions to fruit juices aside, is mostly sexual. But even if it were--would that be a bad thing?

At the ripe old age of nearly-27, Harry is definitely allowed to have sex, you know? Like all adults. He’s also allowed to sing about it. I have a friend who is a rather brilliant, cerebral young musician (And also an Aquarius! Go figure.) who has songs about sex, because sex is part of his life. Sex, beyond being fun when done right, is also a realm of extreme spiritual and emotional truth. It’s also...sexy. It makes for good music. We know this. So no harm done there.

A Note On Olivia Wilde

In recent days, Harry’s been photographed holding hands with Olivia Wilde. I have a lot of respect for Wilde, both for her longstanding activism and her career. On House she portrayed the first canonical bisexual I ever saw on TV, a massive moment in my life that made my heart hammer with a sense of recognition I was too young to really appreciate.

Yet I can see why the current media setup--including a Vanity Fair piece dropped yesterday--might make some longtime Harry fans nervous. A decade ago, Harry’s purported involvement with Caroline Flack had fans frothing at the mouth. Whether the relationship was legit or not is hardly the question, and, out of respect to the tragic situation surrounding Flack, I wish to speak instead on the hideous media coverage at that time.

So much of what defined Harry’s media image as a teenager was sexual. The world very quickly realized, I think, that he is a massively charismatic person, but the extremely sexualized coverage he received was singular and disgusting. He could not so much as speak to a woman without speculation that they were involved. An exhausting burden for anyone, let alone someone so young and so suddenly exposed to the world’s scrutiny. In 2012 my mother very cheerfully read off that infamous “400 women in a year” headline to me and it made my stomach twist.

Beyond the closeting many suspected was behind this early media narrative, there was also the fear fans held of Harry’s predation. First Caroline, then Taylor--Harry was linked to older women all the time, and as we know, age gaps create power imbalances. Harry was still a teenager. It all seemed wrong.

So perhaps the Wilde thing chafes, as we remember these wounds of old. Two things to consider, however:

1) Harry is no longer any sort of child. He’s an adult man with a career that he has made conscious efforts toward maintaining. Time has ruled that none of his fame was an accident or mistake. He has chosen this path, treacherous though it may be, and that’s worth respecting.

2) Essentially, he and Olivia Wilde are peers. For one, they’re co-stars, but they’re also both household names, both wealthy beyond imagining, both seemingly secure in their image and personhood. This is pure speculation, but I suspect they have a bit of an intellectual connection, whatever else they are.

It is not so unheard of that a person in their mid/late-20′s might date someone in their 30′s, especially if they share a career and relative position in society. The world is very large and full of people, and finding a person you connect with is a brilliant feeling. If that’s what they have, these two adult peers, then fantastic. And if it’s PR for the film they’re in together? Wouldn’t be the first time. Wilde is admittedly gorgeous. Who better to offer her their arm than a handsome man who cut his teeth as a young lothario?

And Yet...

The womanizer image, grafted onto Harry in his days of earliest fame, has never sat right againsthsi skin. We certainly talk about it enough around these parts: Harry Styles starts each day with a glass of antioxidant rich Respect Women Juice, yet media (and many fans) would have you believe he wakes up, sees a lamp shade that looks like a boob, and just starts wacking it. If media was reality, Harry would have to be a bedridden compulsive to keep it up.

Now, one can respect women and still have sex with a lot of them. Promiscuity is not inherently evil or immoral or filthy or wrong. Really, for me the question becomes, “How comfortable are you, dear HStyles fan, with speculating on the amount of sex he has?”

We are all a little bit complicit in Harry’s sexualization through the years. Some of it is less okay than the rest. I’m not here to decide for you, but hopefully it’s become clearer over time what is and is not creepy, what is and is not invasive, what would and would not make Styles himself lose sleep if he knew it existed with his name attached.

The media, writ large, is more broadly complicit in this sexualization. In 2011, Alan Carr interviewed 1D for Chatty Man and--having already confirmed which of the boys was 18 and old enough to drink--begins to hassle Harry (not yet 18) about “pussygate,” aka

Black & white for nostalgia purposes.

Listen, I get it. You wanna take the piss out of the 17-year-old pop star, because it’s funny and silly and he’ll be embarrassed but cool about it probably. You wanna tease him. Because he’s a kid.

On their next interview with Alan Carr, Harry is once again addressed on sexual terms--”Harry, give us your gravy!”--that are playful but also pointed. By age 18, Harry had dealt with this for years.

Hi, Watermelon Sugar

Harry is not the only musician, not even the only member of the band, to have their personal life made a public topic. Superstardom in the 21st century is invasive to the highest degree. But it seems peculiar that the specter of hyper-sexualization chases Styles most everywhere, despite the decidedly non-sexual accolades and regard his career has gathered in the last five years, and despite the lack of flagrant behavior.

Perhaps this specter hangs on because of Harry’s emotional and sensual approach to music--I mean, he does talk about fruit juice a lot, and fabric, and flowers. In an interview with Zane Lowe, the friendly, stoney mood is momentarily dampened by Lowe’s assumption that Watermelon Sugar is about oral sex.

“Everyone’s kind of figured out what it is about, the joys of mutually appreciated oral pleasure. That’s what everyone’s saying,“ Lowe tacks on defensively.

According to some, Harry even confirmed as much at a different point. In the Zane Lowe interview, he denies it.

For what it’s worth, In Watermelon Sugar is a post-apocalyptic novel by Richard Brautigan from the 1960′s. The book, a sparse narrative of a commune existing post-societal collapse, has been called “a parody of the pastoral” by Patrick Morrow. “This society may represent what modern man might wish it to be...but the distortion in the new society is also obvious and just as unattractive.”

Harry has confirmed that a copy of the book was present during the genesis of the song. The shimmery, ephemeral lyrics--the fragility of sugar itself, easily melted--seem to hint at a desire to stay in the best parts of feeling while acknowledging that these moments are necessarily short-lived. In Morrow’s view, Brautigan’s book is about reality denial. In my view, Styles’ song is, at least a little bit, about the same.

So it’s not that the song isn’t about oral sex--it’s that it’s about more than oral sex.

Or maybe it’s that oral sex is about more than oral sex.

Or maybe it’s about nothing, and there are certainly those who choose to believe that. Still, it seems a shame that so much of Harry’s image continues to be wrapped up in that of the Don Juan, the Casanova, the Lothario.

Really, he’s more of a Vonnegut.

#harry #womanizer harry #media image #pr narrative #wewithyoursmile #hope this answers your question!

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hamliet · 5 years

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Three Queens: Dany, Sansa, & Cersei

The moment three of your top four characters are pitted against each other in a fandom war or a canon war. ¯\_(ツ)_/¯

Sansa’s been my favorite since season 1, and then we have Jon, Dany, and Cersei. Dany’s arc is pretty much exactly hitting the same beats as Jon’s arc, but in a yin/yang type way so that they are likely intended to meet in the middle. But I’ve talked about Jonerys before and now I want to discuss Sansa and Dany’s foiling, as well as Cersei’s and Dany’s, and what it may mean for Dany’s endgame in particular (Sansa will be fine, Cersei will die, that seems pretty narratively certain to me).

Sansa and Dany are both raised with stories and dreams: Sansa for love and being a queen, Dany for being a queen in another sense. She and Viserys were on the run her entire childhood from assassins, facing the scorn from people who would have loved them a few years ago (which is exactly where Sansa’s arc will take her after her father is executed). The same person is involved in both of these: Jaime Lannister, as the show showed us in the confrontation in episode 2.

Sansa always wanted marriage to a handsome man; however, when she’s granted a betrothal and then a marriage, it turns into hell--but through that hell, she learns to be a good ruler. Everyone comments on how well respected Lady Sansa is--wise and brave. She’s foiled with Tyrion in this aspect, in that she’s called the “smartest person I ever met” by Arya, and she tells her former husband in name, Tyrion, in the same episode, “you used to be the cleverest person I ever met.” Tyrion used to be a good hand of the king; now, he’s making pretty poor judgment advising Dany because he’s facing the same issue as Dany: power or love, but more on that another time.

But Sansa has made her choices. She chose her dream (not power, but a romantic fantasy) in the first season and went to Cersei after Ned told her they would be leaving, thereby leading to her father getting caught. Now she’s chosen her family and has come into her own. She has grown up, in other words, and she didn’t grow up when she married Ramsay Bolton or escaped, but when she decided to write that letter to the Knights of the Vale, when she stood up for herself, when she decided to do what she could for the good of her family (Jon & co) instead of just what she wanted (to kick Littlefinger to the curb).

Sansa is an adult right now, having crossed that hurdle of coming of age in the story. Dany (and Jon and Arya) are still trying to find out what growing up means for them, despite Dany (and Jon) being technically older than Sansa.

For Dany, as she says, Viserys always told her about a throne, and she’s been fixated on that through all she’s been through each and every season. Therefore it’s worth asking whether this was what Dany wanted, or whether it’s a coping mechanism to cope with exactly what she tells Jon she’s been through in season 7:

I have been sold like a broodmare. I’ve been chained and betrayed, raped and defiled. Do you know what kept me standing through all those years in exile? Faith. Not in any gods, not in myths and legends, in myself. In Daenerys Targaryen.

It’s easier to survive these horrors if you keep a dream waiting for you, irl and in the show. Dany hoping for a future in which she has everything that was stripped from her before her birth is completely understandable and normal. But, it’s not much different than Sansa’s romantic fantasies: it’s a child’s dream.

The story is asking Dany if she wants to grow up, if what she wants is the love that made her happy, or the power fantasies her brother imbued her with when he couldn’t even handle it himself. I’ve talked about the dead literally rising and coming for them all and it’s symbolism before, and it’s asking Dany if she wants to be controlled by the dreams and wheels of the dead, or if she wants to make her own life. Because Dany’s caught between the desire to rule--control--and the desire to set people free (freeing slaves). Does she want to continue the Targaryen dynasty, or does she want to break the wheel, because she can’t do both. Is she making her own fate, or does her blood control her fate? She doesn’t want to be a cruel man like her father, as she tells Yara in season 6, but if she rules, then she has to take responsibility for the good and the bad in the Targaryen dynasty. Which she tried to do in regards to Rhaegar last episode, but... well.

The show is setting up a choice for Dany, as Sam outlined in the first episode to Jon: the throne, or Jon (love). Her dream has just been rocked; her faith in herself, her belief that there was a greater destiny guiding her because of her bloodline. Because it wasn’t even true. She is not the rightful heir to the throne; Jon is. But Jon doesn’t even want the throne, though he would probably support her if she is pregnant and won the throne, so the issue with the reveal, for Dany, is not that Jon is now a rival: it’s that everything she fought for and believed in is not true.

Not only that, but she’s seen that the North desperately wants its freedom after being horribly treated by the Lannisters, the Starks abused and murdered cruelly. Dany, who has always supported freedom for people, is going to have to ask herself what that means for a kingdom.

And it’s telling Dany was there for Sansa and Theon’s reunion. Like with Dany and Jorah, Sansa forgave Theon a terrible crime. Dany listens to Jorah now as her unofficial advisor, but I’ll be shocked if Jorah survives the battle next episode (’I’ll see you later’ is basically fiction’s most obvious death flag) and find it likely she’s going to lose that too. After Jorah, the only one she really has is Jon (she and Tyrion don’t seem close on a personal level), and her dragons (for now...)

Like with Sansa, Dany’s entire life has been losing people she loves. Is the throne really worth it, if it means giving up the one person who matters most to her, who chose her not because of her crown but knelt to her crown because he loves her? With her faith in herself likely rocked and with the death flags for Jorah, she can either sink into grasping the throne at the cost of Jon, or she can grasp Jon and they can try to figure out how to swim together--without a throne weighing them down.

The reason I don’t see the Mad Queen option as likely is for a few reasons, but let’s discuss one: we already have a mad queen. Two would be... a bit much.

Cersei in the books and in the show perpetually fears being usurped by a younger, more beautiful queen. She at first thinks it’s Sansa, and then Margery, and now I’d say it’s clearly Daenerys. As such, Cersei has always been positioned as a foil not just for Sansa, but for Dany. She’s what Dany could become, if she chooses the throne and power over her loved ones. Because Cersei has always done precisely that. She couldn’t conceive of a life without power, and when Ned literally gave her the chance to escape with her life and her children, she refused, because she wanted power too.

Cersei’s desire for power really comes down to a matter of control; we even see it in how she loves her children. As Tyrion said, that’s her one redeeming quality, and yet, she desperately tries to maintain her power over her children.

Its root is, like Sansa and like Dany, Cersei had no choices growing up. As she tells Sansa during the Battle of Blackwater, she was raised to be sold to the highest bidder for her father’s power, whereas Jaime was given a sword.

When we were young, Jaime and I, we looked so much alike even our father couldn’t tell us apart. l could never understand why they treated us differently. Jaime was taught to fight with sword and lance and mace, and l was taught to smile and sing and please. He was heir to Casterly Rock, and l was sold to some stranger like a horse to be ridden whenever he desired

Because she has no control, now she compensates by being smothering. The conflict with Margery never had to happen but for the fact that Cersei hated that she would not be in control of her son’s choices anymore, and she’d given up on Tommen before he killed himself after she killed the woman he loved.

Cersei lost three children. Dany has three “children” in her dragons; honestly I’d be surprised if she doesn’t lose all of them by the end/if they aren’t the cost for love. Because Dany lost one of her children--Viserion--already not out of trying to keep dragons small and chained up (though she made that mistake at the same time Cersei did, but for far less petty reasons) --but by using them to do what dragons do: fly, and save the man she loves. As Tyrion warned her, going to save Jon north of the wall was a foolish decision especially if she wants the throne; Dany went anyways because when push comes to shove, she chooses love over power. There’s a pattern of just this in Dany’s arc whereas there is not in Cersei’s; I have no reason to think it would change.

For Dany and Jon... Jon clung to his principles and lost Ygritte last time, and Dany recently echoed Ygritte’s line about just staying out there forever, away from everyone. If they want to break the cycles that the wheel of power establishes in Westeros, and the cycles in their own lives, they need to choose to ditch that throne. That’s the ending I’m seeing built up for her now, especially given the foreshadowing about a human child between her and Jon last season, but we shall see.

#daenerys targaryen #sansa stark #Cersei Lannister #jonerys #jon snow #got meta #got #game of thrones #got theory

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whatisthisnonsense · 5 years

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Continuing where we left off here, so we’re not cluttering Sarah’s pretty art (bless u @yunisverse ), did you know canonically Digimon are emotion eaters? “But Lea!”, you say. “That was in SAVERS, not Adventure!” Wasn’t it though?

Think about it-- while they’re not necessarily feeding off it in the sense of sustenance, the digimon in Adventure all digivolve during a big influx of some form of emotion by their chosen child, usually related to the crest but not always (pants-shitting terror at Kuwagamon, for example). Normal, natural digivolution is usually a very long process of gathering energy and strength, with higher levels often taking decades if not hundreds or thousands of years (unless you suck, in which case you’re turning into a Numemon. Yes, that’s also canon.), so obviously the digimon MUST be feeding on something for those short bursts of energy, and since having the digimon feast upon their attached digidestined’s soul or lifespan is what we call bad, the natural source must be emotion. Following that thread, we see other digidestined in 02 (which I’m not going to go into for most of the lore it introduced because it is One Whole Yike, but Adventure itself introduced the concept that all you had to do to be a valid partner candidate is see a digimon and therefore this is valid) who ostensibly have the same bond as our actual Destiny’s Children without the Destiny bit, and we actively see Willis/Wallace/That Kid With The Two Bunny Digimon have his digimon digivolve. While Lopmon/Kokomon was out of his control for the most part and could arguably have been severed from the connection, Terriermon clearly wasn’t and also usually responded to emotion. As such, we can assume that this is a trait of all partner digivolutions. Why, then, are the Crests needed? Well, we find out they’re a bit of a magic feather, however they all still involve an emotion or state of being which the child exemplifies (besides Light, though that could be as in “the light in your heart that never goes out” IE Determination and Light just happened to sound more mystic and was also literally its attribute anyway, like how Honesty/Responsibility is Water and Sincerity/Purity is Plants) (Knowledge also isn’t a state of being or emotion, but the way they use the word I’m reasonably certain what they actually mean is WISDOM, which means Izzy in a state of being wise is what triggers it, not just him being a nerd). I would like to suggest, thusly, that the Crests show the emotion or mental state the digidestined represented by it has in abundance and thus what their digimon use to rocket up the digivolution ladder in ways faster and stronger than even normal human/digimon partnerships. The Crest associated with our hypothetical ninth duo? Kindness. Now, stay with me here. Allow my work-weary, sleep-deprived ass to switch from essay to narrative for a moment. Consider, if you will; Wizardmon has always been alone. Since he’s a chosen partner, Gennai dropped him when he was hit much like Gatomon, but velocity and angle meant he still hatched far away from her. He turned to magic for answers as to why he was left all alone when most are born and cared for in Primary Village, and he got good of it-- amazingly good, astoundingly good, impossibly wonderously G O O D at magic-- but he never found his answers. Eventually, he gives up, assuming he was simply not worth the effort. That perhaps, his presence was a mistake. He wanders, looking for obscure magic but no longer having any purpose to it, aching for something he doesn’t understand nor believes exist. He says he passed through unremarked, but in many places you’ll hear tell of a quiet, soft-spoken digimon who repaired something with the snap of his fingers. Sometimes a wall, sometimes reviving a well, sometimes even bringing another digimon back from a hideous illness. But he was always gone the next day. If anyone could ask him, he’d shrug it off; it wasn’t something special, he thought. It just seemed cruel to leave things as they were, and while he’s many unpleasant things, he’d like to think he’s not cruel. (He is kind, he is so kind, but he can’t fathom it without anyone else around him, and no one nor place can hold him against that unknown longing in his programming, so it passes by him without note.) Of course, between his idle wandering and his constantly giving and giving and giving of his magical energy without much time to recover, he eventually pushes himself past exhaustion and falls out of the sky on one otherwise unremarkable day. Those of you who’ve watched Adventure, of course, should recognize this as the event that caused him to meet Gatomon, and remember how absolutely baffled he was by her kindness-- he was already spreading himself thin, but he never had it returned to him mostly because he never stayed anywhere long enough for it-- and how fast he was to pledge undying loyalty for said shred of kindness. And this is true still, for he is still almost desperately loyal to her, but there is something else. Even when she truly forgets everything for the monster (ha) Myotismon turned her into, he can still see that longing for something she doesn’t know or understand in her eyes, and something in his chest tightens a little. It’s kinship, but he doesn’t recognize it-- he doesn’t have time, given how fast he parses the legends and figures out what she must be, as when he does that he out of hand assumes he could never be associated. Even so, they lessen eachother’s loneliness, and for a while that’s enough. Wizardmon does his best to play dumb, glide beneath the safety of contempt, and manages some tiny victories against the Dark Army’s, as after all he is never on Myotismon’s side. Some in-training digimon slipping out of the dungeon here, some misinformation there. In the end, however, he is mostly trying to give Gatomon the shot at a better life he is so certain she deserves, so every so often he has to get his hands dirty. It’s okay, though, really. It doesn’t matter what becomes of him, as long as she gets out. (Even so, when he’s forced to play evil minion to the hilt he tries his best to simply confuse or trick his target so he can leave them alive and unharmed, and if he can’t he does his damndest to make it quick. To do otherwise seems cruel, and he would still like to think he isn’t that at least.) As we all know, eventually seven dumbass kids with seven dumbass digimon who happen to also be the Digidestined turn up and Myotismon sets his plan in motion. Most of his minions just terrorize the town, but as ever Wizardmon is sneaky. He keeps his head down, and blends in, drawing children in and keeping an eye on Gatomon to see where and who she is most drawn to. He is being rather underhanded, he thinks, even though getting this gaggle of human children to watch in wonder and laugh isn’t actually necessary for his guise. He refuses to do otherwise, though. It doesn’t seem right. Naturally, Gatomon narrows what child is hers down without even realizing, but his own “patrol” draws in her and there is an almost uncomfortable snap in him as for a moment that ache, that eternal lonliness, is gone and-- no no, she just caught him flatfooted. He’s distracted and wasn’t expecting a compliment, particularly not one from someone clearly much older than the younglings he’s entertaining manipulating. The Tokyo arc is the same, but extended-- more red herrings and more time to convince Gatomon to remember that she is better than Myotismon’s lapcat, as well as scenes with Wizardmon and Minnie showing them drawing closer, albeit with Wizardmon’s denial or deflection on the subject pretty much even through his almost-death. Ah, yes. You didn’t think we kept most of that scene, did you? Of course Wizardmon gives his life for Gatomon-- by this point, it’s all he has left to give. It’s all he’s ever had to give, really. But remember how his body is still present in the show after his suppossed death? Well, that’s because he’s not quite dead yet; merely passed out. Minnie pulls him away and gets him to a relatively safe part of the building before he comes to again. He is defintely in the PROCESS of dying, though, but they refuse to let the kids know. It would be kinder for the kids not to see, at least for the moment, and thus the duo both lie through their teeth. And yet, when the kids leave to talk about what lies ahead next, Minnie turns and does her best to stop the digital hole in his chest from bleeding. He’s going to be fine, she tells him. It’s another lie, he thinks, but ah. “You’re...too kind...” There’s a faint glow from her pocket and for a moment his world is white and then he’s much more alive and terribly small. I’m gonna glaze over the rest of the Tokyo arc because we really need to get to the point in this fucking novel but I really need you to imagine a distressed Mokumon trying to wriggle out of Minnie’s arms as she tries to get him to fucking REST and then later him as a Candlemon accidentally setting the blankets he was tucked into on fire. Got that in your head? Good! Now let’s just--

There we go, see you in 02 asshole, moving on to the Dark Masters Ahem, anyway, as the group journeys through the reconfigured Digital World to forcibly scrub the influence of the Dark Masters away, Wizardmon slowly becomes a bit less aloof and a bit more on the awkward side. He’s gotten what he wanted-- Gatomon’s happy-- and he has a purpose, but that purpose doesn’t seem like something he should have, nor this group somewhere he should be. Nevermind he doesn’t really know how to handle a group out of his aloofness or various deceptions. And yet, ever so slowly, he begins to warm, and soften. Until that day in the desert. Minnie catches a lone and frightened younger digimon in the corner of her eye and diverts immediately to help it. The children and their partners are on board, of course, but before anyone can move, a Scorpiomon pops up and starts heading right for the young lady. The children shout, but Wizardmon can’t make out the words-- he’s already moving as fast as he can, even as he watches Minnie quickly turn to the younger digimon she found and hide them under a crevice, smiling before she moves away where it can’t see whatever happens. Even as she turns, pale and trying not to look frightened and moving AWAY from the kids a little so as to keep the arachnoid’s attention. Even as one of its legs connects with her cheek and knocks her away. That gentleness she was showing and his outrage and need to protect merges and twists and surges in a fountain of warmth in his chest, and he skids to a stop in front of her. Digivolving feels more like a soft blanket of darkness than anything resembling a change-- he barely even notices his limbs stretching or his clothing shift until it’s over and he’s...he’s... Myotismon. Minnie has the Crest of Kindness and he has turned into what is, objectively, the cruelest digimon to ever exist. Being Adventure the priority is Jokes, thus the immediate asking to tag out, but after this he is even more aloof than he was before, and not looking anyone in the eye. He is crushed, and once again come to the answer he always has for why he is why he is-- if he was ever meant to be here, then something must be wrong with him, and more likely he was never meant to be here at all. How interesting, do you think, it would be that it is not the Digidestined who has the huge, dramatic issue to confront, but the digimon? TL;DR, Don’t Blame You, essentially the jumping point for this whole narrative is, in a subversion to the usual “kid has to accept thing about self to slowly begin to heal from trauma and unlock potential”, essentially WIZARDMON is the one who has to learn here; the two-fold moral that he is allowed to ACCEPT Kindness and not just constantly give, and that the fact he is dark and spooky-- the fact his ultimate is the same as the mon who hurt him and the others-- does not make him less good or kind. And it only took about five novels to get here, amazing. If only I had this much energy for my actual writing.

#Digimon #Wizardmon #Myotismon #Gatomon #Digimon Meta #Boy this is sure a lot of bullshitting for an AU

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statusquoergo · 5 years

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Credit where credit is due, Gabriel did a nice job directing this episode. He had more screen time that I’m used to from actors pulling double duty, and he seems to have handled the extra workload well.

That’s not to say the episode was flawless. Yeah, by Season 9 standards, it was pretty good overall, but I mean. Season 9 standards.

We start off at home with Louis and Sheila having a terse exchange over tea as I wonder, yet again, why they’re together at all if they’re always so goddamn pissy about everything. Louis bemoans his demotion as Sheila irritably directs him to drink his rooibos and asks him what the big deal is, being that he didn’t even want the job in the first place (true). Louis parries that he only said that because Donna offered it to him the same night he found out about Sheila’s pregnancy (true), but at any other time in his life, he would have taken it (false). On the contrary, you may remember this fairly unambiguous exchange from “Pecking Order” (s08e02) between Doctor Lipschitz and Louis: “As I recall, you accepted Harvey becoming managing partner after Jessica left.” “That’s when I realized I didn’t want to be managing partner.” I suppose I’ve never accused this show of internal consistency before, why bother starting now?

Louis then delightfully compares himself to a ball-less cat and laments that though “the job wasn’t sunshine and rainbows, [he] was getting really good at it,” and excuse me but what? Forget that disastrous hearing that summoned Faye to their doorstep, his most recent acts as managing partner include trying to bully Professor Gerard into letting him be the keynote speaker at Harvard’s Ethic Conference to talk up his failing firm, and going completely off the rails trying to fire the poor IT guy for failing to digitally break into the New York State Bar Association. Louis sucked at being managing partner.

Next up is a reminder that I need to be careful what I wish for as Donna and Harvey discuss his reflexive support of her impassioned but quite incorrect argument against Louis trying to fire Benjamin, and how much she didn’t appreciate it. Turns out it wasn’t so reflexive; he did it because she thought she would like it, which is its own magnificently flawed concept—thinking she’ll get mad at him for disagreeing with her doesn’t say much for his respect for her integrity—but then Donna realizes that he’s afraid she’s going to leave him if he doesn’t unconditionally support her, and you just know the writers thought they were being real clever with this. (Wait, isn’t one of Harvey’s defining character traits his ability to read people? “You read books, I read people” was actually one of the first things he said to Mike in the pilot… Gosh it’s been a long time.)

As I was saying about this show’s internal consistency, two things about this whole exchange: One, all through Season 7, Harvey had no trouble calling Paula out when she was being ridiculous and disagreeing with her about all kinds of shit. Two, as recently as “Everything Changes” (s09e01), Harvey cooed that “[he’s] finally where [he’s] supposed to be” when he’s with Donna, to which Donna replied “We both are,” and like, are they a match made in Heaven right out of the box or what? His trust in their relationship is wildly inconsistent. Unless he wants to forfeit his autonomy for some reason? I don’t know, it’s weird and I don’t like it.

I also take issue with Donna’s dismissive “Oh, my god. Of course. Harvey, I’m not gonna leave you.” This has been an issue for him since forever, as she well knows, but rather than ask him what’s wrong—is he really afraid she’ll leave him over something so small?—or point out that he needs to go to therapy (if she wants to be tactful, she could ask if he wants to “talk to someone” about this), she treats it as an endearing character quirk, and someone needs to save Harvey from all this shit yesterday.

The interruption to this…reconciliation isn’t quite as cringy as the can opener bit from the last episode, but I’ve gotta call it out for being just some truly lazy storytelling. Gretchen appears out of nowhere to tell them they “need to go see Louis,” on account of his demotion, and Donna’s deer-in-headlights response is “Oh, my god. We need to go to him right now.” Yeah, no shit, that’s what Gretchen just said, except this framing affords Harvey the opportunity to mount his noble high horse and declare: “No. You go to him. I need to go see Faye.” Which he does, dramatic music and all, declaring that “dammit, not everybody has to do everything by [her] book,” and I must point out that she demoted Louis for trying to fire the employee who he asked to perform an illegal activity that he failed to perform only because he was caught; in what book is that okay? He then asserts: “You want consequences, I’ll give you consequences,” which is delightfully reminiscent of that old classic, “I’ll give you something to cry about,” in that it makes absolutely no sense, and Harvey, you adorable impetuous dumbass, if your goal is to convince her to leave, I think you might be going about it in a little bit the wrong way.

Roll title crawl! (No seriously, that was all just the cold open.)

Anyway Donna does go to comfort Louis, already treating herself and Harvey as a unit when she assures him that “if [he] ever [needs her] or Harvey during any of this Faye bullshit,” they’re there for him, and dropping the much more interesting detail that she has a much older sister she doesn’t want to talk about who “turned every man she was ever with into an emotional doormat,” which I don’t have time to fic right now but I feel like might explain a lot. Then Alex and Samantha have an endearing little exchange wherein Samantha proposes doing something to help Louis and Alex clarifies that it has to be ethical, and it’s nice to know that at least a couple of people around here aren’t completely insane.

Speaking of things being insane, I won’t fault Gabriel for this because the direction itself is fine, but from a writing perspective, the narrative construct of this next scene is terrible. Harvey shows up at a meeting with Some Guy whose nondescript company is apparently, thanks to his board and the company’s lawyers, being taken over (by someone) against his wishes, and the only hint of context for any of this is that “the people” orchestrating this takeover are “related” to Faye. The obvious conclusion to this exchange is that Harvey is going to help this guy, who is apparently the CEO of this random organization, sue the company by acting as a shareholder rather than a C-level employee, and I still have no idea what the fuck is going on.

Back at the firm where I do kind of know what’s going on, Susan the Associate approaches Katrina with a problem she found in the VersaLife case Katrina’s working, and as soon as they gave her a name in the last episode, I know she was going to be important. More to the point, it looks like Katrina��s got herself an associate! (Remember when senior partners were required to hire their own associates? It was a whole big thing back in Season 1, I think.)

Next up, Louis is having lunch with an old friend, Saul the Judge, who informs him that some other judge is retiring or being fired or something, and offers him a judgeship, and there is so much wrong with this scene that I don’t even know where to begin.

Yes I do. Since when has Louis’s lifelong dream been to be a judge? This is literally the first time he’s ever expressed any interest in it, at all. And another thing, that is not how judicial selection works.

In New York State, judges, depending on the court, are either appointed by the governor and confirmed by the State Senate, nominated by a commission and approved by the governor, chosen at a partisan nominating convention and elected by the voting public, or appointed by the mayor. Qualified individuals can apply to be considered, such as by the Mayor’s Advisory Committee, but there’s no one-and-done offer/acceptance transaction between someone currently on the bench and his lawyer pal, so either this guy is offering Louis a job that doesn’t exist or, more likely, the writers don’t know shit about the New York City legal system.

Moving on. Harvey shoves a recusal form in Faye’s face as he informs her that he “got” a case against her old firm, and he’s “taking it,” as though he didn’t go way out of his way to hunt it down in the first place. He then throws a stupidly juvenile hissy fit, claiming he’ll use whatever he fucking has to to “win,” and prove his system his better than hers, but he won’t have to cross any lines because she de-balled (second reference, just as charming as the first) the guys at her old firm so much that “they’re shaking in their boots” at the mere threat of lawsuit. This whole exchange is basically a showcase of Harvey acting like a spoiled child, and I know he’s a passionate guy but I gotta say, I’m getting tired of this whole act.

Back to that clusterfucking disaster of a judgeship offer, Louis fesses up to Sheila but admits that he doesn’t want to accept the drop in salary with a kid on the way, or leave his friends in the lurch, and she in turn fesses up that she asked Saul to make the offer in the first place because “being a judge has always been [his] dream.” (SINCE WHEN?) Louis is incensed until she tells him that it was basically Saul’s idea, but that if he doesn’t take it now, he’ll never get the change again, which… Why? Well, I guess they haven’t pointlessly manufactured any tension in awhile. Anyway, Louis promises to sleep on it.

Elsewhere, Samantha proposes committing conspiracy to get Faye out of their lives and Alex shuts that shit right away, and I’m actually really enjoying their dynamic right now. Susan asks Katrina what she should do about a smart, funny paralegal she clicks with; Katrina, having “seen that before,” recommends finding a new paralegal, and I’ve never had this question before but is Katrina anti-Machel for some reason? Doesn’t matter. Susan proposes reaching out to opposing counsel, who just so happens to be an old family friend, and Katrina wisely tells her not to, but somewhat less wisely starts and ends her rationale with “Because I know,” which I’m sure won’t motivate Susan to act in any sort of way.

Now, I’m no dream theorist, but luckily this show has all the subtlety of a Liberace action figure, so it’s not too difficult to figure out what Louis’s subconscious mind is trying to say: He wants to humiliate Faye (for demoting him and taking over his firm), he wants to bang Donna (and maybe also Alex), he thinks of Harvey as his peer but also his inferior (who he wants desperately to impress and probably also to fuck), and his confidence is mainly derived from the approval and admiration of others. Also he wants to have sex with basically everyone. Maybe not Gretchen. But everyone else.

Dr. Lipschitz, to whom Louis was evidently relaying the events of this dream, finds the whole thing quite amusing, but points out that if Louis takes the judgeship, he won’t have his friends around him anymore. Double-edged sword and all that.

Part II

#suits usa #season 9 #s09e03 #analysis

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mrsspidermanmaryjanewatsonparker · 5 years

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Amazing Spider-Man: Renew Your Vows #13-15 Thoughts

Previous thoughts here.

Yes I know I couldn’t be later to this party but I started this series so I’m going to finish giving my thoughts on it.

I tried very hard to finish Houser’s run on RYV in time to read Spider-Girls but it just didn’t happen, I only made it up until just before the penultimate arc and I didn’t write up a proper post of my thoughts back then. So I re-read her first arc today with ambitions of re-reading the next 2 stories before finally experiencing the final arc and then Spider-Girls as part of reading over most of Spider-Geddon. What you will read below are a mixture of some initial thoughts I jotted down during my first read through and my thoughts upon revisiting the story, mostly the latter.

Oh SPOILERS I guess

So let me immediately get some obvious business about Renew Your Vows’ direction from here on in. The book, sans its covers, desperately misses Stegman. It also misses Conway but that is not a condemnation of Houser at all.

Houser in this arc does a good job with the situation presented by the new direction. Whether that new direction was her idea or editorials is unknown, though likely the latter.

And really that is the absolute worst thing about this story, the new direction itself.

It isn’t so much that it is bad unto itself but it is reductive that after 12 issues building a certain status quo, the one also built by the RYV Secret Wars mini-series and was promoted by Marvel prior and during the book’s initial release that we are abruptly changing course in a big way.

The book is still unique, at least the Spider-Books on the stands (even now). But it is less unique for various reasons.

Firstly we simply have way more teen heroes than pre-teen ones. Secondly a book that pays much attention to Spider-Man’s super powered teen daughter is going to either tread upon familiar ground that Spider-Girl stood on or else it will evoke Spider-Girl in the memories of the readers. Annie unto herself innately did this anyway, but that was offset when she was much younger than Mayday.

It also throws away the world building and set up Conway enacted in his initial arc, not to mention it just fast forwards a lot of Annie’s potential character development.

Does this render Annie uninteresting or the premise less likable? No because Houser has a strong handle on both the characters and more specifically what RYV as a book is.

Perhaps this is nowhere more apparent in how she structures her opening arc. Each issue shifts the POV to one of the Parker family, starting with Peter, then handing off to MJ and concluding with Annie, exactly like Conway’s first three issues did. This is a pretty clever way of conveying to readers Houser ‘gets’ the book and reassure readers who might not be thrilled about the time skip that these are the same characters just at different points in their lives, and not even that different, sans Annie.

This is rather realistic because Peter and MJ being the adults are comparatively less likely to change all that much even within 8 years whereas Annie inevitably will drastically change going from a pre-teen to an out-and-out teenager. Fittingly Houser compensates for this by showcasing Annie’s new state of being throughout the issues that are about Peter and MJ.

On the one hand this does somewhat undermine the idea that this book is about the family collectively as opposed being about Annie or placing Annie as the ‘first among equals’ in the team dynamic of the book.

On the other hand since the book is about the Parker family it adds up that so much of Peter and MJ’s characterization will stem from their relation to Annie; your child is after all the most important thing in your life.

So we get Annie’s somewhat more salty and disconnected relationship with a Peter who is very much starting to feel his age. Which is GOOD, the obnoxious proliferation of teen Spider-Man renders almost any older portrayal interesting by default. With MJ though, Annie seems to have a much more conciliatory relationship, its more that she exhausts her mother and seems more comfortable going to her about stuff. Also as a nice way of distinguishing her from Mayday, Annie seems to share her mother’s passion for fashion which Mayday actively didn’t.

Speaking of fashion lets talk about Annie’s new costume. I’ll level you all..it looks better than her prior costume, but also less unique but neither is...all that great. I guess when you have Mayday Parker and Spider-Gwen and all the Spider-Women running around, coming up with something thing that fits the general Spider-Man motif, looks unique and also is really dynamic can be difficult. I can see where the designer was going though. Peter, MJ and Annie share the same outlines for where the chest areas of their suits turn into another colour. Peter’s is red and blue, MJ’s red and white and Annie’s is blue to black. So the ‘shape’ of the suit lends to the ‘unified family’ idea. The colours also make her stand out but maybe too much. If her parents had red chests and then she has blue it’s kinda weird. If the idea was she was trying to strike out on her own sure but I don’t get that impression at all. It is kinda cool she has MJ’s mask design but I preferred her old mask which was a compromise between her parents’ masks.

As for the main plot, I think Houser could’ve milked it much more than she did, we could’ve done with much more of the slice of life stuff and the Lizard was underutilized. There is a strong element of family defining the Lizard’s character because of his wife and child. In a book about family I presumed that was where we were going when he showed up. But...no he was just used as a monster amidst monsters.

I’m not saying Houser got the Lizard wrong just that there was an obvious and more compelling angle to exploited in the story.

The two big reveals surrounding the plot, that there is a zoo full of near-human people, and that it’s being run by Mister Sinister was also...underwhelming.

Spider-Man has the best supporting cast and rogue’s gallery within Marvel comics. Not only does this mean we don’t really need to see non-Spider-Man characters (like the X-Men) pop up, it’s frankly less interesting when we do because they have little-no history with Spider-Man or his family.

It was also just kind of a reveal that didn’t land for me, I could not care at all.

Mister Sinister was a little different because, I like Sinister as a bad guy I really do...but not in Spider-Man. I get including and referencing the X-Men in this arc because for some reason they were practically supporting cast members in Conway’s run, so paying that off makes sense. But why double down upon it with a major X-villain? Like the Jackal, even Doc Ock, either of them would be more fitting villains in this type of story or where the series implies it will be leading onto later.

It didn’t help that when we met Sinister initially in disguise there was just very little gravitas to him because he obviously looked like a no-name 18th century circus reject.

The ending let this arc down is what I guess I’m getting at. Issue #13 and #14 had pretty nice hooks for the next issues.

What was a letdown throughout though was the action sequences. They were pretty pedestrian along with the art overall. Like it wasn’t BAD per se (except Peter’s eyebrows...wtf?), it just was a major step down from Stegman and even Stockman, the latter of whom I think the artwork was chosen to be more like. It had this softer undefined element to it, and not in a Romita Senior way.

Returning to the character though, I do commend Houser for having a good grip on everyone and efficiently finding a way to distinguish them from one another across the three issues.

Peter dealing with being older and now decidedly less cool and engaging to his teen daughter is delightful..even if at points it feels like the narrative is kind of undermining him, especially in the Wolverine scene at the start of the story...still Dad Joke Spider-Man is awesome. Even more awesome is how together he over all is. This isn’t an angst ridden Peter Parker or one who is introspectively questioning himself. Throughout the story he gives off this air of relaxed experience, like he knows what he’s doing and can tell the situation allows for a few jokes and a bit of fun. Refrshingly he doesn’t angst about not pursuing the bad guy at all.

Moving on, Houser probably dissing MJ’s place in the Iron books at the time with her reprimanding and smack down of Tony was awesome (although I don’t get why she was so miffed at him). Her playing Spider-Mom, and more poignantly dejectedly owning it, was hilarious. Her sense of exhaustion is relatable whether you’ve been a parent or just been around them. It very much taps into Conway’s characterization of MJ as a juggler

Houser’s Annie also shines. She is believably an older version of the kid Annie we once knew but also stands firmly as her own person. She’s somewhat embarrassed by her Dad and wants greater independence. She loves being a superhero, but is (also in contrast to Mayday) a more of a punch first think later kind of gal with a dash of overconfidence.

She is untrustworthy of the Lizard and more gung ho, whilst MJ and especially Peter (to my delight) are both more reigned in and trusting.

This is nicely explored in the family’s single page descent underground where Houser gives Peter a really great speech about what it means for Annie to accept the great responsibility of the mask, that it might mean trusting those who are not trustworthy for the sake of others. This serves to nicely develop Annie as its her Dad treating her as more of an adult for the first time. the fact that it’s her Dad, the iconic hero Spider-Man conveying this wisedom onto her is very fitting and helps further legitimize Annie as a Spider-Hero to the readers of RYV and legitimize the new teen version to those jumping aboard at this point.

Not to be outdone, MJ an issue earlier got a wonderful piece of dialogue about how in spite of how their lives might be messed up by being heroes she and her family will still endeavour to make plans and live normal lives. Which is both a wonderfully inspiring heroic statement but also so very true to who she and Peter are as people.

Some other small points:

I saw Carrion amidst Sinister’s menagerie

The underground nature of the story’s conclusion nicely evokes the first arc by Conway

Overall Houser sells/sold you on the new dynamic with this arc as much as I preferred the older one and wish they hadn’t changed.

B+

#RYV Thoughts #Jody Houser #Nick Roche #Annie May Parker #Spiderling #spinneret #renew your vows #Amazing Spider-Man: Renew Your Vows #Spider-Man: Renew Your Vows #mary jane watson #Mary jane watson Parker #MJ Watson #mjwatsonedit #Spider-Man #Peter Parker

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thecloserkin · 5 years

Text

book review: Mira Grant, Feed (2010)

Genre: Sci-Fi

Is it the main pairing: Yes

Is it canon: No

Is it explicit: No

Is it endgame: Yes

Is it shippable: Hell to the yes

Bottom line: Creepily Codependent Siblings Survive the Zombie Apocalypse! They are adopted but the way they refer to each other as “my brother” and “my sister” when they could have used given names instead? I am here for it. While tight plotting is not one of this book’s strengths, you should slog through the infodumps to the ending which packs one hydrogen bomb of an emotional wallop.

This is the first book in the “Newsflash” trilogy about a pair of journalists, Georgia and Shaun Mason, who begin by blogging out of their parents’ basement and end by uncovering a vast governmental conspiracy subtended by various alphabet-soup agencies. The zombie apocalypse itself happened 23 years ago, and it happened the way these things invariably happen: Scientists try to cure cancer/the common cold, unleash freak virus on humanity, cue end of the world as we know it. Georgia and Shaun are the paradigmic products of this remade world: They, like many children born in and around the chaos of the outbreak, were orphans. On their adoption papers their birthdays are given as the same day—an arbitrary made-up date, but it makes them twins even if George is def a few months older. She acts older too, acting as the business brains of their fledgling journalistic operation while Shaun’s job is to “poke dead things with sticks” and look good while doing it. There is a performative aspect to Shaun’s mugging for the camera and flirting with anything in a skirt. He’s doing it because outrageous behavior garners them more hits, obviously, but he’s also doing it for George who gets a kick out of watching him charm the pants off people. She is bemused but not remotely threatened. George is all-business all the time, emotionally guarded and wary of physical contact, and one time when someone tried to hug her Shaun smoothly stepped up to intercept the hug to spare her the discomfort of enduring it. I SCREAMED. Note that George doesn’t mind being touched if it’s Shaun doing it:

I shuddered. Shaun caught the gesture and put a hand at the small of my back, steadying me. I flashed him a smile.

Shaun put a hand on my knee, steadying me, and I covered it with my own.

These small moments of tenderness punctuate an endearingly banterful sibling rapport. This is them reacting to the news of their big break—they’ve been tapped to cover the presidential campaign of an idealistic Wyoming senator:

Shaun was sure we’d get it. I was sure we wouldn’t. Now, staring at the monitor, Shaun said, “George?” “Yeah?” “You owe me twenty bucks.”

This is George shooing Shaun out of her room so she can change her clothes:

I pointed to the door. “Get out. There’s about to be nudity, and you’ll just complicate things.” “Finally, adult content! Should I turn the webcams on?”

This is big sister Georgia mocking Shaun for his youthful indiscretions:

”Remember how pissed you got when we had to do all that reading about the Rising back in sixth grade? I thought you were going to get us both expelled.”

In conclusion I love them sfm they are perfect.

As an aside, the people tagging this book “horror” on Goodreads have either not read the book (which is legit, TBR piles are a thing) or don’t understand what horror is? It’s like they saw the word “zombies” and just auto-completed the genre. What defines horror is not blood, gore, or violence but the fear and loss of agency engendered by that violence. That’s why so many horror film protagonists are women, who experience loss of agency in large and small ways on a daily basis and must learn to survive in the face of it; it’s cathartic to watch them take back control. The point of this digression is that THIS IS NOT A HORROR NOVEL. It’s not about that kind of fear!!! This is a political thriller so buckle in kids we’re going for a ride.

Twenty-three years ago during the outbreak, Georgia and Shaun’s parents lost their eight-year-old biological son. He was bitten by the neighbors’ dog. This was before it was widely understood that the virus could jump between mammalian species, and that anything surpassing the 40 pound threshold was susceptible to its effects. The dog weighed over 40 pounds. The Masons, who were award-winning reporters in their own right, dealt with their grief by channeling their emotional resources into chasing the news ratings. They continued to be phenomenally successful journalists as well as shitty parents to Shaun and Georgia, whom they seem to have adopted entirely for publicity purposes. The narrative invites us to draw the comparison between George and Shaun, who have chosen to pursue this career out of a thirst for THE TRUTH, and their parents who have less lofty motivations. Not to put too fine a point on it but their parents are mercenary motherfuckers. These kids survived their childhood by building an emotional bunker that they never learned to climb out of. This line from the very first chapter is so telling because they’re out in the field and Shaun is being chased by a zombie right?:

I screamed, images of my inevitable future as an only child filling my mind.

When Shaun’s in mortal peril, Georgia doesn’t think of him as “the center of my universe”— which he is—she thinks of the void that would result in the loss of her brother. That’s how they fit together, that’s what they are to each other, and all the other stuff is layered on top of the shared trauma of their childhood. Ffs they even have a ritual for administering each other’s blood tests—you know that thing at wedding toasts where the bride and groom loop their arms together and tip the champagne flute into the other’s mouth? Like that:

Moving with synchronicity born of long practice, we broke the biohazard seals and popped the plastic lids off our testing units

So the protocol for taking blood tests, which everyone has to do all day long to prove they’re not infected, is to come into the foyer/antechamber/vestibule one at a time and once you test clean you proceed into the building while the next person cycles into the chamber. That way, if anyone is found to be infected, they can be isolated. Georgia and Shaun have never once complied with this rule:

Our next-door-neighbor used to call Child Protective Services every six months because our folks wouldn’t stop us from coming in together. But what’s the point of life if you can’t take risks now and then, like coming into the damn house with your brother?

Implying that if one of them ever got bitten by a zombie the other one would rather spend the rest of their short life trapped in a garage with the shambling corpse of their sibling than die in their sleep at a ripe old age. Talk about ride or die.

I said before that this presidential campaign, this is their big break as much as it is the candidate’s. Up till now George and Shaun have been blogging under the umbrella of news aggregation entities (sort of like how BuzzFeed and HuffPost and Medium are populated by user-generated content that isn’t necessarily making the content creator an appreciable pile of money), but now they’ve finally landed the story that will let them strike out on their own. One of the sharpest things about this book is how it depicts journalism as a job, and a tough one to do right. Nashville does the same thing for the music industry, and as over-the-top as that show is, it shows you the nuts and bolts of success in a profession where practitioners are supposedly driven by “passion” alone. Here the distribution of labor is skewed pretty heavily towards George:

I get the administrative junk that Shaun’s too much of a jerk and Buffy’s too much of a flake to deal with.

Buffy is their business partner and some kind of auteur hacker + tech whiz. Shaun is the public face of their media brand. But make no mistake, George is the heart and soul and brains of this operation. You see her business acumen in drive-by observations like “Replacing that much equipment would kill our operating budget for months,” or when she talks about i n s u r a n c e. And George talks about insurance a lot. She mentions how a certain camera covered in zombie body fluids is an insurance write-off, how being present in designated high-risk zones during certain times of day can triple your insurance premium, how a certain treatment for her chronic vision condition isn’t covered by health insurance. I … just wanna point out that the human race has survived a flippin’ zombie apocalypse, but the United States remains wedded to private for-profit health insurance where who and what are “covered” remains a game of Russian roulette?!! Whoever said it was “easier to imagine the end of the world than the end of capitalism” was onto something. This society is functioning cohesively enough that elections are a thing (thus, nation-states are still a thing). If you want to tell me our fragmented, inefficient, fee-for service model of paying for medical care that routinely bankrupts & kills our citizens has weathered the end of civlization and emerged intact from its ashes, you better look me dead in the eye and bring receipts.

What’s really impressive about Georgia is she’ll rattle off exactly what kind of activities (those forbidden by her journalistic licensing) will invalidate her life insurance if she’s stupid enough to get killed while doing them. From which I surmise that she and Shaun are both covered by pretty hefty policies of which they are each other’s sole beneficiary. Which makes sense, they’re in a dangerous line of work, but I feel like it’s a poor investment since whoever was left behind would be doing their damnedest to climb into the grave next to their sibling lol.

Another little requirement of the household insurance—since we leave safe zones all the time in order to do our jobs, we have to be able to prove we’ve been properly sterilized, and that means logged computer verification of our sterilizations.

George is talking about the AI that is apparently located in her showerhead that douses her with a bleach & antiseptic compound when she comes back from being in the field?? That sounds painful but what concerns me is the breathtaking scope of the Internet of Things’ penetration into her life. The AI is in the bathroom. It knows exactly where she’s been bc ofc her GPS location can be tracked via her phone, and it’s merrily sending packets of information off to …. somewhere, where it will doubtless be aggregated with all the data collected about George from other sources, and combed for patterns to predict future behavior. That’s how surveillance capitalism works. if this sounds chillingly familiar it’s because it’s already happening, it’s what the tech giants are already doing—gobbling up as much data about as many people in as many contexts as possible—and leveraging that data for profit. Privacy is a joke. George is not unaware of this, but what choice does she have? It’s either install the damn AI in her showerhead or get her parents’ homeowners’ insurance policy cancelled for being too “high risk.”

I want to circle back to George’s chronic medical condition for a sec. She’s got a disability—what’s a called a “reservoir condition” where the virus takes up residence in a body organ, in her case the retina—meaning essentially that she has zombie vision; she can see ridiculously well in low light situations but direct sunlight will blind her. She has to wear shades even indoors and is literally incapable of crying since her tear ducts are inoperative. So there’s a testy situation where a federal agent tries to get her to take off her sunglasses so he can verify her identity with a retinal scan right? And because they’re standing outside this is obviously a recipe for permanent blindness, quite aside from the fact you wouldn’t be able to get a valid scan anyway due to the virus over-dilating George pupils. But instead of checking George’s files, where her disability & its effects are prominently listed, this grunt insists on making her remove her glasses because Procedure. It’s a pretty tense moment. Shaun goes ballistic. He doesn’t physically threaten the dude, or insult his mom or anything. No, Shaun understands that he needs to make this pencil-pusher more afraid of the consequences of taking George’s glasses than of Not Following Procedure. And it works. YEET.

On the campaign trail the Senator’s aides arrange for sex-segregated hotel rooms but Shaun and George are having none of it:

On the few occasions when I’ve tried sleeping without Shaun in the next room, well, let’s just say that I can go a long way on a six-pack of Coke.

The ostensible reason the sleeping arrangements need to be reshuffled is, Buffy can’t sleep without a nightlight and George’s eyes can’t tolerate a nightlight. Clearly the real reason is George and Shaun are c l i n g y and codependent as FUCK. One night after a zombie attack and the long grueling hours of cleanup/decontamination that followed it, they actually climb into the same bed—I guess this room only had a double instead of two singles?? The scene the next morning, the two of them having predictably overslept:

“Fuck a duck, Buffy, what are you trying to do, blind her?” … Shaun, clad only in his boxer shorts, staring at an unrepentant Buffy.

So Shaun’s beef with Buffy is not that she barged in on them while they were asleep & half-naked but that she opened the curtains, thereby triggering a painful migraine for George’s sensitive eyes. Buffy explains she didn’t shake them awake because they both sleep armed, lmao. George’s disability and Shaun’s practiced ability to help her maneuver around it (like a trusty prosthetic, he’s an extension of herself) serves to highlight how in this partnership they are one unit and they know each other inside out. This is them after their close shave with the dunce who tried to take George’s glasses:

“Fuck you, too,” I muttered as Shaun got his arm around me and hoisted me away from the barn. “You kiss our mother with that mouth?” “Our mother and you both, dickhead. Give me my sunglasses.”

And this is George waking up in their hotel room, eyes squeezed shut against the glare of multiple computer screens:

He touched my hand with the tips of his fingers before he pressed my sunglasses against my palm.

This is absurdly, spine-tinglingly intimate. First he touches her hand with the tip of his fingers, the most fleeting of touches to let her know it’s him, and then he presses the glasses into her palm to restore her agency so she can, you know, open her eyes. And that earlier scene with him guiding her by the elbow in broad daylight!!! I’M NOT CRYING YOU’RE CRYING

Sometimes I can hardly believe that George and Shaun are twenty-three years old. When I was twenty-three I … was not adulting half so well as these kids. But then, giving their barbarous upbringing, that’s not surprising; my parents loved and nurtured me. When I look at George and Shaun and the successful business they’ve built and the professional relationships they’ve cultivated and their expertise and their bravery I just feel this proud parental glow you know?

I want to say a word about Senator Ryman before we move onto spoiler territory. There’s a big controversy initially about whether the Senator is “genuine” or not (spoiler alert: he is). But what does that even mean, genuine? He’s a good egg, sure, but what are his policies, none of which are explored in depth except his support for horse farms??? I’m not kidding. In a world where any animal weighing over 40 pounds is a zombie outbreak waiting to happen, it’s a controversial position to say people should be able to keep pets in residential zones. Here is how George describes our Candidate:

He’s like a big, friendly Boy Scout who just woke up one day and decided to become the President of the United States of America.

I see two major problems with this: One, they say “Personnel is Policy” so who the hell is he planning to appoint to key Cabinet positions and can he trust them to pursue rather than undermine his objectives (and does he even have a deep enough bench of people to draw on)? Two, the Boy Scouts of America are not exactly, er, unproblematic, and while it’s safe to say our faves are always problematic, I think “Boy Scout” is shorthand here for “no skeletons in his closet,” which again puts the focus squarely on his personal qualities rather than what policies he espouses. It’s great that he hasn’t cheated on his wife or his taxes. But morality and ethics are not the same thing:

Morals are how you treat people you know. Ethics are how you treat people you don’t know. Your morality is what makes you a good spouse/friend … Your ethics are what makes you a good politician … Morality dictates that you take care of your family, friends and even acquaintances first … For a large society—a society where you can’t know everyone—to work, ethics must come before morality, or ethics and morality must have a great deal of overlap. By acting morally, you must be able to act ethically.

I think we can all agree that this does not describe how our society is currently constituted, and it doesn’t describe George and Shaun’s America either. So this narrow fixation on whether individual candidates are “genuine” or corrupt imo kinda misses the point. George says:

I haven’t even been able to find proof that his campaign received funding from the tobacco companies, and everyone’s campaign receives funding from the tobacco companies.

I don’t want to undersell how important it is the guy is not taking tobacco money. But is he also eschewing Wall Street money, Big Pharma money, defense contractor money? How could George possibly have time to investigate all this dark money if she is supposed to be covering the actual campaign? Seems like it would be a lot easier to reform the campaign finance laws than to vet every single single candidate’s funding sources.

I think one reason the Senator is long on identity & personal charisma and short on policy is that he’s up against an opponent whose base of support is millenarian-fundamentalist “the Rapture is here, we’re all going to hell”:

it was either Ryman’s brand of “we should all get along while we’re here,” or Tate’s hellfire and damnation.

If that is the main faultline in society, I guess half the voters don’t really wanna hear how a given politician is planning to make a material difference in their lives, since they’ve already got eyes on the prize aka the next life.

So there you have it. George and Shaun are scrappy independent muckrakers digging for the truth. Time and again their allegiance to that holy grail overrides their concern for trivial aims like idk personal safety. There’s a vast, shady conspiracy afoot, and as our heroes get closer to it they start getting shot at. They lose comrades. None of this deters them because they are after THE TRUTH. Oh wait there is in fact one thing George values more than the truth:

”You’re more interested in your brother than figuring out the truth?” “Shaun’s the only thing that concerns me more than the truth does.”

And later:

The sight of him was enough to make my heart beat faster and my throat get tight. I knew he was wearing Kevlar underneath his clothes, but Kevlar wouldn’t protect him from a headshot.

Her first concern is always, always, for him.

SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS

George gets infected. That’s the denouement. George is infected and Shaun has to shoot her before she turns all the way. Every single person who makes it to this scene is just bawling by the end of it:

His lips brushed the top of my head as he bent forward and pressed them to my hair. I wanted to yell at him to get away from me, but I didn’t. The barrel of the gun remained a cool, constant pressure on the back of my neck. When I turned, when I stopped being me, he would end it. He loved me enough to end it. Has any girl ever been luckier than I am?

The reassuring pressure of the gun on the base of her neck??? Has there been a more romantic moment in cinematic history??? I THINK NOT. Shaun is a crack shot—he’s the kind of guy who caresses his guns, names them after pretty women, causes his sister to grouse about digging through a suitcaseful of his weaponry to find her clothes—and yet here he is using his gun to kill the woman he loves most in the world.

It was supposed to be Shaun. They both took it as a given that Shaun would be the one to die first. Now he has to find a reason to continue living other than the obvious (vengeance). Stay tuned for the next installment, narrated by Shaun!

#newsflesh #book review #mira grant

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awed-frog · 6 years

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"why are angels in suits and archangels in ratty jeans" do you think maybe archangels have something that resembles free will, something regular angels have to struggle a lot to discover within themselves? (yes I read all your tags)

I’m not sure the two things are linked, though? Or linked in that exact way, ie free will automatically leads to freedom to customize your accessories?

Like, if we’re talking clothes, the most striking examples are Michael and Lucifer and how their fashion sense seems to evolve with their vessel.

There could be many reasons for this. Most likely, it’s just a narrative way of showing a clear difference between Dean (or Sam) and their possessed versions, because the fact is, both Lucifer and AU!Michael used to dress in a very similar way to real!Dean and real!Sam, so without the change in clothes, both actors and viewers would have a much harder time telling them apart.

(The interesting exception, of course, is Cas. See below for more speculation.)

As for in-story logic, there are a couple of fashion-related points we can make.

First of all, both in Supernatural and IRL, suits embody a kind of willing submission to your role in society, and what your superiors think and want. While most lines of work have compulsory or traditional ‘uniforms’, suits are not dictated by practical or safety reasons. They simply signal you don’t work with your hands and you get (or hope to get) something of a decent salary. What’s particularly striking about suits is that, on the whole, they’re not really a good choice as ‘standard wear’ for tertiary jobs? Like - for one, most suits just don’t fit the wearer’s body very well. You walk around and you see a lot of people (basically all the women because boobs and curves, but also many men) who just look awkward and cheap. There’s a reason why ‘getting a bespoke suit’, complete with standing on ridiculous tiny podium with four Italian tailors shaking their hands at you is such a popular movie trope and generally shorthand for ‘you’ve made it’, and it’s because off-the-rack suits tend to suck - they fall weirdly on your body, might pull at your joints, and generally look really bad. If you’re Benedict Cumberbatch, you could probably find someting suitable even in Asda, but then again, if you’re Benedict Cumberbatch you’d look good in a sandwich wrapper, so that’s a moot point. And another thing is that suits are incredibly high-maintenance, even if Supernatural pretends otherwise?

(And that’s another of those ‘black spaces’ we all watch with such rapt attention, by the way, because the boys wearing suits so often implies someone - *coughs* Dean *coughs* - spends a sizable portion of his time buying and looking after those clothes, and probably has a whole room in the Bunker full of fluffy fabric and costumes.)

Anyway - you need to fold them neatly and iron the shit out of them (and ironing shirts, that’s fun) and depending on the fabric every time you fucking move they fucking crease? And finally (I mean, I could go on because I hate them, but you know), finally they’re generally the reflection of an entitled, arrogant society which doesn’t take into account nature or weather. Like, people in suits may look all cool and unruffled inside their fancy AC-ed banks, but try wearing your bespoke woolen monstrosity on the tube, or outside on a summer afternoon, and you’re not likely to come out alive. So where manual workers are mostly forced to wear the same thing year-round to protect themselves from injury (or because their clothes need to be boiled when washed), and other professionals (like teachers) will adapt their wardrobe to seasons and mood, people who’re forced to wear suits truly represent the end of individuality, personality, and choice.

(Our national bank and our biggest insurance will police everything down to your bra, nail polish and make-up, so while there are people who genuinely enjoy wearing suits - I guess - I’d say for most it’s not really a choice.)

And the sad thing is, we’ve all accepted this as a good & worthy thing: buying your first suit is a sign you’re all grown up, and even if you’re not a corporate slave, you��ll be expected to wear suits at important meetings, weddings and funerals (hell, I know I’ve got a couple in my closet, so I’m not claiming any moral high ground here). What’s even more perverse, and also chimes in with the Supernatural universe, is that true wealth doesn’t give a rat’s ass about suits. As with other stuff, from dead languages to meditation to how well you treat your inferiors, there’s a wide gap between those who think they’re the upper class and the real upper class. This is a detail that often goes unnoticed, both IRL and in fiction, but a show like Billions, for instance, explored it to perfection: most characters will be in suits all the time, because the background is the financial world, but not Axe, our main character, who’ll choose jeans and leather jackets (which probably cost more than your house, and okay, but still: the key is comfort and non-conformity).

(See also: Chuck in his second-hand jacket vs. his archangels preening up and buying stupid stuff as soon as they fall in line.

Or: Chuck wearing whatever the hell he likes while his theoretically more powerful sister is stuffed into luxurious and revealing clothes, complete with pastel nail polish.)

Coming back to Supernatural, this is something of a pattern: normal angels are (almost) always in suits. Cas has a shabby suit hidden by his trademark trench coat - a fashion choice which has many reasons (chief among them, that John Constatine thing) but ends up representing the character’s dilemma and his push towards free will and a different kind of belonging. Both Michael and Lucifer dress shabbily when they’re not following Heaven’s plan, and suit up as soon as they manage to fulfill their expected roles. Raphael, the only archangel to be 100% loyal to the task he was assigned, is always shown in a suit.

(Gabriel, who never fit in, lived and died (twice) in his own personalized wardrobe.)

Something else that’s a headcanon of mine is that angels, generally speaking, don’t give a damn about human stuff because they’re not equipped to understand it. Like, Crowley is susceptible to the joys of a well-cut suit, and also painfully aware of its meaning (as an illiterate, illegimate child of a socially rejected mother, belonging and riches is what he dreamed about, and it’s not a surprise he chose to be apprenticed to a tailor); then again, he’s a demon, not an angel, which means he’s got a deep layer of tortured humanity informing his thoughts and his decisions. On the other hand, what does a suit mean to someone like Lucifer, who’s older than balls, considers humans to be a mistake and the scum of the Earth and is used to see their fashion sense change dramatically every few seconds (to an immortal, fifty years must look like one or two minutes)? No - to Lucifer, and Michael, and possibly Gabriel, the main problem is that they’re not in their rightful vessels; and, as we’ve seen very clearly in Lucifer’s case, the consequences can be irritating and very, very dramatic. So it makes sense, in a way, that they’d focus on keeping their vessels’ skin in one piece without bothering with anything else? Like, Nick!Lucifer changing into a nice Armani would be like a guy being rushed to the ER for organ failure insisting on silver cufflinks on his hospital gown.

(That’s also why, I think, Lucifer never bothered to change anything about Cas’ appearance when he was possessing Cas? It was a way of 1) cutting down his workload, 2) annoying the hell out of Sam and Dean and tricking them for as long as possible and 3) refusing to claim ownership of a vessel Lucifer probably considered dirty and beneath him.)

As a final thought, I always had a problem with that whole ‘angels have no free will’ thing, because the show & tell on that one never matched all that well. I mean: the only angel whose journey we truly witnessed was Cas, and even with Cas, it’s stated outright he always had plenty of free will and a boatload of feelings and opinions - to the point where he had to be reprogrammed several times. Mostly other low-level angel we’ve seen, though, have displayed a remarkable sense of self and very disinct preferences: from Balthazar who did his own thing to hippy!angels who wanted to camp by a river, to Ishim who went against orders to get laid, to Gadreel who took an awful lot of independent decisions, to his subtextual husband/textual parabatai who’d chosen a suburban human life, all the way to Naomi (the highest in hierarchy) and to that cute angel in glasses (the lowest of the low, and rip). So while the ‘tell’ part of this story was always more or less consistent (‘angels can’t understand emotions, can’t make their own choices, Cas is the lone exception’), the ‘show’ part mostly fell short of that message: with the exception of the suit as shorthand for brainlessness and obedience, angels never acted like the brainwashed robots they were supposed to be. In fact, you could even argue that the only two angels who’re pig-headedly determined to follow the path Chuck traced for them are, ironically enough, Michael and Lucifer.

#ask #spn meta #spn angels #archangels #spn and class #michael and lucifer #thanks for reading my tags!#i tend to have a lot of fun with them :)

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racefortheironthrone · 6 years

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How I Would Fix the SW Prequels

So I’ve been listening to School of Movies’ We Need to Talk About Anakin episode, and it reminded me that, while I’ve discussed this with friends and acquaintances in DMs, I’ve never actually written out this idea I had a while back for how you could fix the Star Wars Prequels.

Because in the wake of all the sturm und drang over TLJ, I feel like it’s worth noting that the failures of the Prequels were largely ones of execution rather than intent or conception and I think a very few changes could have made it a worthy addition to the larger universe.

Change #1: Make Anakin Older

No offense at all to Jake Lloyd, because why torture someone their entire life because they weren’t good at acting when they were nine years old (almost no one is any good at that age), but I think one of the major problems with the series was that Anakin starts out too young, which causes all kinds of character and world-building problems in all three movies. Instead of being 8-9 years old, Anakin should show up in Episode I as a teenager.

This one change does a lot:

To start out with, it creates a better thematic parallel with the original trilogy (and now the new trilogy too) - we meet Anakin when he’s around the same age as Luke Skywalker in A New Hope, and around the same age as Rey in The Force Awakens. They’re all teenagers who dream of the stars but are held in place until something arrives to change their world forever.

Next, it gives the audience a way into how the character is similar to and different from our other protagonists: like Luke, Anakin is a teenager scraping out a life on a backwater desert planet, and because he’s a teenager, and like Luke all Anakin cares about is space street racing (because American Graffiti). But whereas Luke is a good if slightly whiny kid with a decent home life, Anakin is a bit of a wild kid. He hates being a slave, hates that his master makes money off his talents but won’t ever let him win his freedom, throws fists when people say he’s a cheat, etc. You can already get the sense that he’s got a bit of the Dark Side in him already - this will help later on in the Trilogy, as I’ll explain in due course.

After that, it makes his other relationships make more sense: instead of the creepy age gap which means that we start with Amidala as a teenager caring for a child which makes their relationship in Episode II harder to accept, the two meet as peers in a shared period of struggle, which promotes an instant bond and explains why both of them would be interested in rekindling the relationship a short few years later. Likewise, instead of Obi-Wan pretty much raising Anakin, they’ve got more of an older/younger brother dynamic which helps to explain why Obi-Wan would decide to and struggle with mentoring someone not that much younger than himself.

Finally, it makes the Jedi Order no longer insane or evil. If an eight or nine-year old is too old to be trained, than the Jedi are basically stealing babies and raising them to be ascetic warrior-monks with no experience of the world. However, if Jedi are supposed to be trained from late childhood, so that they have control over their powers when the intense emotions of adolescence hit so as to not fall to the Dark Side or hurt people around them inadvertently, that seems like a sensible precaution.

Change #2: Bring the Sith in Earlier

I strongly believe that having the fall of the Republic political narrative be a central part of the Prequels was a good idea, since part of what you need to explain is why the Republic fell and the Empire took over. The execution, however, was less good. And part of that is that there’s a pretty hard swerve from local conflicts over tariffs and blockades and trade federations to the rise of the Emperor, so the initial reason for the Jedi to get involved in Naboo never makes much sense and the stakes of the conflict with the droid armies is too low to carry us through the trilogy.

So instead of going to Naboo to negotiate over trade, have Qui-Gon and Obi-Wan investigate whether the Sith are behind the rising Separatist movement. I would jettison the whole Rule of Two thing, because it doesn’t make sense that an entire Jedi Order of thousands of Jedi would think two Force-users are a galaxy-wide threat, and replace it with the idea that the Sith operate in independent cells of a master and two pupils (because Rule of Three) who go on to found their own cells, in a combination of pyramid scheme and underground organization, this hidden, omnipresent threat operating everywhere and nowhere at once.

This does a couple things:

it better explains why the Jedi are so concerned with the Sith, and provides a longer-term explanation for the downfall of the Republic: rather than promoting the health of the Republic, the Jedi became obsessed with hunting down signs of Sith activity, which made different groups in the galaxy see their supposed defenders as violent religious fanatics, and allowed more subtle Sith like Palpatine to corrupt the Republic from the shadows. (And rising fear and hatred strengthens the Dark Side of the Force...)

It gives a clear through-line from the trade conflict at Naboo to the Separatist/Clone War to the fall of the Republic: in each movie, the Jedi are looking to see whether the SIth are secretly behind some threat to the Republic. In Episode 1, Qui-Gon and Obi-Wan encounter Darth Maul, who seems to prove that the Sith were involved, but they don’t find out who his master was; in Episode 2, Obi-Wan and Anakin are fighting the separatist movement, which Count Dooku’s involvement “proves” to be Sith-inspired, and the Clone War kicks off with Sith groups popping up all over the galaxy; in Episode 3, the Republic falls to a military coup that could only succeed because of the military build-up.

It provides better context for Anakin’s fraught relationship with the Jedi Order: Qui-Gon is convinced that the self-taught Anakin is the Chosen One because the threat of the Sith makes the prophecy that much more important, the Jedi Order don’t trust Anakin because they’re afraid that he’s a Sith infiltrator, and it gives a better reason for Anakin to turn against the Jedi if he comes to see them as paranoid and oppressive.

And this also fits in with what a big part of Anakin’s arc should be about, without everything having to be about his romance with Amidala. If Anakin was already a teenage prodigy when the Jedi found him, he’s already started using the Force (although he doesn’t intiially know what he’s doing) and using his emotions to give him strength, and Anakin should be especially good at the very physical stuff that the Dark Side is strong in: using the Force to speed up his reaction time, shoving boulders out of the way during Pod Races, etc.

And so when Anakin becomes a Jedi in his own right, he should start making the argument that “balance” means using both the Light and the Dark Sides of the Force (which is also a nice thematic parallel to both Luke and Rey). This should gain him some acolytes, especially during the Clone War when fighting Sith makes some Jedi fight fire with fire, which helps explain how Darth Vader is later able to hunt down almost the entire order, but it also gives the Jedi a reason to fear him and even Obi-Wan a reason to doubt him, and a central tension: will Anakin maintain his precarious balance or fall? (It also sets up a nice parallel once again: Anakin chooses the dark over the light, Luke the light over the dark, Rey is the synthesis.) It’s a hell of a lot better than him being a fledgling fascist or fridging his mother to give him a reason to go bad.

Change #3: Give Amidala More To Do

Speaking of the political plot, one of the things that would give the political plot more meaning for the viewer is to give a lot more of it to Amidala and have her be more active in it. While Amidala gets to do some stuff - in Episode 1 she calls for a vote of no confidence in the previous Chancellor, bringing Palpatine to power, and works out an alliance with the Gungans; in Episode 2 she’s attacked and doesn’t actually get to act against the rising militarization of the Republic, although she does get to fight on Geonosis (which is a bit of a thematic contradiction), and then everything else is the romance; and then in Episode 3, she’s not allowed to do much.

Rather than this mish-mash, I’d have Amidala’s main arc in the Prequels be the foundation of the Rebel Alliance: have her be actively whipping votes against the creation of a standing army and the granting of emergency powers in Episode 2 (good time to bring in Bail Organa and Mon Mothma earlier and have them do more) and doing more to uncover the behind-the-scenes machinations that are driving the conflict; have her try to uncover Palpatine’s crimes and bring him to justice in Episode 3, only to be too late, and decide instead to create the Rebel Alliance, etc.

This also gives a better explanation for why the romance between her and Anakin falls apart without the need for Tuskan ethnic cleansing or wanton child murder: as Anakin gradually falls to the Dark Side through a combination of “ends justify the means” and fear/resentment for the Jedi, Amidala moves in the opposite direction as she fights against this same mentality in the increasingly militarized Republic and begins to see Palpatine as the true threat.

#star wars #star wars meta #the prequels

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groundbreaking-science · 7 years

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1-10 - Breaking Down the Power Level

From the start of my patchy teaching career, beginning as a brother then a parent, my general ethos towards explaining the world has been to never patronise. I have developed some semblance of self-awareness over the years and so may at times simplify or reign in tangents - not everyone needs to know the minutiae to gain a broad understanding of a topic. My aim though is to never shy away from trying to provide a full answer to a question posed, no matter the age or background of the poser. An earnest and enthusiastic question deserves a considered answer with all the nuance one’s expertise can provide in the situation. I trust those listening to instead communicate where clarification would be helpful, or sift through what they need in the moment and chew over the rest later.

In contrast, there’s a trend in wider media to cling to ‘consumers’ of scientific content by ratcheting up the the sensational, the over-simplified, the drama that may or may not be manufactured for entertainment. Narratives within popular science help guide and contain the message within (no one wants to be subjected to a list of facts, even regarding ki) but often the science is so watered down the only substance of the piece is the fluff. Those with a genuine palate for science (or history, or literature, or…) are left underwhelmed on repeated readings and sometimes even mistrusting of the expertise involved.

It is for those reasons I decided to include this section as a hat tip to the insatiably curious, though for those among you with little appetite for a smattering of mathematics, I first bring you a tangential, and completely true, offering in the form of a fish.

I have spoken frequently of a model for ki. By that I mean a story that explains the effects of ki we see using fundamental quantities. The story links cause and effect in the form of equations, transforming the qualitative to the quantitative.

The model presented here is not perfect. All models are an approximation to the truth and there are many simplifications (particularly in this version and I will highlight where), but broadly the model performs well and the limitations of the model are well defined. I trust you to take away what is most useful to you now, and I hope this treatment gives potential undergraduates a taster for some of the more theoretical aspects of a course on ki-use I hope will materialise in the near-future.

When in battle one question sits on the tip of everyone’s tongue: “What is the enemy’s power level?” This is proxy phrase to ask many questions at once. What is the opponent’s potential? How many people will be required to tackle them? How much strength should I use straight out of the gate? What is the risk to the local environment, the nearby populace, the planet? The highest power level will not always win a fight. Power level differences of an order of magnitude, even sometimes two, can be overcome with teamwork and sound strategy. Getting an early indication of the opponent’s location and power can give your team vital time to plan and distribute yourselves effectively.

As we discussed in a previous section, the idea of a power-level measuring device - the scouter - was first introduced to us by Freeza’s personal army and deconstructed by Bulma.

The original scouters performed perfectly well in the situation they were designed for, searching for clusters of life-forms with power levels of 0-2 (encompassing the vast majority of people in the Universe) to allow the possessors to commit mass murder extremely efficiently. The scouters were able to stretch beyond this range, reaching higher power levels of 5.3; any higher and the harmonic oscillator arrays constructed to respond to the vibrations in the ki field (with technology developed along a similar branch to Dr Gero’s) would break. Specifically: the atomic ‘pendulums’ of varied masses contained within ion traps would be kicked out of the holding magnetic fields and flung away into the rest of the structure, shorting the electronics and usually exploding the device. The designers believed the likelihood of any of Freeza’s forces encountering someone that strong so low they didn’t deem it necessary to prioritise the scouter-wearer’s safety. Clearly Freeza’s true strength, peaking above a power level of eight at that time, was hidden from the vast majority of his forces.

The fully artificial scouters were not flexible enough to cope with everything life could throw at it. Life itself on the other hand has an amazing capacity to give as good as it gets. I can sense everything from tiny fogs of ki in less-than-clean water to the brightest kis in the Universe standing almost blindingly close, and I can do it all without shorting my own circuitry. Whilst the mechanical scouters have a range of 0 to 5.3, the newer versions developed on Earth can cope with -1 to 14, (or 0.1 to 100,000,000,000,000 unlogged). That is tested. Hypothetically they should remain accurate up to a power level of 17 but we never want to be in situation where we’re reading that. Our method’s downside is the loss of precision compared to the original scouter, which was able to differentiate just as well between power levels of 1 and 2 and 10,000 and 10,001. Our scouters do maintain a 0.1% precision however, which is usually sufficient. Anyone wanting finer precision to monitor and argue their progress needs another hobby.

Capsule Corp employees have for the most part stayed away from playing with the biophysics of life, knowing the trouble and potential backfire meddling can cause through the work of Dr Gero. What little research and development that has been done in this field has been led by Bulma and Mai through all above-board personal funding. The new scouters are a result of this off-piste research and utilise a genetic modification of bioluminescent bacteria found in a tropical fish.

The fish in question - the blue-finned angelfish - exclusively inhabits the coral reefs around one of the many South Sea archipelagos. They’re crepuscular feeders, making use of the changing light levels at dawn and dusk that other fish and invertebrates struggle to cope with. When hunting for prey like small fish and krill they spread into what can appear to be a dangerously loose shoal. What makes this strategy effective is the beautiful symbiotic relationship the fish has with a bacteria within the fish’s transparent skin along the fins and tail. The bacteria glows neon yellow using bioluminescence near low power levels (-2 to -1.5) and flickers in a predictable pattern with the ki signature, the wave of flickering allowing for the triangulation of distance. When the glow starts, the fish play a game of hot and cold until close enough to pinpoint their prey through smell. The now brighter glow brings the rest of the shoal to feed into the early night.

Why then are are these fish known as the blue-finned and not yellow-finned angelfish? Well, they are named as yellow locally, though zoologists from the mainland way-back-when never much listened to local expertise, routinely removing chosen specimens from their natural environment to study in the comfort of the lab. As the scientists approached the fish in the tank back home their fins glowed a bright blue and the fish reacted poorly, racing to escape. It transpires the bacteria can luminesce over two colours, yellow for prey and blue for predators - the latter covering intensities of 0.3-2. This range catches the bigger fish and reef sharks that home in on the yellow glow of a feeding shoal. When a wave of blue creeps across the shoal in the near-dark, the fish know to hide. It just so happens this range encompasses the scientists’ own power levels, too. To the scientists with clipboards then, these were only ever blue-finned glowing fish.

The locals know of the fish’s defence intimately and is a source of great amusement. There’s a shallow, natural harbour in one of the smaller islands that, very rarely, a large shoal of angelfish will chase prey into. The harbour is sealed and all the boats dragged onto the shore. A call is then sent to the other islands for an impromptu night-long festival - a spontaneous get-together and chance to catch-up. Traditionally, the arrival of the fish had been seen as a mixed omen, that bad luck is ongoing or shortly arriving. Assembling a group to challenge the fish twice-touched by a creator god (once for each colour) however will guide the selection of the warrior or leader to pull the islands through a time of strife.

The challenge is as follows. Representatives from each attending island volunteer to take on the fish. Their true reasons for participating are varied: trained warriors, children nearing adulthood, people looking to impress an onlooker they’re sweet on, older fishermen showing off their talent, the local clown putting on a show. Each representative is then painted over the course of the afternoon by friends and family with a glowing set of pigments (not made from the fish fins, I hasten to add). Some designs are beautifully intricate; most are messy, child-sized handprints. Everyone then waits for twilight with great anticipation.

The participants take their turn to wade in and try to catch a fish in the harbour with only a net - the great difficulty being of course that the fish will glow blue and alert the shoal to avoid the intruder. This leaves an ever-moving empty ring of water around the participant to flounder in, struggling to cast the net and maybe just reaching the shoal edge. The larger their genki, the wider that ring and the greater the challenge. The winner is decided by elected older folk, and is usually a combination of how fast a fish was caught and how much paint was left on the challenger’s body. About half of participants catch and release a fish, nearly everyone trips, and the spectators have a great time.

Nowadays the omens and winners are not taken seriously beyond passing on fantastical stories, spooking the children or for gaining bragging rights. Usually.

The year before the 28th World Martial Arts Tournament, a shoal made their way into the harbour. The residents of one of many islands answered the call, the group including the young Papayaman and his family. Their island hadn’t been doing so well in recent years; the Moon’s twice vanishing and reappearing act dampened the tides for a time and their delicate yellow mangrove trees took a hit. The entire food chain around the islands and reef was disrupted and the trees would take decades to recover. As the slow-growing tree bark is prized for its tannin, the island’s economy took a brutal hit, too. The residents, previously relatively comfortable, had eaten into their savings and were near the brink. Going to the festival was supposed to be a rare fun day out. As the eldest sibling at nine years old, the boy who would become Papayaman had already resolved to compete in the hope he would be worthy enough to help his family.

The evening went smoothly until the boy took the long walk down towards the water. As he hit the shoreline the fish retreated, that blue ring growing to taunt him, he believed. When in the water the scale of the challenge stretched before him. There was no way he would be able to throw the net that far out, let alone hold onto it to drag a fish back. He became more and more frustrated as his time and paint dwindled and his anger, something he rarely felt, rose… then burst. For a moment the entire bay was full of blue stars, lighting up the dusk. Then the fish bolted, some even jumping onto the shore in a frantic escape attempt, causing pandemonium amongst the younger children.

The boy did not catch a fish himself in the end. But there was no doubt about his potential throughout the archipelago, and he was brought into warrior training as soon as he returned home. He was then selected to attend the tournament on nearby Papaya Island to earn money for his village. Although he didn’t win, due to his efforts and subsequent training the island eventually did recover.

A number of years later the shoal returned and the now young man eventually found a way to catch that fish, finally marking (from his own perspective at least) his graduation from training with my father. And as they say, the rest is history.

My first encounter with the fish was a little more begrudging. I had just “moved” to East City for a postdoctoral position into a cosy office with two others funded on the same grant. We got on well and I was hoping for a relatively relaxing couple of years. That was thrown out the window within the first month when the zebrafish aficionados in the labs two floors below decided to branch out, nabbing a number of blue-finned angelfish to get to grips with the bioluminescence. They’d hypothesised the glowing bacteria were responding to the fish’s excitement and stress levels (apologies for not correcting you sooner) and were planning on running behavioural studies.

Those fish hated me. Even at that distance, my natural aura was just the right strength to set them off. No one could figured out why the fish were constantly stressed during lab hours, until of course the news reached our office and I put two and two together. My chronically guilty self had the most fun five months suppressing my genki at work until the lab moved from data collection to analysis and the fish returned home. Still, I’m grateful I got to peruse the results from the bacterial DNA sequencing. I relayed the gist to Bulma and she was able to isolate, then modify, the particular colour and ki range the bacteria glowed at. I’ve contacted the old lab members for co-authorship on this new work. I hope they’re not too mad.

The new scouters use these modified bacteria to read power levels and ki signatures. Stacked into mini vials filled with agar, the bacteria respond to ki much like cone cells in the eye respond to light wavelengths. The spectrum of light emitted by the bacteria indicate the intensity of ki hitting the scouter, and the specific pulsing is monitored and decomposed to identify ki signatures - much like instruments can be isolated from a song. With at least two detector packs and accelerometers to track the movement of the wearer, ki signatures can be triangulated and located. A simple pair of glasses (less conspicuous than the original scouters) can be used display results - one lens for a simple overlay or both for a full 3D effect. The isolation isn’t fantastic at a distance as the baseline separation between the detectors isn’t that great, but in relatively close quarters they work perfectly. Better yet are the systems Mai built into the jet flier and jeep windshield that give a heads-up display of the scene for both the driver and passenger. Due to “popular” demand there is a smartphone app, though sadly the hardware is not included.

All in all we’re pretty well-equipped to quantify overall power level. The measure was rendered completely useless by Earth’s martial artists, however. As soon as Freeza’s army found we could suppress our ki and therefore their scouters were unable to accurately predict any form of maximal potential, the tech was discarded. With the new scouters, getting beyond that one measure to find all the components - genki boosts, yuuki, shouki, the base power, flow suppressions, effort - is entirely possible and we can fully model a person’s ki-use and potential. The equations for the model (omitting the calculus) are as follows.

The overall power P (without being logged) can be defined as the total energy E_T divided by the time interval t, or

We know the total energy can be expressed as

Or, as the sum of energy derived from the field (E_F) and what is remaining of genki energy E_G,rem. This can be substituted into the first equation to form

Genki energy E_G is divided into two parts: the genki that is amplified (E_G,amp) and the remaining genki (E_G,rem), so the above is expanded to

From section 1-9 we know E_G,amp can be expressed with the fraction of genki chosen to be converted from genki to field, f_GF. Substituting for E_G,rem we get

Recall also from that section E_F is a function of E_G,amp, the converted fraction fGF and the efficiency of amplification from genki to field, a_GF,

Substituting through we get

And then simplified down:

Let’s take stock here. We’ve been able to break down the power level into a number of base stats - the amplification, the fraction converted and genki energy. As a sanity check here, if the amplification of genki (a_GF) is less than 1 this will lead to that central bracket becoming negative and the entire combined power level less than if it were from genki alone. This correctly mimics the disappointing early stages of learning to amplify genki, where you get less out than you put in. You will need to persevere!

We can further break down the genki energy into the flow rate of particles from the centre Q and the average charge per particle, q.

We use the average charge rather than an exact value due to the slight variation genki charge can possess, the variation of which is mirrored in the colour spectrum of the aura. In extreme cases (like the kaioken with a double peak in section 1-8) the two averages can be noted and incorporated in a full treatment. The assumption of only one smooth peak and therefore one mean is usually made.

From section 1-8 we also know that the flow Q is the flux Phi_p multiplied by the surface area A. This is simplified. The flux measured can be directionally dependent if the ki-user is focusing down an attack for example. For the most part though, the aura is isotropic (the same in all directions). In reality the calculation should be a closed integral over the centre surface, modelled as a sphere.This then all ties together as

and substituting in

The power level is not a static value. The surface area A can change with transformation or suppression, as can the average charge q. Both of these quantities are defined with dynamic variables. Remember from section 1-9 that yuuki (y, courage) can affect these manipulations of surface area and charge,

And

where A is the surface area at rest, q the average charge at rest, and f refers to the resultant fractional change the ki-user is affecting. e is the effort assigned to perform these changes. Theta refers to all the parameters needed to define the function translating effort and yuuki into that fractional change. From section 1-8 we know most ki-users step up in genki using those harmonically defined troughs of required effort and sit at one level rather than hovering in tricky spots. Yuuki modifies these curves by raising them, meaning the ki-user requires more effort to reach the same desired fractional change. Some levels even become ‘locked out’ entirely. These functions take the same wavey and upwards shape for everyone, though the actual width, height and ramp up of effort required will change between ki-users. Whilst these functions are complicated, a good approximation can be made with a relatively small number of parameters. Explicitly defining those functions is beyond the scope of this book, but suffice to say the parameters for those functions can be thought of as base stats, too.

Similar to yuuki, shouki (s,strength of will) feeds into the efficiency of conversion between genki and field energy in a similar fashion -

Where a_GF,0 is ones go-to conversion rate. Whereas yuuki affected the ki-users ability to change from natural outputs, in this case we do not perform any amplification naturally (though we have a habitual value) so shouki affects the ki-user’s ability to amplify genki at all - if shouki is 0, no amount of assigned effort will amplify genki.

There is an additional constraint on these values. One of course only has a limited amount of effort to give. Some must go into general thought and movement, so we can surmise

Knowing some manipulations of flow, charge and amplification would be downright impossible, this one inequality can help constrain the rest of the parameters considerably.

In full then, one rearranged form of the equation for a ki-user’s power level (omitting some nuances for legibility) is

Putting this all together, we have a number of default ‘base stats’ - A_0, q_0, a_GF,0 and Phi_p (along with the effort to flow rate, effort to genki charge and effort to amplification functions defined with θs) and the dynamic stats y, s, e_A, e_(A_GF) and e_q. From these there are a number of derived stats like f_GF, f_q, f_(a_GF), Q, q and the most useful split of power level, E_G and E_F .

Given some loose assumptions and probabilities assigned to each of these variables - so-called priors that were discussed in section 1-3 - one can monitor a changing power level and narrow down these assumptions using increasing evidence as time passes to give parameter estimates.

What kind of priors? We know some states of particle flow and genki charge are difficult to reach due to the harmonics inherent in the process, and so ki-users are going to avoid particular power levels due to the increase in effort required to hold them. We can assume ki-users will default to a habitual level of genki amplification. Flow rate will never increase above base without particular techniques like transformation. Charge never drops below the default level unless the flow rate is unnaturally high or the ki-user is exhausted. All of these assumptions can be programmed into the model as prior assumptions.

One must be careful with priors to never attribute zero probability to a possibility otherwise that one-in-a-million chance will never appear in the probable results in the updating model. I could assume that no one with a Earthling appearance could have a power-level above 2, for example. If I turn these assumption on my Uncle Krillin the model will give the best answer it can, maybe trying to say that he has a very efficient genki to field conversion rate to compensate for the lack of flexibility in the model. Instead, by allowing some very small, highly unlikely chance for an Earthling to have such a high natural power level, the updated prior will be pulled to this region with every new data point, showing the unlikely to be more and more possible.

When encountering odd enemies one may ‘widen the priors’ to encompass highly unlikely scenarios like godly-powered Earthlings. ‘Flattening the priors’ means allowing all possible scenarios. Whilst that sounds like the best idea, flattening leads to a large number of possible solutions when you know some combination of base stats are more likely to occur than others. Choosing priors for any kind of succession analysis is an art form in itself.

There can be a lot of information and possibilities to process when building up a picture of a ki-user, but with a careful set of tasks to perform in a calm environment, someone’s base stats at least can be obtained and updated on a semi-regular basis. This narrows down the parameter space before entering battle considerably, reducing the uncertainty when finding the dynamic variables. Some tasks include running up and down ki output from fully suppressed to maximum, or how quickly one can amplify a set amount of genki. For new enemies the scouter has to work overtime, but with every second of new information our intel improves considerably. Even if all the enemies’ parameters haven’t been constrained, the more varied their attacks and strategy the faster we can build up a picture to start answering key questions such as whether the enemy is holding back their strength.

For our team, Mai is able to feed us updates about each other’s status, allowing us to adjust the plan should someone be running low and too proud to admit it, or the enemy be surprisingly resilient. For all the rudimentary single word or single image telepathy usually thrown around the field,hearing an articulate voice in your ear confirming that you’re tired or Auntie Bulma yelling to calm down should the panic be setting in can be very disconcerting. I refer to ‘us’; I’m never very careful with the tiny earpiece and I blow it within minutes. As much as the data intrigues me I’m far too used to running from my own observations. I’m not the only one to have been on the sharp end of a scolding, the earpieces are notoriously difficult to keep intact. Pan has the longest survival time of forty-five minutes and even that’s contested as for the first half an hour she was deliberately suppressing as a feint.

The scouters are useful in the moment and for review, but their most interesting day-to-day function is how the software can track improvement. This of course leads to competition. Endless competition. From conversations I’ve overheard, the moment one of the kids feels they’ve improved the scouters are out. There are often disputes because someone is 'using the scouter wrong’ and Mai is dragged in to adjudicate or fix what turns out to be perfectly functional hardware… Bulma put her foot down very quickly on getting drawn into these arguments. Even the old guard cannot contain their curiosity and will play with them at parties for old times’ sake.

Realistically though, the live-feed technology is more a gimmick for us. We know each other well enough and are sadly so experienced that our gut reactions, whilst not quantifiable, are usually correct. In actuality, the technology as a whole continues to be developed for future use. It would be well-suited for personal status trackers across a large group to be fed back to a control hub, or to help tailor training for new ki-users to maximise their efforts.

“New ki-users”. For those who haven’t flicked to later chapters that phrase must be torture to read right now. I understand. This section now closes the ‘brief’ chapter on the theoretical framework behind ki and we will now move onto the practical elements. You can breathe. Speaking of, if you have been working on those centring exercises I’d hope you’d have found your centre by now, have fantastic posture and felt the first hints of the natural flow of genki with your breath. This is preparation that will, in the coming chapter, pay dividends.

Ah. During this chapter I did promise you a particular story. I hadn’t forgotten, nor have I left it deliberately late to tease. I wanted to put myself, friends and family in a wider context before tackling it lest there is any misunderstanding after. I also wanted to put the story front and centre in the textbook chapter I believe will be the most read because of the tale’s significance - not just to world history or tangentially to ki but to me.

The story’s about the Cell Games, and how I came to be that little boy on the hill.

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Myst (or, The Drawbacks to Success)

Robyn Miller, one half of the pair of brothers who created the adventure game known as Myst with their small studio Cyan, tells a story about its development that’s irresistible to a writer like me. When the game was nearly finished, he says, its publisher Brøderbund insisted that it be put through “focus-group testing” at their offices. Robyn and his brother Rand reluctantly agreed, and soon the first group of guinea pigs shuffled into Brøderbund’s conference room. Much to its creators’ dismay, they hated the game. But then, just as the Miller brothers were wondering whether they had wasted the past two years of their lives making it, the second group came in. Their reaction was the exact opposite: they loved the game.

So would it be forevermore. Myst would prove to be one of the most polarizing games in history, loved and hated in equal measure. Even today, everyone seems to have a strong opinion about it, whether they’ve actually played it or not.

Myst‘s admirers are numerous enough to have made it the best-selling single adventure game in history, as well as the best-selling 1990s computer game of any type in terms of physical units shifted at retail: over 6 million boxed copies sold between its release in 1993 and the dawn of the new millennium. In the years immediately after its release, it was trumpeted at every level of the mainstream press as the herald of a new, dawning age of maturity and aesthetic sophistication in games. Then, by the end of the decade, it was lamented as a symbol of what games might have become, if only the the culture of gaming had chosen it rather than the near-simultaneously-released Doom as its model for the future. Whatever the merits of that argument, the hardcore Myst lovers remained numerous enough in later years to support five sequels, a series of novels, a tabletop role-playing game, and multiple remakes and remasters of the work which began it all. Their passion was such that, when Cyan gave up on an attempt to turn Myst into a massively-multiplayer game, the fans stepped in to set up their own servers and keep it alive themselves.

And yet, for all the love it’s inspired, the game’s detractors are if anything even more committed than its proponents. For a huge swath of gamers, Myst has become the poster child for a certain species of boring, minimally interactive snooze-fest created by people who have no business making games — and, runs the spoken or unspoken corollary, played by people who have no business playing them. Much of this vitriol comes from the crowd who hate any game that isn’t violent and visceral on principle; the overlap between players of games like Doom and those like Myst is inevitably limited. (The surprising thing is that an overlap exists at all…)

But the more interesting and perhaps telling brand of hatred comes from self-acknowledged fans of the adventure-game genre. These folks were usually raised on the Sierra and LucasArts traditions of third-person adventures — games that were filled with other characters to interact with, objects to pick up and carry around and use to solve puzzles, and complicated plot arcs unfolding chapter by chapter. They have a decided aversion to the first-person, minimalist, deserted, austere Myst, sometimes going so far as to say that it isn’t really an adventure game at all. But, however they categorize it, they’re happy to credit it with all but killing the adventure genre dead by the end of the 1990s. Myst, so this narrative goes, prompted dozens of studios to abandon storytelling and characters in favor of yet more sterile, hermetically sealed worlds just like its. And when the people understandably rejected this airless vision, that was that for the adventure game writ large. Some of the hatred directed toward Myst by stalwart adventure fans — not only fans of third-person graphic adventures, but, going even further back, fans of text adventures — reaches an almost poetic fever pitch. A personal favorite of mine is the description deployed by Michael Bywater, who in previous lives was himself an author of textual interactive fiction. Myst, he says, is just “a post-hippie HyperCard stack with a rather good music loop.”

After listening to the cultural dialog — or shouting match! — which has so long surrounded Myst, one’s first encounter with the actual artifact that spurred it all can be more than a little anticlimactic. Seen strictly as a computer game, Myst is… okay. Maybe even pretty good. It strikes this critic at least as far from the best or worst game of its year, much less of its decade, still less of all gaming history. Its imagery is well-composited and occasionally striking, its sound and music design equally apt. The sense of desolate, immersive beauty it all conveys can be strangely affecting, and it’s married to puzzle-design instincts that are reasonable and fair. Myst‘s reputation in some quarters as impossible, illogical, or essentially unplayable is unearned; apart from some pixel hunts and perhaps the one extended maze, there’s little to really complain about on that front. On the contrary: there’s a definite logic to its mechanical puzzles, and figuring out how its machinery works through trial and error and careful note-taking, then putting your deductions into practice, is genuinely rewarding, assuming you enjoy that sort of thing.

At same time, though, there’s just not a whole lot of there there. Certainly there’s no deeper meaning to be found; Myst never tries to be about more than exploring a striking environment and solving intricate puzzles. “When we started, we wanted to make a [thematic] statement, but the project was so big and took so much effort that we didn’t have the energy or time to put much into that part of it,” admits Robyn Miller. “So, we decided to just make a neat world, a neat adventure, and say important things another time.” And indeed, a “neat world” and “neat adventure” are fine ways of describing Myst.

Depending on your preconceptions going in, actually playing Myst for the first time is like going to meet your savior or the antichrist, only to find a pleasant middle-aged fellow who offers to pour you a cup of tea. It’s at this point that the questions begin. Why does such an inoffensive game offend so many people? Why did such a quietly non-controversial game become such a magnet for controversy? And the biggest question of all: why did such a simple little game, made by four people using only off-the-shelf consumer software, become one of the most (in)famous money spinners in the history of the computer-games industry?

We may not be able to answers all of these whys to our complete satisfaction; much of the story of Myst surely comes down to sheer happenstance, to the proverbial butterfly flapping its wings somewhere on the other side of the world. But we can at least do a reasonably good job with the whats and hows of Myst. So, let’s consider now what brought Myst about and how it became the unlikely success it did. After that, we can return once again to its proponents and its detractors, and try to split the difference between Myst as gaming’s savior and Myst as gaming’s antichrist.

Rand Miller

Robyn Miller

If nothing else, the origin story of Myst is enough to make one believe in karma. As I wrote in an earlier article, the Miller brothers and their company Cyan came out of the creative explosion which followed Apple’s 1987 release of HyperCard, a unique Macintosh authoring system which let countless people just like them experiment for the first time with interactive multimedia and hypertext. Cyan’s first finished project was The Manhole. Published in November of 1988 by Mediagenic, it was a goal-less software toy aimed at children, a virtual fairy-tale world to explore. Six months later, Mediagenic added music and sound effects and released it on CD-ROM, marking the first entertainment product ever to appear on that medium. The next couple of years brought two more interactive explorations for children from Cyan, published on floppy disk and CD-ROM.

Even as these were being published, however, the wheels were gradually coming off of Mediagenic, thanks to a massive patent-infringement lawsuit they lost to the Dutch electronics giant Philips and a whole string of other poor decisions and unfortunate events. In February of 1991, a young bright spark named Bobby Kotick seized Mediagenic in a hostile takeover, reverting the company to its older name of Activision. By this point, the Miller brothers were getting tired of making whimsical children’s toys; they were itching to make a real game, with a goal and puzzles. But when they asked Activision’s new management for permission to do so, they were ordered to “keep doing what you’ve been doing.” Shortly thereafter, Kotick announced that he was taking Activision into Chapter 11 bankruptcy. After he did so, Activision simply stopped paying Cyan the royalties on which they depended. The Miller brothers were lost at sea, with no income stream and no relationships with any other publishers.

But at the last minute, they were thrown an unexpected lifeline. Lo and behold, the Japanese publisher SunSoft came along offering to pay Cyan $265,000 to make a CD-ROM-based adult adventure game in the same general style as their children’s creations — i.e., exactly what the Miller brother had recently asked Activision for permission to do. SunSoft was convinced that there would be major potential for such a game on the upcoming generation of CD-ROM-based videogame consoles and multimedia set-top boxes for the living room — so convinced, in fact, that they were willing to fund the development of the game on the Macintosh and take on the job of porting it to these non-computer platforms themselves, all whilst signing over the rights to the computer version(s) to Cyan for free. The Miller brothers, reduced by this point to a diet of “rice and beans and government cheese,” as Robyn puts it, knew deliverance when they saw it. They couldn’t sign the contract fast enough. Meanwhile Activision had just lost out on the chance to release what would turn out to be one of the games of the decade.

But of course the folks at Cyan were as blissfully unaware of that future as those at Activision. They simply breathed sighs of relief and started making their game. In time, Cyan signed a contract with Brøderbund to release the computer versions of their game, starting with the Macintosh original.

Myst certainly didn’t begin as any conscious attempt to re-imagine the adventure-game form. Those who later insisted on seeing it in almost ideological terms, as a sort of artistic manifesto, were often shocked when they first met the Miller brothers in person. This pair of plain-spoken, baseball-cap-wearing country boys were anything but ideologues, much less stereotypical artistes. Instead they seemed a perfect match for the environs in which they worked: an unassuming two-story garage in Spokane, Washington, far from any centers of culture or technology. Their game’s unique personality actually stemmed from two random happenstances rather than any messianic fervor.

One of these was — to put it bluntly — their sheer ignorance. Working on the minority platform that was the Macintosh, specializing up to this point in idiosyncratic children’s software, the Miller brothers were oddly disengaged from the computer-games industry whose story I’ve been telling in so many other articles here. By their own account, they had literally never even seen any of the contemporary adventure games from companies like LucasArts and Sierra before making Myst. In fact, Robyn Miller says today that he had only played one computer game in his life to that point: Infocom’s ten-year-old Zork II. Rand Miller, being the older brother, the first mover behind their endeavors, and the more technically adept of the pair, was perhaps a bit more plugged-in, but only a bit.

The other circumstance which shaped Myst was the technology employed to create it. This statement is true of any game, but it becomes even more salient here because the technology in question was so different from that employed by other adventure creators. Myst is indeed simply a HyperCard stack — the “hippie-dippy” is in the eye of the beholder — gluing together pictures generated by the 3D modeler StrataVision. During the second half of its development, a third everyday Macintosh software package made its mark: Apple’s QuickTime video system, which allowed Myst‘s creators to insert snippets of themselves playing the roles of the people who previously visited the semi-ruined worlds you spend the game exploring. All of these tools are presentation-level tools, not conventional game-building ones. Seen in this light, it’s little surprise that so much of Myst is surface. At bottom, it’s a giant hypertext done in pictures, with very little in the way of systems of any sort behind it, much less any pretense of world simulation. You wander through its nodes, in some of which you can click on something, which causes some arbitrary event to happen. The one place where the production does interest itself in a state which exists behind its visuals is in the handful of mechanical devices found scattered over each of its landscapes, whose repair and/or manipulation form the basis of the puzzles that turn Myst into a game rather than an unusually immersive slideshow.

In making Myst, each brother fell into the role he was used to from Cyan’s children’s projects. The brothers together came up with the story and world design, then Robyn went off to do the art while Rand did the technical plumbing in HyperCard, and also composed and tracked the music. One Chuck Carter helped Robyn on the art side, while Chris Brandkamp produced the intriguing, evocative environmental soundscape by all sorts of improvised means: banging a wrench against the wall or blowing bubbles in a toilet bowl, then manipulating the samples to yield something appropriately other-worldly. And that was the entire team. It was a shoestring operation, amateurish in the best sense. The only thing that distinguished the boys at Cyan from a hundred thousand other hobbyists playing with the latest creative tools on their own Macs was the fact that Cyan had a contract to do so — and a commensurate quantity of real, raw talent, of course.

Ironically given that Myst was treated as such a cutting-edge product at the time of its release, in terms of design it’s something of a throwback — a fact that does become less surprising when one considers that its creators’ experience with adventure games stopped in the early 1980s. A raging debate had once taken place in adventure circles over whether the ideal protagonist should be a blank slate, imprintable by the player herself, or a fully-fleshed-out role for the player to inhabit. The verdict had largely come down on the side of the latter as games’ plots had grown more ambitious, but the whole discussion had passed the Miller brothers by.

So, with Myst we were back to the old “nameless, faceless adventurer” paragon which Sierra and LucasArts had long since abandoned. Myst actively encourages you to think of it as yourself there in its world. The story begins when you open a mysterious book here on our world, whereupon you get sucked into an alternate dimension and find yourself standing on the dock of a deserted island. You soon learn that you’re following a trail first blazed by a father and his two sons, all of whom had the ability to hop about between dimensions — or “worlds,” as the game calls them — and alter them to their will. Unfortunately, the father is now said to be dead, while the two brothers have each been trapped in a separate interdimensional limbo, each blaming the other for their father’s death. (These themes of sibling rivalry have caused much comment over the years, especially in light of the fact that each brother in the game is played by one of the real Miller brothers. But said real brothers have always insisted that there are no deeper meanings to be gleaned here…)

You can access four more worlds from the central island just as soon as you solve the requisite puzzles. In each of them, you must find a page of a magical book. Putting the pages together, along with a fifth page found on the central island, allows you to free the brother of your choice. This last-minute branch to an otherwise unmalleable story is a technique we see in a fair number of other adventure games wishing to make a claim to the status of genuinely interactive fictions. (In practice, of course, players of those games and Myst alike simply save before the final choice and check out both endings.)

For all its emphasis on visuals, Myst is designed much like a vintage text adventure in many ways. Even setting aside its explicit maze, its network of discrete, mostly empty locations resembles the map from an old-school text adventure, where navigation is half the challenge. Similarly, its complex environmental puzzles, where something done in one location may have an effect on the other side of the map, smacks of one of Infocom’s more cerebral, austere games, such as Zork III or Spellbreaker.

This is not to say that Myst is a conscious throwback; the nature of the puzzles, like so much else about the game, is as much determined by the Miller brothers’ ignorance of contemporary trends in adventure design as by the technical constraints under which they labored. Among the latter was the impossibility of even letting the player pick things up and carry them around to use elsewhere. Utterly unfazed, Rand Miller coined an aphorism: “Turn your problems into features.” Thus Myst‘s many vaguely steam-punky mechanical puzzles, all switches to throw and ponderous wheels to set in motion, are dictated as much by its designers’ inability to implement a player inventory as by their acknowledged love for Jules Verne.

And yet, whatever the technological determinism that spawned it, this style of puzzle design truly was a breath of fresh air for gamers who had grown tired of the “use this object on that hotspot” puzzles of Sierra and LucasArts. To their eternal credit, the Miller brothers took this aspect of the design very seriously, giving their puzzles far more thought than Sierra at least tended to do. They went into Myst with no experience designing puzzles, and their insecurity about this aspect of their craft was perhaps their ironic saving grace. Before they even had a computer game to show people, they spent hours walking outsiders through their scenario Dungeons & Dragons-style, telling them what they saw and listening to how they tried to progress. And once they did have a working world on the computer, they spent more hours sitting behind players, watching what they did. Robyn Miller, asked in an interview shortly after the game’s release whether there was anything he “hated,” summed up thusly their commitment to consistent, logical puzzle design and world-building (in Myst, the two are largely one and the same):

Seriously, we hate stuff without integrity. Supposed “art” that lacks attention to detail. That bothers me a lot. Done by people who are forced into doing it or who are doing it for formula reasons and monetary reasons. It’s great to see something that has integrity. It makes you feel good. The opposite of that is something I dislike.

We tried to create something — a fantastic world — in a very realistic way. Creating a fantasy world in an unrealistic way is the worst type of fantasy. In Jurassic Park, the idea of dinosaurs coming to life in the twentieth century is great. But it works in that movie because they also made it believable. That’s how the idea and the execution of that idea mix to create a truly great experience.

Taken as a whole, Myst is a master class in designing around constraints. Plenty of games have been ruined by designers whose reach exceeded their core technology’s grasp. We can see this phenomenon as far back as the time of Scott Adams: his earliest text adventures were compact marvels, but quickly spiraled into insoluble incoherence when he started pushing beyond what his simplistic parsers and world models could realistically present. Myst, then, is an artwork of the possible. Managing inventory, with the need for a separate inventory screen and all the complexities of coding this portable object interacting on that other thing in the world, would have stretched HyperCard past the breaking point. So, it’s gone. Interactive conversations would have been similarly prohibitive with the technology at the Millers’ fingertips. So, they devised a clever dodge, showing the few characters that exist only as recordings, or through one-way screens where you can see them, but they can’t see (or hear) you; that way, a single QuickTime video clip is enough to do the trick. In paring things back so dramatically, the Millers wound up with an adventure game unlike any that had been seen before. Their problems really did become their game’s features.

For the most part, anyway. The one place where the brothers’ inexperience shows to most negative effect is in Myst‘s approach to narrative. It is, one might even say, a textbook example of how not to do an interactive story: you get the entire backstory as one massive infodump, in the form of a whole shelf full of journals to be read in a literal in-game library, almost as soon as you start the game, then essentially nothing more until the big climax. This approach can make the puzzles — which, as I’ve already noted, are quite good in the abstract — feel peculiarly unrewarding despite themselves, in a “why on earth am I even doing this?” sort of way. Far better to dole the backstory out bit by bit, as a reward for each puzzle you solve.

Additionally, the networks of nodes and pre-rendered static views that constitute the worlds of Myst can be needlessly frustrating to navigate, thanks to the way that the views prioritize aesthetics over consistency; rotating your view in place sometimes turns you 90 degrees, sometimes 180 degrees, sometimes somewhere in between, according to what the designers believed would provide the most striking image. Orienting yourself and moving about the landscape can thus be a confusing process. One might complain as well that it’s a slow one, what with all the empty nodes which you must move through to get pretty much anywhere — often just to see if something you’ve done on one side of the map has had any effect on something on its other side. Again, a comparison with the twisty little passages of an old-school text adventure, filled with mostly empty rooms, does strike me as thoroughly apt.

On the other hand, a certain glaciality of pacing seems part and parcel of what Myst fundamentally is. This is not a game for the impatient. It’s rather targeted at two broad types of player: the aesthete, who will be content just to wander the landscape taking in the views, perhaps turning to a walkthrough to be able to see all of the worlds; and the dedicated puzzle solver, willing to pull out paper and pencil and really dig into the task of understanding how all this strange machinery hangs together. Both groups have expressed their love for Myst over the years, albeit in terms which could almost convince you they’re talking about two entirely separate games.

So much for Myst the artifact. What of Myst the cultural phenomenon?

The origins of the latter can be traced to the Miller brothers’ wise decision to take their game to Brøderbund. Brøderbund tended to publish fewer products per year than their peers at Electronic Arts, Sierra, or the lost and unlamented Mediagenic, but they were masterful curators, with a talent for spotting software which ordinary Americans might want to buy and then packaging and marketing it perfectly to reach them. (Their insistence on focus testing, so confusing to the Millers, is proof of their competence; it’s hard to imagine any other publisher of the time even thinking of such a thing.) Brøderbund published a string of products over the course of a decade or more which became more than just hits; they became cultural icons of their time, getting significant attention in the mainstream press in addition to the computer magazines: The Print Shop, Carmen Sandiego, Lode Runner, Prince of Persia, SimCity. And now Myst was about to become the capstone to a rather extraordinary decade, their most successful and iconic release of all.

Brøderbund first published the game on the Macintosh in September of 1993, where it was greeted with rave reviews. Not a lot of games originated on the Mac at all, so a new and compelling one was always a big event. Mac users tended to conceive of themselves as the sophisticates of the computer world, wearing their minority status as a badge of pride. Myst hit the mark beautifully here; it was the Mac-iest of Mac games. MacWorld magazine’s review is a rather hilarious example of a homer call. “It’s been polished until it shines,” wrote the magazine. Then, in the next paragraph: “We did encounter a couple of glitches and frozen screens.” Oh, well.

Helped along by press like this, Myst came out of the gates strong. By one report, it sold 200,000 copies on the Macintosh alone in its first six months. If correct or even close to correct, those numbers are extraordinary; they’re the numbers of a hit even on the gaming Mecca that was the Wintel world, much less on the Mac, with its vastly smaller user base.

Still, Brøderbund knew that Myst‘s real opportunity lay with those selfsame plebeian Wintel machines which most Mac users, the Miller brothers included, disdained. Just as soon as Cyan delivered the Mac version, Brøderbund set up an internal team — larger than the Cyan team which had made the game in the first place — to do the port as quickly as possible. Importantly, Myst was ported not to bare MS-DOS, where almost all “hardcore” games still resided, but to Windows, where the new demographics which Brøderbund hoped to attract spent all of their time. Luckily, the game’s slideshow visuals were possible even under Windows’s sluggish graphics libraries, and Apple had recently ported their QuickTime video system to Microsoft’s platform. The Windows version of Myst shipped in March of 1994.

And now Brøderbund’s marketing got going in earnest, pushing the game as the one showcase product which every purchaser of a new multimedia PC simply had to have. At the time, most CD-ROM based games also shipped in a less impressive floppy-disk-based version, with the latter often still outselling the former. But Brøderbund and Cyan made the brave choice not to attempt a floppy-disk version at all. The gamble paid off beautifully, furthering the carefully cultivated aspirational quality which already clung to Myst, now billed as the game which simply couldn’t be done on floppy disk. Brøderbund’s lush advertisements had a refined, adult air about them which made them stand out from the dragons, spaceships, and scantily-clad babes that constituted the usual motifs of game advertising. As the crowning touch, Brøderbund devised a slick tagline: Myst was “the surrealistic adventure that will become your world.” The Miller brothers scoffed at this piece of marketing-speak — until they saw how Myst was flying off the shelves in the wake of it.

So, through a combination of lucky timing and precision marketing, Myst blew up huge. I say this not to diminish its merits as a puzzle-solving adventure game, which are substantial, but simply because I don’t believe those merits were terribly relevant to the vast majority of people who purchased it. A parallel can be drawn with Infocom’s game of Zork, which similarly surfed a techno-cultural wave a decade before Myst. It was on the scene just as home computers were first being promoted in the American media as the logical, more permanent successors to the videogame-console fad. For a time, Zork, with its ability to parse pseudo-natural-English sentences, was seen by computer salespeople as the best overall demonstration of what a computer could do; they therefore showed it to their customers as a matter of course. And so, when countless new computer systems went home with their new owners, there was also a copy of Zork in the bag. The result was Infocom’s best-selling game of all time, to the tune of almost 400,000 copies sold.

Myst now played the same role in a new home-computer boom. The difference was that, while the first boom had fizzled rather quickly when people realized of what limited practical utility those early machines actually were, this second boom would be a far more sustained affair. In fact, it would become the most sustained boom in the history of the consumer PC, stretching from approximately 1993 right through the balance of the decade, with every year breaking the sales records set by the previous one. The implications for Myst, which arrived just as the boom was beginning, were titanic. Even long after it ceased to be particularly cutting-edge, it continued to be regarded as an essential accessory for every PC, to be tossed into the bags carried home from computer stores by people who would never buy another game.

Myst had already established its status by the time the hype over the World Wide Web and Windows 95 really lit a fire under computer sales in 1995. It passed the 1 million copy mark in the spring of that year. By the same point, a quickie “strategy guide” published by Prima, ideal for the many players who just wanted to take in its sights without worrying about its puzzles, had passed an extraordinary 300,000 copies sold — thus making its co-authors, who’d spent all of three weeks working on it, the two luckiest walkthrough authors in history. Defying all of the games industry’s usual logic, which dictated that titles sold in big numbers for only a few months before fizzling out, Myst‘s sales just kept accelerating from there. It sold 850,000 copies in 1996 in the United States alone, then another 870,000 copies in 1997. Only in 1998 did it finally begin to flag, posting domestic sales of just 540,000 copies. Fortunately, the European market for multimedia PCs, which lagged a few years behind the American one, was now also burning bright, opening up whole new frontiers for Myst. Its total retail sales topped 6 million by 2000, at least 2 million of them outside of North America. Still more copies — it’s impossible to say how many — had shipped as pack-in bonuses with multimedia upgrade kits and the like. Meanwhile, under the terms of SunSoft’s original agreement with Cyan, it was also ported by the former to the Sega Saturn, Atari Jaguar, 3DO, and CD-I living-room consoles. Myst was so successful that another publisher came out with an elaborate parody of it as a full-fledged computer game in its own right, under the indelible title of Pyst. Considering that it featured the popular sitcom star John Goodman, Pyst must have cost far more to make than the shoestring production it mocked.

As we look at the staggering scale of Myst‘s success, we can’t avoid returning to that vexing question of why it all should have come to be. Yes, Brøderbund’s marketing campaign was brilliant, but there must be more to it than that. Certainly we’re far from the first to wonder about it all. As early as December of 1994, Newsweek magazine noted that “in the gimmick-dominated world of computer games, Myst should be the equivalent of an art film, destined to gather critical acclaim and then dust on the shelves.” So why was it selling better than guaranteed crowd-pleasers with names like Star Wars on their boxes?

It’s not that it’s that difficult to pinpoint some of the other reasons why Myst should have been reasonably successful. It was a good-looking game that took full advantage of CD-ROM, at a time when many computer users — non-gamers almost as much as gamers — were eager for such things to demonstrate the power of their new multimedia wundermachines. And its distribution medium undoubtedly helped its sales in another way: in this time before CD burners became commonplace, it was immune to the piracy that many publishers claimed was costing them at least half their sales of floppy-disk-based games.

Likewise, a possible explanation for Myst‘s longevity after it was no longer so cutting-edge might be the specific technological and aesthetic choices made by the Miller brothers. Many other products of the first gush of the CD-ROM revolution came to look painfully, irredeemably tacky just a couple of years after they had dazzled, thanks to their reliance on grainy video clips of terrible actors chewing up green-screened scenery. While Myst did make some use of this type of “full-motion video,” it was much more restrained in this respect than many of its competitors. As a result, it aged much better. By the end of the 1990s, its graphics resolution and color count might have been a bit lower than those of the latest games, and it might not have been quite as stunning at first glance as it once had been, but it remained an elegant, visually-appealing experience on the whole.

Yet even these proximate causes don’t come close to providing a full explanation of why this art film in game form sold like a blockbuster. There are plenty of other games of equal or even greater overall merit to which they apply equally well, but none of them sold in excess of 6 million copies. Perhaps all we can do in the end is chalk it up to the inexplicable vagaries of chance. Computer sellers and buyers, it seems, needed a go-to game to show what was possible when CD-ROM was combined with decent graphics and sound cards. Myst was lucky enough to become that game. Although its puzzles were complex, simply taking in its scenery was disarmingly simple, making it perfect for the role. The perfect product at the perfect time, perfectly marketed.

In a sense, Myst the phenomenon didn’t do that other Myst — Myst the actual artifact, the game we can still play today — any favors at all. The latter seems destined always to be judged in relation to the former, and destined always to be found lacking. Demanding that what is in reality a well-designed, aesthetically pleasing game live up to the earth-shaking standards implied by Myst‘s sales numbers is unfair on the face of it; it wasn’t the fault of the Miller brothers, humble craftsman with the right attitude toward their work, that said work wound up selling 6 million copies. Nevertheless, we feel compelled to judge it, at least to some extent, with the knowledge of its commercial and cultural significance firmly in mind. And in this context especially, some of its detractors’ claims do have a ring of truth.

Arguably the truthiest of all of them is the oft-repeated old saw that no other game was bought by so many people and yet really, seriously played by so few of its purchasers. While such a hyperbolic claim is impossible to truly verify, there is a considerable amount of circumstantial evidence pointing in exactly that direction. The exceptional sales of the strategy guide are perhaps a wash; they can be as easily ascribed to serious players wanting to really dig into the game as they can to casual purchasers just wanting to see all the pretty pictures on the CD-ROM. Other factors, however, are harder to dismiss. The fact is, Myst is hard by casual-game standards — so hard that Brøderbund included a blank pad of paper in the box for the purpose of keeping notes. If we believe that all or most of its buyers made serious use of that notepad, we have to ask where these millions of people interested in such a cerebral, austere, logical experience were before it materialized, and where they went thereafter. Even the Miller brothers themselves — hardly an unbiased jury — admit that by their best estimates no more than 50 percent of the people who bought Myst ever got beyond the starting island. Personally, I tend to suspect that the number is much lower than that.

Perhaps the most telling evidence for Myst as the game which everyone had but hardly anyone played is found in a comparison with one of its contemporaries: id Software’s Doom, the other decade-dominating blockbuster of 1993 (a game about which I’ll be writing much more in a future article). Doom indisputably was played, and played extensively. While it wasn’t quite the first running-around-and-shooting-things-from-a-first-person-perspective game, it did became so popular that games of its type were codified as a new genre unto themselves. The first-person shooters which followed Doom in the 1990s were among the most popular games of their era. Many of their titles are known to gamers today who weren’t yet born when they debuted: titles like Duke Nukem 3D, Quake, Half-Life, Unreal. Myst prompted just as many copycats, but these were markedly less popular and are markedly less remembered today: Journeyman Project, Zork Nemesis, Rama, Obsidian. Only Cyan’s own eventual sequel to Myst can be found among the decade’s bestsellers, and even it’s a definite case of diminishing commercial returns, despite being a rather brilliant game in its own right. In short, any game which sold as well as Myst, and which was seriously played by a proportionate number of people, ought to have left a bigger imprint on ludic culture than this one did.

But none of this should affect your decision about whether to play Myst today, assuming you haven’t yet gotten around to it. Stripped of all its weighty historical context, it’s a fine little adventure game if not an earth-shattering one, intriguing for anyone with the puzzle-solving gene, infuriating for anyone without it. You know what I mean… sort of a niche experience. One that just happened to sell 6 million copies.

(Sources: the books Myst: Prima’s Official Strategy Guide by Rick Barba and Rusel DeMaria, Myst & Riven: The World of the D’ni by Mark J.P. Wolf, and The Secret History of Mac Gaming by Richard Moss; Computer Gaming World of December 1993; MacWorld of March 1994; CD-ROM Today of Winter 1993. Online sources include “Two Histories of Myst” by John-Gabriel Adkins, Ars Technica‘s interview with Rand Miller, Ryan Miller’s postmortem of Myst at the 2013 Game Developers Conference, GameSpot‘s old piece on Myst as one of the “15 Most Influential Games of All Time,” and Greg Lindsay’s Salon column on Myst as a “dead end.” Michael Bywater’s colorful comments about Myst come from Peter Verdi’s now-defunct Magnetic Scrolls fan site, a dump of which Stefan Meier dug up for me from his hard drive several years ago. Thanks again, Stefan!

The “Masterpiece Edition” of Myst is available for purchase from GOG.com.)

source http://reposts.ciathyza.com/myst-or-the-drawbacks-to-success/

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