#for the record I don't have an issue with the narrative putting a focus on endeavor

[kurokoros]

I've been seeing the "endeavor is the best written character in BNHA" take for a while and regardless of if that's true or not (because that's an opinion, not a fact) do the people saying this not think it's questionable or off-putting that the "best" written character is a middle aged man discovering after over two decades that neglecting, abusing, and overall traumatizing his wife and children is BAD and he wants to be a better person now???

#i know i have mutuals that like endeavor. or at least want to fuck him. but come on guys pick a better dilf. have better taste #for the record I don't have an issue with the narrative putting a focus on endeavor #i just think the framing of that focus was garbage #using him as a narrative point to critique hero society and the HPSC was RIGHT THERE. IT WAS RIGHT THERE #ALSO. A L SO. i'm so tired of people being like 'hey this man makes me uncomfortable and I don't like him in the story' #and absolute clowns responding that ' yeah. but he's the best written character in the series!!!' #once again WHY has the abusive father been given the best writing in the series as opposed to literally any of the main characters? #horikoshi chose to minimize the ripple effect endeavor's behavior should have had on society in BNHA and shockingly that's not good writin #also because i know people like to whine about 'p u r i t a n i c a l' views. that is literally not the problem here #i'm not mad that endeavor exists as a character. I like the wrench he throws into the idealistic version of heroism presented early on #i'm mad that the societal issue of men using their wealth fame and power to abuse others is glossed over #in favor of a narrative arc about this dickhead feeling bad and wanting to do better #anti bnha #sort of #anti endeavor #absolutely #fandom.bnha

[nutzgunray-lvt]

I will FOREVER be salty about how Hori paints his characters with valid criticisms against the status quo as in the wrong:

Monoma - hates Bakugou, therefore hates 1A by association and is painted out to be some over the top arrogant asshole who freaks out every time they so much as breath (Monoma's not my favorite, but he's 100% right when it comes to Bakugou).

Rock Lock - doesn't want the first years (maybe also the third years, idk?) involved in the Shie Hassaikai raid due to how dangerous it is and due to having recently had a newborn son, is painted as someone who's being overprotective and unfair to these heroes in training.

Inko - isn't comfortable with Izuku continuing at UA after the Forest Camp Attack, is painted as being overprotective (I have my issues with Inko, but she had an incredibly valid point here).

The media - rightfully criticizes UA's utter inability to protect their students and reign in Bakugou's behavior (the hill I will die on), is painted as trying to unfairly persecute UA/Aizawa.

Present Mic - uses common sense to deduce that there's a traitor in UA's midst, is portrayed as being a shit stirrer who's quick to distrust his colleagues and students (another hill I'll die on).

Gran Torino (a minor one) - calls Aizawa's high expulsion rate as what it is: nasty (showing that even he has standards), is immediately corrected by Present Mic that the expulsions are "only on paper" and Aizawa truly cares deep down (which actually makes it WORSE since it stays on their permanent records regardless).

Other students taking the Provisional Exam - call out Bakugou for being an obnoxious asshole, are immediately painted as "not understanding how hard he works."

Pro Heroes and Present Mic - call out Bakugou for not taking Ochako seriously in the Sports Festival, are told to RETIRE for not understanding how Bakugou clearly works harder than anybody else to be a hero (but then Bakugou proceeds to get the second highest amount of internship offers, so idk what the fuck point Horikoshi was trying to make here).

Vlad King is a weird one because while his one-sided rivalry with Aizawa/1A is obnoxious and unprofessional, he IS a better teacher than Aizawa is and it's a point not focused on aside from an off hand comment by Aizawa. You'd think this would make him examine whether or not his beliefs are truly benefiting his students or have Nedzu call him up and say, "what's up with your class consistently underperforming against 1B?"

Best Jeanist is perhaps the ONLY Pro-Hero to see Bakugou's behavior for what it is and takes him as an intern to rectify it... but proceeds to focus on all the wrong things (his style being the main one) and not really get to the core of his goal.

Society as a whole doesn't trust heroes for a myriad of reasons (some unreasonably, some for extremely valid reasons) and are painted as being unfair and incredibly biased against heroes as a whole.

Izuku leaves UA due to AFO having Ragdoll's Quirk, is essentially ganged up on and beaten/shamed into submission by Class 1A who completely disregard his POV (I don't agree with him putting himself in this position, I'm just pointing how it makes sense narratively).

Me, trying to make sense of all of this -

Like... how is your story supposed to be nuanced and your characters three-dimensional if you paint the complainer as always in the wrong?

#mha critical #bnha critical #horikoshi critical #anti bakugo katsuki #anti shota aizawa #present mic deserves better #rock lock deserves better #neito monoma deserves better #izuku deserves better #best jeanist deserves better

[edelweissacermacrophyllum]

The beginning of wisdom is this: Get wisdom.

Job 35-37, Proverbs 4:1-9, Matthw 24:1-31

Elihu continues speaking here and I can't help but notice, despite the fact that narratively I think it is more satisfying if he's just a useless, arrogant blowhard, he does make some new points. It's poetry and it is beautiful, and I agree with Mr. Keating that the goal of poetry is not to be mined for meaning but to be experienced. However I lack the skill to to a brilliant and worthwhile commentary on the poetry so I will stick to trying to mining it for meaning. Elihu says to Job, in short, "God is big and doesn't need you."

Both of these things are true, but they are reductive and misleading. I came up with a concept of God a while ago and I still find it compelling. If God is a being of infinite attention, comprehension, and focus; then they are capable of holding in their mind every little thing in the universe. Knowledge, in my experience, leads to passion, especially in scientists but also in sports fans, chefs, etc. Maybe passion leads to knowledge too, but regardless, I consider God to be a universe enthusiast. I think that any other character assumption of God doesn't take into account their infinite knowledge. God cannot be cruel or a sadist because an infinite being would not take any pleasure in torturing a finite being. It would be like a human being amused by torturing a stone. God cannot be power hungry because they are already omnipotent. I haven't put much thought into the horny God hypothesis, but given God's lack of glands (except for that one time in which He was celibate) I don't consider that a viable God concept either.

So what Elihu got wrong was that he thought that God was big and therefore had every right to ignore Job and that Job was being incredibly presumptuous just for asking if God had forgotten him. But God's nature, I think, is not to forget anything, but to be deeply invest in every part of Their creation.

The beginning of wisdom is this: Get wisdom (Proverbs 4:7a) This might be profound but I was amused to read it. I will interpret it to mean something I already believe: That wisdom comes from outside oneself. Introspection is not usually helpful and won't often teach you something you don't already know.

Jesus talks about the end times in this passage and I don't like it. One of the main assumptions of the people listening to this passage would have been that they would be around for the events that Jesus was talking about. At the end of the chapter, Jesus says outright, "This generation will not pass away until all these things have happened." And it's been 2000 years. A whole lot of theologist energy has gone into explaining away this discrepancy but I haven't found an answer I am comfortable with. It's not a huge issue, but it is problematic. I would like to think that some person later added those words of Jesus because apocalyptic prophecy would sell well like it does now. But of course that casts doubt on a lot of the other words of Jesus and until now we have been assuming that they've been recorded reasonably well. There's not enough evidence to make a claim of later modification of this texts, so I am comfortable leaving it unknown for now.

The thing is that when we have an infinite God, a lot of things will be outside our comprehension, especially the end times. We can't comprehend the end of the world because we have no concept of there not being a world. But do not worship sacred mysteries. That is only to worship one's own ignorance. Worship God for the parts of Them that you do understand, not the parts that you don't. God is a universe enthusiast and we assume that They want it to work well and for the seas to be clean and the ecosystems healthy and the humans kind. If that is the kind of God that exists then I am comfortable worshiping Them. And as for the elements of their bigness that I don't understand, well, I'll trust Them to handle it.

#bible in a year #God #Jesus #Sacred mystery #end times

[nellie-elizabeth]

Barry: candy asses (3x07)

Well then. Just one more episode and the season is over? What is this nonsense, time is fake!

Cons:

This was probably my least favorite episode of the season? The pacing has been so frenetic and then this one really felt like a held breath, like a pause, in the midst of the chaos. While I expected that to be a good thing, it didn't quite come together for me.

Barry's only role this episode is to almost die and to hallucinate the people he's killed. I get that there were other things to focus on, but I'm not sure I learned anything new about Barry from this. He's dying, he feels guilt about the things he's done... this is not new information.

Meanwhile a lot of this episode was taken up with the investigation stuff over who killed Janice. I understand that for the purpose of propelling the plot forward, you need all of this. But Fuches telling Barry's big secret to yet another person, everyone getting rattled and angry at Barry for what he's done... there's really nothing new here, it's just turning the dial ever-so-slightly on stuff we've been watching all season. It's not that any of this is bad, it's just not quite as invigorating as I know this show can be.

The same sort of frustrating pacing issue happened with Hank as well. He's closer geographically to Cristobal, but we don't get to see them talk or start to figure out what comes next for them. Will we get to see that next week? I hope so!

Pros:

Despite all of this, it's not that I thought this episode was boring or unnecessary. There is an impending sense of doom as more and more people piece together the reality of Barry's past and all the people he's killed. But this episode felt kind of like more of the same, in terms of that impending doom continuing to grow, if that makes sense...

The most interesting stuff to me was happening over in the acting side of things. Sally screams at her former friend/employee when she discovers that Natalie has been given her own show, and Natalie records it. Sally then records a damage control pseudo-apology, and her agent decides to drop her. So things aren't going well for her, to say the least. Mostly I just love how the energy of the scenes about a woman's acting career are given this real narrative heaviness that puts it on par with all the murder stuff going on with Barry. At no point am I thinking "who cares, this isn't what matters" because it does matter, it matters to Sally and it matters in the way that the things that make up a person's life and choices always matter.

Similarly, we see that Gene is having some success with his new Masterclass gig. Things get a little tense when Jim Moss (Janice's father) talks to Gene about Barry as a suspect. Gene covers for Barry, but somewhat poorly, so it looks like another person has accepted the scary truth of the situation. It's so twisty, to have Gene in a position where he knows exactly what happened to the woman he loved, and while he badly wants revenge, for the sake of his and his family's continued safety, he has to help cover up the truth of his loved one's murder.

I don't have much more to say on this one. I'm anxious about next week's finale, there are a lot of things still in the air. I love to watch a show that is fundamentally about bad people, who I still find compelling to watch and learn new things about. Barry certainly delivers on that front!

7/10

#review #barry #barry review

[fakeikemen]

Katara's Grief

(This is my first attempt at a meta post and I know that this has probably been already done but I just needed to get it off my chest and go on a little rant and it kinda got long so bear with me.)

A lot of the hate on Katara stems from the fact that she keeps on mentioning her mother's death at every chance she gets and invalidates other people's pain to assert that her suffering is the worst of the lot.

And even though everybody is entitled to their own opinions, I'm gonna point out why I think the aforesaid claims are not exactly correct.

First we'll take a look at; Katara's Backstory:

We know that Kya is killed in a fire nation raid and that Katara had been the last person to see her alive before she leaves the tent on her mother's insistence. Only to come back a few moments later and find her dead body. This, in itself is a traumatising event.

So yes, her mother died. Other people in the story go through far worse. You're not wrong when you say that.

But what is more important in Katara's story is the aftermath of her mother's death.

As Sokka says while talking to Toph in "The Runaway" in B3 Ep7:

Sokka: When our mom died, that was the hardest time in my life. Our family was a mess, but Katara? She had so much strength. She stepped up and took on so much responsibility. She helped fill the void that was left by our mom.

As an eight year old, she had to force herself to grow up to step into her mother's shoes and raise herself and her elder brother and simultaneously look after the entire village after her father left to fight in the war. She had to do all of it by herself.

In face of all her responsibilities, she never really had the chance to simply be a grieving child lamenting the loss of her mother. She habituated herself to caring more about others than herself (We see this trait in the entire series as she acts as the stand-in mom friend for the entire Gaang with an exception of Suki and Zuko). She ended up bottling her feelings of grief, resentment, guilt and rage deep within herself.

She had to give up an extensive part of her childhood where most children focus on figuring themselves out, to become a mature and responsible person who was working as the immovable pillar holding up the family and even the whole village not much later.

She put up a strong front to help others and pretended to be fine even though she was hurting inside the whole time.

She could never find any closure from the situation. She never got over it.

Moving on to the criticisms:

1. Katara keeps on mentioning her mother like a broken record:

Here are the number of times Katara mentions her mother's death (not sure if that's all of it, lmk if there are any others):

1. In her first scene with Sokka

Katara: Ever since mom died, I've been doing all the work around camp while you've been off playing soldier!

2. A short while after she meets Aang

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

3. A short while after she meets Haru

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

4. A short while after she meets Jet

Katara: Sokka and I lost our mother to the Fire Nation.

5. In the swamp after she sees a vision of her mother

Katara: I thought I saw Mom.

6. In the Crystal Catacombs with Zuko

Katara: I don't? How dare you! You have no idea what this war has put me through! Me personally! The Fire Nation took my mother away from me.

7. A short while after she meets Hama

Katara: We completely understand. We lost our mother in a raid.

8. Repeated mentions in The Southern Raiders episode

(Most of the episode basically)

The first mention with Sokka is in the middle of a siblings' spat where she tells off Sokka for trying to act as if he were superior when it was obvious that in the face of the gaping hole that was left by Kya's sudden death, Katara had shouldered much more responsibility.

When she tells it to Aang, she uses it as a proof that the Fire Nation is capable of immense cruelty and destruction.

The Gaang travel all around the world and meet different people affected by the war in different ways. So when Haru, Jet and Hama narrate their own stories, Katara sympathises with them and talks about Kya's death in lieu of "I understand, the Fire Nation hurt me too."

After they got separated, Aang, Sokka and Katara each had their visions and after they get back together, they all mention their visions and so does Katara.

When left alone in catacombs with Zuko, whom she considered as the face of the Fire Nation— the same Fire Nation that had her mother killed and forced her father to leave to fight in the war, she has a meltdown where she rightfully accuses him of all the bad things he's done and then breaks down while talking about how the war has cost her i.e., by causing her mother's death.

The Southern Raiders is the episode where Katara hunts down the man responsible for her mother's death. If you think mentioning Kya repeatedly in this episode is uncalled for, then I don't know what to tell you.

In all the incidents mentioned above, Katara mentioning her mother's death is a very natural occurrence is the respective conversations. She mostly talks about Kya's death to either extend her sympathy or to use it as an example of the ruthlessness of the Fire Nation.

Another fact to be noted is that 70% of the Gaang's storyline is followed via Katara from a narrative point of view. Plus, being the mom-friend, she acts as the spokesperson. Considering that Kya's death is a major event that played a huge role in shaping Katara's life and is also the source of her severe, unresolved trauma, which acts as the driving force of her story, it is only natural that she brings up this topic whenever she is engaging in a deeper conversation.

It is us as the viewers who have seen her from the start and already know about her mother's death and we see her talking to multiple people about it. Which is why it might come across as repetitive to some people.

While, Kya's death is not necessary information that everyone needs to know, Katara talking about it never comes across as a forced or unnatural.

2. Katara invalidates others' pain because she thinks she has suffered the most:

First of all, if anything, Katara is the most empathetic person of them all. As the mom-friend of the group, not only is she their constant moral support, she also helps them untangle and sort out their own feelings. She is also able to tap into issues that aren't said out loud.

Instances of Katara helping and supporting Aang, emotionally are uncountable.

She is the first one to notice Sokka's sour mood in B3 Ep4 "Sokka's Master". And even though his insecurities seem baseless, she validates him (by saying "I'm sorry you're feeling so down" instead of something like "That's a dumb thing to say") and knows exactly what to do to cheer him up.

In B3 Ep7 "The Runaway" she has the insight to understand that Toph's unruly behaviour is caused by the mixed feelings she has about her parents even though Toph's herself never talked about it.

She even reaches out to Zuko in B2 Ep19 "Crossroads of Destiny" even though she used to think of him as the face of the enemy.

But then there's The Southern Raiders.

Ah yes, that episode where Katara is extremely OOC and a total b*tch.

Agreed that she said some things that she definitely shouldn't have said. But like, she's just 14?? And has been hurting on the inside since she was 8?? And pretended to be fine just for the sake of other people?? Like, there's a limit to how much she can have her shit under control?? And she did a real good job of Sokka's upbringing and taking care of the village and taking care of Gaang on her own?? Some people out there are really willing to forget everything she has ever done just because she was mean for 5 minutes?? A traumatised 14 yo shouldn't be villianised and called toxic because she got mad and lashed out at people that one time??

But here's my take on the scene anyway:

When Aang gets to know that she's going to go face her mother's killer:

Aang: Um ... and what exactly do you think this will accomplish?

Katara: I knew you wouldn't understand. 

Aang is a non-confrontational person who prefers running away from difficult situations as opposed to Katara who firmly stands her ground and is never afraid of confrontations. Katara had approached Aang only hoping that he would understand. But going by his dismissal, he obviously doesn't understand the burning need that she has to confront the man who had single-handedly destroyed her childhood. (Most people infer that what Katara means is that she thinks that Aang doesn't understand the pain of losing people. And so does Aang, I guess)

But things start getting even more tricky when:

Aang: Katara, you sound like Jet.

In all honesty, this is probably the most insensitive thing that she could've heard from anyone right then, let alone one of her closest friends. Hearing herself being compared to a homicidal maniac just because she wants to avenge her mother's killer. (No, I'm not justifying murder but there's a clear difference between homicide and avenging someone's death. And Aang may not be my favourite character but I do love him but this wasn't really a good thing to say either. And he wasn't even mentally distressed in the very least to be completely lacking tact or a filter.)

And then the situation escalates:

Sokka: Katara, she was my mother, too, but I think Aang might be right.

Katara: Then you didn't love her the way I did!

After 6 long years of Katara bottling in her dark feelings and letting them fester inside herself, she is finally letting them out and the first things she faces in a span of few minutes are outright rejection, invalidation of her feelings, comparison to a homicidal maniac and nothing akin to the unconditional support that she has provided to everybody. Her own brother tells her that he is siding with the boy who just compared her to a homicidal maniac.

Yes, accusing your own brother of not loving your mother enough is a very cruel thing to do. But both Sokka and Katara know that she doesn't entirely mean it.

But also, there is one very important factor in here:

In B3 Ep7 "The Runaway", Sokka says to Toph:

Sokka: I'm gonna tell you something crazy. I never told anyone this before, but honestly? I'm not sure I can remember what my mother looked like. It really seems like my whole life, Katara's been the one looking out for me. She's always been the one that's there. And now, when I try to remember my mom, Katara's is the only face I can picture. 

Katara overhears this conversation just as Sokka had meant her to.

This dialogue lets us know that Sokka's coping mechanism has made him suppress all memories of Kya and replace them with memories of Katara in order to attain a semblance of normalcy.

Both Katara and Sokka had very different ways of coping with Kya's death. Katara pressed down her feelings and tried her best to pretend to ignore them while Sokka partially succeeded in forgetting her.

When Katara first hears these words she is shown to be crying. But if she were to remember these very words while she was justifying herself infront of her own brother and a close friend for wanting to avenge her mother, it would've had a negative impact on her.

In her rage, she would've thought: "Of course he doesn't want to avenge mom. Because he doesn't think it's worth it and that's because he doesn't even remember enough of her to be mad about her death."

And for someone who has spent each day of the last 6 years trying to fill in the shoes of her mother and experiencing her absence everyday, the idea of forgetting her mother is a ridiculous concept to her.

Her thoughts would have quickly derailed to: "He didn't love her enough to remember her."

In light of these thoughts, saying "Then you didn't love her the way I did" doesn't feel out of the blue.

No, I am definitely not justifying what she said, I'm just laying out a possible explanation to why she said what she said.

Yes, she should've apologized to Sokka for this and I think that they definitely should've had a long conversation about their mother's death and how it affected them. Between Katara supressing her feelings and Sokka supressing his memories, i don't think they ever had this conversation.

But sadly we are given neither of these scenes.

Tl;dr: Everytime Katara mentions her mother, it's with good reason and I don't think it's fair to call a character toxic when they lack a mind to mouth filter for 5 minutes and say some mean things. And considering all that Katara has done for everybody, it isn't fair at all.

Peace out!

#antis really be out there ignoring everything she does to hate on her because of two lines she said #nvm katara is one strong badass girl stan her for good grades and clear skin #katara #atla #atla meta #meta analysis #avatar the last airbender #water tribe #kya #sokka #hakoda #gaang #atla gaang #avatar gaang #zuko #aang #toph #ira's posts

[celticcrossanon]

CC I agree removing dukedom is problematic, however most effective & best way is BRF force all titles into abeyance. This way suspend indefinitely & unable to use, cash in or promote & spin PR we don't want connected to "racist" monarchy & the "just call me harry" claims he chose to project. IMO is a win-win they no longer rep or work for monarch, she is NOT British citizen & reside out of commonwealth. Neither are privy/entitled to royal protection or perks. Conditions should have been set @ Sandringham from the beginning. The couple proved they were liars as in not involved w vogue mag project & twisted leaks never had experienced before- even w Diana. When  BP announced PP's retirement was he disgusted his grandson forcing a union w person (& HM & PC ok with) despite h briefly met & did not know only had a few encounters & long distance. Stories spread h threatened family w many things ranging from tantrums, call racist to self-harm (early reports suggested history of using it to get way). Is PC continuing to financially support an adult? Parents are not obligated to do so- it is called tough love & let adult child grow up to learn responsibility. Even sadder if PC drains coffers (creative book keeping or offshore accounts)to support cruel son- if some records show million dollar wardrobe, more annual allowance than a future king does not bode well for PC or ability to manage wayward son much less rep a nation. I though PC wanted to be a great king? He should know by now truth comes out sooner or later- with social media even sooner. Not a desirable legacy. PC should reflect on his brother A's actions & behavior- does he want the same for his second son? Sorry longer than I expected. How much longer will the saga of poor me the second son who should be king will be purported? I am simply looking forward to see more of Catherine's Early Years & William's EarthShot. That is the real future & lots of great work w Camilla's charities, Anne's work is legendary, & Wessex's. When was last time heard about PC's converted Prince's Trust to something else? Too much focus on whining & NOT enough about what really matters!

****************************************

Hi Nonny,

I hadn't thought about putting the titles in abeyance. I wonder if you can actually do that? It would solve a lot of problems, especially if they did it for both the Duke title and the Prince title. Otherwise we have the whole 'Princess Meghan of Wales' issue to worry about.

I don't believe that parents are obligated to support an adult child, but parents in my family have supported one or more of their adult children until the parent died, so it does happen. I hope Prince Charles has the good sense not to let his support of Harry drain his coffers, something that should be easier now William has joined him in helping to run the Duchy estate (AFAIK).

I think Harry will push the 'poor me I should be king' narrative until he either dies or comes to his senses and leaves his wife. It seems to be a long standing resentment of his.

I agree that Camilla's charities, Princess Anne's hard work, Catherine's Early Years and William's Earthshot are the present foundation and future stability of the monarchy.

As for the Harkles, what, really, have they done except to whine and play the victim? Nothing of substance, that is for sure.

[brucespringsteendotcom]

top 5 things you love about chernobyl (2019)?

Anon I'm in love with you for asking me to talk about my hyperfixation. In no particular order:

1. All the quotes about truth. Legasov's ending monologue; "to be a scientist is to be naive. We are so focused on our search for truth we fail to consider how few actually want us to find it. But it is always there, whether we see it or not, whether we choose to or not....it will lie in wait for all time." During his testimony; "every lie we tell incurs a debt to the truth. Sooner or later that debt is paid." At the beginning, when he's recording the tapes; "what is the cost of lies? It is not that we'll mistake them for the truth. The real danger is that if we hear enough lies, we no longer recognize the truth at all. What do we do then?" HOOOOOLY SHIT. As somebody who is working to become a scientist, living under the trump administration, seeing how the usa reacts to covid and climate change........top ten moments in television that made me stare at a wall for thirty minutes.

2. I have issues with how the trial scene feels very much like a dramatization (because it is) since I feel like it departs from the overall realistic tone of the rest of the series, but I LOVE how it functions as an opportunity for the character of Legasov to paint a picture for us, to finally explain how and why this happened. The timeline of the accident is very clearly laid out and the science is a exceptionally easy to follow. They did a great job writing that and I love how it enables the audience to finally, finally put the pieces together. Masterful narrative construction.

3. The soundtrack holy SHIT. it's like you can hear the uranium decaying. It's so stressful and haunting and unsettling and when they juxtapose it over things like the children on the bridge playing in the ash, or the people of Pripyat going about their daily lives, unaware that they're in grave danger.......oh man. Oh man oh man oh man. My favorite soundtrack moment is when the liquidators are burying the animals in concrete and the only music is the one man's voice singing an a capella folk song. I don't understand the Russian but the way it adds to the sense of place, and to the tone........powerful.

4. How each facet of the experience is told through a particular character. We have Legasov and Khomyuk representing all the scientists who worked tirelessly to solve the problem. Ignatenko representing the firefighters, Lyudmila representing the people of Pripyat, Scherbina representing the government officials, Pavel representing the liquidators.....the list goes on but I think it was a great decision to condense and invent characters in order to make each version of the experience hit the hardest. Because hundreds of thousands of people were and still are affected by this and it's impossible to tell every story, so giving the audience a representative individual to focus on was a great way to make sure we got the fullest possible impact of how serious this was.

5. The dedication to truth. The way the creator of the series spent so much time looking into the firsthand accounts and making sure to be totally transparent about what was and wasn't true to reality in the podcast. Of course liberties have to be taken when adapting something like this for the screen, but the fact that he did an entire podcast to make sure people were clear about what really happened just hits me really hard, especially since the entire point of the miniseries is to highlight the danger of narrative.

[wiisagi-maiingan]

Hiya! I just saw your post about microaggressions in media, and I was wondering if you'd be willing to explain a little bit more about how Dragon Age negatively represented indigenous peoples; personally, I saw how the parallel was drawn, but I'd like to understand the difference between metaphor/symbolism and negative derivement. If you don't wanna, that's ok! Thank you for your time : )

Sorry if you wanted this to be replied to privately. I’ve gotten a few other questions about it so I just decided to do a masterpost.

I do feel obligated to mention that I have a Dragon Age tag and that I’ve gone into detail about the issues with the games here and here.

Now, with that being said. . . I’m going to put this under a cut because this is an important topic to me and I’ve never gone into as much detail as I should have. I’ll also give a basic but long rundown for people who haven’t played Dragon Age and aren’t aware of the context. I’ll try to make it obvious where that part ends for people who just want to skip right past it.

Disclaimer that I never really played Origins so this will only focus on DA 2 and Inquisition.

This is gonna be really fucking long and I apologize for that.

For anyone who isn’t familiar with the Dragon Age franchise, here’s some basic information relevant to this topic. There are four fantasy “races” in the game; the humans, the elves, the dwarves, and the qunari. For the purposes of this conversation, we will not go into the dwarves and the qunari. 

Humans are the dominant race in the game, with control over every government in the continent that the franchise focuses on, Thedas. They follow a religion called Andrastianism, which is centered around the Maker (a vague and featureless single god who is almost always referred to as male) and Andraste, the Maker’s mortal wife and prophet who was executed and burned at the stake. In other words, it’s Fantasy Christianity™. The religion is separated into two branches, with one being led by men and only being common in one country in Thedas and the other being led by women and being common in the rest of Thedas. Just like Christianity, it is very heavily focused on converting people. As far as I’m aware, it is the state religion of every country featured in the franchise. For the purposes of this conversation, I will be referring to this religion as the Chantry, the in-game equivalent of the Church being used for Christianity.

Elves, on the other hand, are exactly what they sound like. They’re elves, but not traditional Tolkien elves. They have the same lifespan as humans and don’t seem to be particularly special. The important thing to note is that they are very much an oppressed group and most racism you encounter in the franchise is aimed at the. They were the original peoples of many parts of Thedas, indigenous to several parts of the continent before they were violently massacred in wars and outright genocide, all in the name of Andraste. Here’s some information about the main attacks on the elves, in the form of the second Exalted March, a form of religious crusade. Cultural sites, including burial grounds and religious temples, were pillaged and destroyed. Historical records were confiscated and edited, language and culture records purposely destroyed, and countless artifacts were stolen and sold to wealthy humans. This happened long before the events of the games, but are ongoing issues, which I’ll get into later.

Modern elves in the game are separated into two main groups: city elves and the Dalish. 

City elves are elves who are disconnected from their cultures and live in human settlements, where they’re often forced to live in slums (called alienages), pushed into dangerous and poorly paid work, and face violent abuse and mistreatment from humans in the cities. City elves are usually Andrastian, just like disconnected Natives are often Christian, though they cannot hold positions in the Chantry.

The Dalish, on the other hand, are elves immersed in their cultures, living in nomadic clans led by their Keepers. The majority of Dalish elves follow the Evanuris, the Elven pantheon which is made up of nine deities that each represent different aspects of Elven life. According to Dalish lore, these deities are not active in the world anymore because they were tricked by the ninth deity, Fen’Harel, a trickster god who sealed away the rest of the gods from the world. When Dalish elves reach maturity, they undergo a ritual that involves receiving their vallaslin (blood writing), which are intricate facial tattoos that represent different deities in the pantheon and, supposedly, reflect that person’s role in their community. I suppose the Native equivalent is finding out what clan you’re in. Dalish communities are centered are around halla, a type of deer that the Dalish see as sacred and use as a form of travel (they pull aravels, a kind of wagon), food (milk and meat), clothing, companionship, and guidance. The parallels to bison should not be lost.

Elves are also frequently enslaved, particularly in Tevinter where slavery is still completely legal.

Now. Humans, elves, and qunari all have a connection to the Fade, the origin of all magic, spirits, and demons. That means that they all have the potential to have mages, people born with magic and a deeper connection to the Fade; they’re the DA equivalent of sorcerers in D&D for all you nerds out there. Across the board, mages are heavily oppressed (with the exception of mages in Tevinter). 

Because they can be possessed by demons and potentially use blood magic, they’re seen as inherently dangerous and forced into Circles, isolated areas where they’re under constant surveillance as they learn to control their magic, and that surveillance is done by Templars, an order of warriors trained to be able to repress a person’s magic. Any mage that doesn’t have absolute control over their magic is made Tranquil, which cuts off their connection to the Fade and, along with removing their ability to use magic, also removes their ability to feel emotions, have desires, and experience dreams. It’s essentially a fantasy lobotomy. In some Circles, this is done on the whims of Templars to any mage that causes the slightest issue for them. Other forms of abuse are also incredibly common in Circles.

So! That’s the end of the context explanations! Let’s move onto the indigenous-coding in the game!

The coded group in question are the elves, particularly the Dalish. They’re also coded as Jewish and Romani, which makes the information that’s going to follow even worse. Despite popular belief, this coding is not actually up for debate and has been directly confirmed by David Gaider (scroll a bit, and be warned that he uses the g-slur). Since I’ve already explained what Dalish elves and city elves are, I doubt I have to get into how exactly they’re Native-coded and I don’t really feel like doing that anyway. So let’s just get right into the issues with this coding.

The first issue is the elves themselves. Elves are cool, I love elves. But it’s really fucking shitty to make the Christian-coded group human while the group coded as indigenous, Jewish, and Romani is inhuman. It’s a really common trope in fantasy and sci-fi and directly contributes to the dehumanization of our communities. It also gives fans the ability to brush off criticisms of their depictions because they’re “just elves”, something I see in the fandom a lot.

We also have to think of how elves in media are depicted in general. They’re usually magical beings with unnaturally close ties to nature, and as a Native person who has been asked if I can speak to eagles and if I live in a tipi in the woods, that is not a stereotype that needs to be further associated with indigenous groups.

Elves are degraded constantly by every character in the series, and the narrative depicts Dalish elves especially in a terrible light. There is only one companion in the entire series who actually genuinely cares about the Dalish, and that because Merrill is Dalish herself, having left her clan to live in the city; she’s also frequently mocked and depicted as naive and ignorant despite being a grown-ass woman and her rivalmance is dangerously unhealthy and toxic. In Dragon Age: Inquisition, you can have two elf companions, both of who explicitly hate the Dalish and disapprove of any pro-Dalish stances. One of those companions, Sera, also hates elves in general and frequently distances herself from them. Solas is a whole other can of worms.

If you play as a Dalish Inquisitor in DA:I, you are faced with constant mockery and scorn at every angle. Dorian, a Tevinter mage, explicitly tells you that slavery is better than being poor and that his family treats their slaves “very kindly”. You cannot call him out on this; he says his piece and then the conversation ends and can literally never be mentioned again, even if you romance him. Cassandra, who is very pro-Chantry, asks you why you can’t just “make room” for worshipping the Maker alongside the Elven deities. Any support of the Dalish earns you immediate disapproval from all of your companions. You cannot be openly Dalish without being directly punished by the game.

I mentioned earlier that Dalish elves and city elves both live in tightly-knit and isolated communities, Dalish elves in the form of nomadic clans and city elves in the form of alienages. There’s safety in numbers, but when you’re surrounded by enemies, that can also be incredibly dangerous. At multiple points in the series, entire alienages and clans are massacred. More often than not, this is completely unavoidable, and when it can be avoided, it’s extremely difficult to do so. 

In Inquisition, if you play as a Dalish Inquisitor, you will start to receive war table quests regarding your clan. If you make even one wrong choice (and there are several choices you have to make, most of which are misleading), then your entire clan is massacred along with the elves in the city they’re settled by. The incident leading to their possible deaths is actually caused by a human noble poisoning other humans in the city and blaming the elves, since the alienage had a different water source and there was a clan settled near the city.

In Dragon Age 2, you can directly massacre Merrill’s entire clan. Even if you choose not to do so, the clan suffers heavily, losing their First (the future Keeper) to the city and then losing their Keeper to demons. They end up stranded in that area due to their halla dying, which means that their aravel couldn’t be pulled.

At another point in Inquisition, you encounter a clan that suffers heavily as well when a huge swath of them are massacred by Red Templars. You can do absolutely nothing to prevent this.

In the same area that the last clan I mentioned is found in, there are several quests regarding it, several of which stick out to me. 

One requires you to literally desecrate a Dalish burial site to finish the quest (The Spoils of Desecration, it’s literally in the name).

 Another quest gives you the task of finding a sacred golden halla, a legendary spiritual and religious figure to the Dalish, and guiding it to the unnamed Dalish clan. In this quest, you can also choose to just straight up kill it (The Golden Halla).

There’s a main storyline quest that involves going through a historical site to discover the truth about a massacre that had always been blamed solely on elves. At the end of the quest, you can choose to give these new records to either the clan I talked about or to the Chantry, who, if I remember correctly, modify the records to be about the Dalish becoming violent after one of their clan members converted to Andrastianism (The Knights’ Tomb). If you choose to give the records to the Dalish, a follow-up quest involves the clan asking for your help gifting a halla to the human village that was part of the incident, which you need to either trick or force the village into accepting (Bestow Mourning Halla).

Moving on. . .

In the quest Wicked Eyes and Wicked Hearts, you meet the human empress of Orlais, Celene, who you have to protect from assassins. You also meet her handmaid, spymaster, and former lover, an elf woman named Briala. And of course, Celene’s terrible cousin Gaspard, who is not really relevant for this discussion. Just know that he’s awful.

In this quest, you have to uncover information about these three people and use that information to manipulate the situation and get your desired ending. There are several possible endings you can choose, but we’re going to focus on one specific one for right now, namely the one where you can choose to help Celene and Briala reconcile and become lovers again, with Celene ruling Orlais and Briala being her partner and advisor. Sounds great, right? The lovely women get their happily ever after and everyone is happy.

Except that the game doesn’t give you the full story. Not in the slightest. Instead, it depends solely on you having read The Masked Empire, a book that is completely separate from the game and that many players don’t even know exist. It gives a very different context to this game, and especially to Celene and Briala’s relationship. I recommend reading this post from @dalishious because I cannot possibly explain the situation better than they have on their blog. If you’re into Dragon Age, I recommend giving them a follow in general because they offer some really great perspectives on DA as a Mi'kmaw person who knows a hell of a lot more about the franchise than I do.

(The quest also tries to convince you that Briala is on the same level as Celene and Gaspard. That is complete bullshit, as dalishious gets into here.)

So, to add to its very long list of crimes, Bioware purposely withholds information from the player in order to trick you into getting an elf back together with her violently racist and incredibly dangerous abuser.

And if I remember correctly, you can also discover a hidden room in Celene’s palace which is filled with broken Elven artifacts that Celene was experimenting with.

In Inquisition, you also encounter at least two Dalish elves who explicitly talk about being kicked out of their clans for being mages, left to make it on their own or die. Which is. . . absurd and doesn’t fit pre-existing lore at all, since clan Keepers and their apprentices are literally mages themselves AND it’s already been shown that if a clan cannot support or doesn’t need people with specific skills (not just mages but also crafters, traders, hunters, etc), then it will actually send those people to other clans to live with them. Merrill, the Dalish companion mentioned earlier, is one such case, with her original clan having an excess of mages and sending her to a different clan who needed a mage to train as a first. Changing that to say that clans now outright abandon mages, especially as children, was a ridiculous choice and makes me feel like it was done purely to show them as ~savage~.

(I personally headcanon that it was a lie spread purposely by clans to protect themselves, playing off of racist ideas of what they were like. No templar would go up against an entire clan just to drag two or three mages off to the Circle, but multiple mages? Five mages? A dozen? Now that would be worth the risk.)

And now it’s time to get into the worst part of the games, by far.

Trespasser.

In this DLC, you discover that one of your elf companions, Solas, is actually the god Fen’Harel, and that he’s essentially trying to destroy the entire world to “reset it”. 

You also discover that your gods are false.

That’s right. Bioware based this community and culture off of Jewish, Romani, and Native peoples. And then made the gods fake. Explicitly told players that the Dalish are wrong about everything they’ve ever known, that their religion is all fake, and that it’s their own fault because they dared try to recreate their culture with the scraps they had left.

Oh, but it doesn’t end there, no. The gods aren’t just fake, they were actually slave owners! They were rulers of an ancient civilization and the vallaslin, those beautiful markings that represent a Dalish elf’s pride in their culture and their place in their community, are actually slave markings to show who your owner is!

I need you all to take a moment to process this. To think about the implications of basing a fictional culture off of oppressed communities in the real world, as a foil to the Fantasy Christianity™ that you as the player are constantly shoved towards, and then making that culture’s religion into something so terrible and warped.

Have you thought about it? Because I have. I’ve thought about it a lot.

So yeah. There’s my extremely long rant about indigenous coding in Dragon Age. I hope it helps the very few people who manage to get to the end without getting sick of it lmao

#dragon age #dalish #dalish elves #indigenous representation #indigenous coding #long post #i am so fucking sorry to everyone on mobile #jamesissosogay

[sonicfanj]

Hi! I saw your response from a post related to idw! Amy from the last number of the comic. For some reason I don't feel satisfied with the way idw is handling amy and your response got my interest cause you mentioned really good points. I don't know if you want to continue to talk about the topic but if you do I would love to read more about your point of view Thanks for reading

I rant quite a bit about how IDW Amy has been handled as a good deal of it is a betrayal to her character concept which you can hear Kazuyuki Hoshino explain himself here.

https://youtu.be/0nzxRoIX4QU?t=2315

Sorry I can’t embed in an “Answer”, but the general gist of it is, Amy was created as a character who was to be the Minnie Mouse to Sonic’s Mickey Mouse, but as Sonic is not that type of character they needed to mix it up. As was very true of the early franchise where traditions were turned upside down for the time such as Tails being a nerd and athletic enough to keep up with Sonic while Amy was both a girly-girl and a tomboy at the same time, Sonic and Amy’s relationship was inverted from guy chasing after the girl to much less commonly seen girl chases after guy trope. So Amy could actually survive in a role as the love interest of the main character where she had to the chasing of a character always seeking out his next adventure and challenge she needed to have the energy, good cheer, and optimism to never give up chasing him and the willingness to partake in and love his lifestyle.

Early on you would see this in the Japanese manuals so naturally they were missed outside of Japan, but localization and not bringing content out of Japan (no less cases of Amy erasure by SEGA of America with her even having several scenes cut from the western airing of Sonic X removing a lot of her humanizing scenes showing she was a well meaning girl but acts on a foundation based on having the necessary energy to keep chasing Sonic unendingl) still did not stop that foundation from appearing in the games that brought her into the forefront of Sonic stories. The Sonic Adventure games.

Now there is a lot here that could be unpacked, but I’m going to focus on two moments.

1) At the beginning of her story Amy laments her boredom and pines for Sonic to be in her life again so she can enjoy excitement again like she did back when he was around. This out of the gate shows you that Amy detests being bored, yet IDW has her actively announce it at one point while doing Restoration paperwork, and also has Sonic have to practically drag her out on an adventure. 

So not only is she betraying her character by refusing to do what she was created to do, with even her great handling in issue 2 has her actively reject her own character function, but when she is pulled out onto an adventure what is her reward? Well of course the start of the Zombot crisis, in which she gets to see herself maim someone and then see Sonic infected with the same stuff. From there her role in the entire arc is to just be a mouthpiece for how bad the crisis is on a global scale. Yet her character foundation states this should not be the case.

At one point during the Zombat arc we see Cream after losing Cheese and Chocola have to cheer up Amy who can’t herself understand how Cream is able to smile. Yet before this point, Amy’s history has always shown her to be the one who keeps people optimistic, who doesn’t let people get down, who always has the energy and ability to believe in Sonic saving the day in the end and is able to smile because of that. So again, not only is her character down and betraying who she is supposed to be, but a character she should be cheering up is instead cheering her up. Who Amy is and the foundation for her character is completely absent, and again, Amy is sitting still instead of taking action and going out into the world and doing her best in her way. Her adventurous spirit and get out and do something attitude are completely absent.

2) Now, the other line from the Adventure games which shows a problem with Amy just growing lifeless in a dark room is from Adventure 2 where aboard the Arc she complains about how the boys always leave her behind. She’s there because she wants to be and has done everything she can throughout the game to keep up, and started by infiltrating Prison Island and acquiring a key card to Sonic’s cell. She is demonstrated to be proactive and again has a love for adventure and a desire to travel with Sonic. Yet again this is actively ignored in IDW to plug her into a role in the Zombot Arc meant for Sally Acorn during the Archie New 252 run.

Ian Flynn has on record stated that the Metal Virus Arc was originally meant for Archie starting at or a little after issue 300. It was inspired by the “Metal” skins from Sonic Heroes and would have seen the Freedom Fighters tested against the horror of the Arhieverse version of Eggman like never before. At this point though a problem becomes abundantly clear, and that’s that you have a role to fill where Sally Acorn is absent in a more gamecentric setting. How Amy ended up in the roll is in part due to Ian Flynn typically righting characters and only really being able to use Amy, though he has admitted it’s not a role he believes she should have. Yet SEGA OKed it and for the Zombot Arc Amy has had to become Sally Acorn. Instead of being the cheerful girl who chases after Sonic and does her best to keep up with and help Sonic she has become the girl in charge he checks in on. Instead of being out in the field leading through motivation, encouragement, and example, she has become a war room tactician. These roles all fit Sally to a tee and she is a character designed to be able to serve the purposes of those roles and thrive in them. It is what she was made to do after all; lead a desperate group of mismatched people through an impossible situation. That is her core role and part of why she doesn’t work for the games where the narrative is simply where is Sonic now and what is he getting involved in. But for the Zombot Arc she was perfect, yet Archie’s bunglings put an end to that and to force his story into only the second story arc of a new comic before the characters had room to grow and become established with distinct identities in IDW, he took Amy and shoved her into Sally’s skin in what is one of the worst ill fitting results I’ve ever seen. She is at almost no point in the arc given even a single moment that speaks from the foundation of her character as she can’t for the sake of he plot. The plot needed Sally Acorn, but Amy was the only one available to fill the role, and as is typical when Sally is needed, Amy gets mistreated, misused, and winds up getting nothing in the end except more comfortless stress and worries with none of her actual character there to show she can actually smile through it all.

The funny thing is though, Amy’s actual character makes it into the Zombot Arc. It’s one of the best written scenes in the whole arc and occurs at a point when Sonic really needs that traditional Amy spunk to put the spring back in his step. In fact, the way the whole scene is written it is likely had the story been told in Archie it would have been the moment when Amy fell to the Metal Virus. And I would not have been mad in the least. In fact, I would have been eagerly anticipating Sonic’s eventual victory to see her faith rewarded and her sacrifice rewarded. Unfortunately though the scene was handed off to someone else, and I have had a hard time appreciating the character since as a result.

You see, in IDW there is a very energetic character who shares most of Amy’s core traits. Energetic, optimistic, and almost always full of good cheer. Where they differ is in their secondary traits, or more accurately the traits they don’t share with Amy. Being romantic, in love with Sonic, childish, occasionally bratty, and very old-fashioned girly. Those five secondary traits are completely absent from this character, and as a result, anytime they do something Amy would based on the otherwise same foundation they get praised where Amy would have been derided simply for being Amy. But the peak of it is again a moment that felt 100% like it was meant for Amy but as she was assigned to be Sally couldn’t have it. And yet, no one seems to notice, but rather cheers the entire scenario because Sonic needed that hug and physical contact. He needed those words of a faith that is placed solely in him. He needed to see that ability to smile and stay optimistic even when infected, and keep giving their all with boundless energy, good cheer and optimism. He needed Amy Rosy, Rosy the Rascal, the pink hedgehog girl who has followed him as best she can since Sonic CD. But instead, Amy’s very foundation and role was cheered not when carried out by Amy, but instead when carried out by relative new comer with none of the history or even reason to have faith in Sonic like he needed in that scene, Tangle the Lemur. And the scene was cheered even more due to the love that Whisper the Wolf has as her despair at losing the first friend she allowed herself to have since she lost everything just drove it completely home for everyone. And don’t get me wrong, the issue was brilliant written. Just enough was done to make sure you knew it was Tangle and not Amy at a casual glance. But I don’t look at scenes that scream Amy at me from the start casually. Her and Sonic are easily my favorite characters, so when I see her role being played by someone else you can bet I notice. And Tangle played it brilliantly.

But what did Amy get as a reward for playing Sally’s role in this issue? What else? She had to play the role of the incompetent villain. They barely saved anyone. Another town was lost on her watch. She had hold Whisper back from going out to try in vain to save Tangle. It would have been quite engaging to see Sally challenged as a leader of people and crisis manager as she specializes in it and this arc would have been great to see her character deconstructed and see what really makes her work. Instead, Amy was given her role when she has no business having it, and is shown to be completely worthless after a scene that reads like it was handcrafted for was played out by another character. And of course, that other character when finally cured even gets another huge hug, while Amy is left watching the skies to despair.

It’s hard to see Amy as being treated well by IDW when you really break it down, but because she has been stripped of her character and generally sidelined, her detractors are pleased and as new fans don’t know any better they can’t see what is wrong no less call it out. She played her role in the plot as written so time to move on. She doesn’t matter beyond that, though fans of Amy Acorn/Sally Rose have surely been born as a result, and as an actual Amy Rose/Rosy the Rascal fan that hurts as one of my favorite characters will continue to be slowly killed off as her heart and sole is siphoned out of her and only a shallow doppelganger is left in her place.

Thanks for the Ask anon. I hope that rant and breakdown wasn’t too long or cynical, and that it clearly illustrates why at least I’m not happy with IDW Amy. Maybe even it will help you reflect and see why you aren’t satisfied with her either.

Of course though I rant quite a bit about the franchise in general and have a whole list of other rants of mine you can track down by dropping ‘rant’ into my blog’s search bar. Though that won’t connect you to these four from twitter (though one is kind of segmented)

https://twitter.com/kokoloko45/status/1284905784531398661 (Quite a bit of ranting in here though you have to fish around through the replies to find it)

https://twitter.com/JoshTarwater/status/1283088147576795137 (this one I go off quite a bit about the depreciating meta narrative of the IP)

https://twitter.com/JoshTarwater/status/1254439910422925312 (And this one I go into where I see Amy’s character as mishandled and the necessary steps as I see it to put her back on track)

Thank you again anon, it was a pleasure to answer, even if it did get me riled up again XD 

[creativemorningsdublin-blog]

Meet our Musician: ROE

Meet our Musician: ROE

Our musician for the month of April is ROE. Devastatingly sincere and relatable, ROE is a songwriter that pours her heart into every word that she writes. Her work spills truths from her own life, and from speculations on the planet on which we exist. Hailing from Derry, NI, ROE left college before finishing to travel the world playing festivals and to focus on writing songs that felt real. Her 2020 EP ‘Things We Don’t Talk About’ saw ROE cross 1 million streams on Spotify and is the culmination of 4 years of relentless writing, releasing and touring as a completely independent artist.

We sat down with ROE to talk about all things creative.

What does our monthly theme of procrastination mean to you? Procrastination is, for me, taking time away from something that you love just to make it better. I'm one for procrastinating all the time and then whenever I finally sit down to do something it works out really well because I've taken that time away. People perceive it as a negative thing, but I think that having that time is important.

What do you find most challenging about the creative process?

Probably the hardest thing for me is actually taking the time to sit down and write and keep going with this thing that I love. This is my career but also, it's therapy for me; sitting down and writing and knowing that it's good for my head. So whenever I procrastinate I know that I'm procrastinating because I can feel it in my brain.

You've quite a close-knit team, I love that you guys are all friends and that's such a big part of who you are as an artist. So is the solo time where it's just you in your room, writing, is that where you find committing to doing that most difficult?

Yeah because there's nobody there to push you on to do it, you’re literally relying on yourself to do this thing and you know that it's going to take maybe an hour or whatever. And I’ve started this technique where you put a timer on your phone for 15 minutes to do something and that's been very helpful. I know that it's only a tiny section of time that I have to do the task for and then you end up doing it for far longer because you're really into it.

But whenever I have the team around me, I feel the buzz. Whenever they’re around you and everybody is kind of gearing towards the same goal really. It brings you out of your shell as well, because when you're having the craic with people and you're all thinking about the same thing and they’re all like-minded and just want to get the best out of everything that you do. Especially whenever it’s my own stuff, because everything I write is written by me and it's kind of my baby, so it's nice having people around that make you kind of think that OK, I'm an actual professional musician. And they're just there to support you the whole way and I love that.

Is there any experience in particular that you've been reminiscing about? You know those moments that you live in?

Yeah, we were on tour just before lockdown happened up here. Literally just got back home in time and we had the show down in Dublin in Whelan’s Main Room and before that, we'd sold out upstairs and that night was just insane, and it was crazy because we were literally on stage and then we had to go back home up to Derry.

It was just a complete rush the whole night and it was just the best craic and I miss the connection with people. I miss the whole buzz after the show and just talking to people after the show and just chatting to people about their own experiences.

This whole point in life just feels so surreal because everybody’s taken a pause in everything that they do, especially in the creative sector and it's one of those professions that are really tied into your personal life as well. We were chatting about how like most of my friends, if not all of my friends, are involved in the music scene or the creative scene in some way. And I miss that being at a show with them so much and I miss just the thrill of being on stage and being able to perform my songs with people.

Do you think that mental health is the main message in your songs that will keep cropping up and is what’s really important to you or are there other themes that you’ve started to bring into your writing over the past year?

For me, writing is really personal. It's kind of like a diary, a scary diary, but I use writing as a form of therapy, so everything that I write is very much linked to my mental health and the things that I go through, and people really close to me go through. And it’s a way of getting these thoughts out of my head without having to talk about it because I am the worst person, as much as I sing about it, I'm really bad at talking about my mental health and actually opening up to people.

So I think if I can do that in a way that helps other people as well as it helps me. That's the aim for me. You know it's just to connect with people and have a little bit of hope because all of these songs that I write, they might have really sad topics behind them or themes behind them, but I get to do what I love because of them. I get to connect with people, I get to talk to people and get to make friendships and it came from all of these mental health songs that I've written about. It makes me realise how important it is to talk about these things, especially if you have the strength to.

I still get terrified before I go on stage because I know that I'm pouring my heart out on stage in front of all these people and I have no idea how it's going to go each night, but it's really important to me to keep spreading that message of: It's OK to have mental health issues. Everybody has some form of mental health issues. Nobody is perfect and it feels like a very human thing to communicate. I don't understand why there's such a stigma around it.

How do you feel about the narrative that if you write music, you don’t need therapy, that the music is therapy and is cathartic?

I think if you need help, get help. Your music isn't going to suffer because your mental health is getting better, and I think that's really important for people to understand.

There's this narrative of a tortured artist and you have to be suffering to make good art, and there's no logic in that. There's no reason why you can't better your mental health and feel happier and still write really good songs.

If you need help, get help. Your music isn't more important than your own mental state.

This year loads of people have been learning new coping mechanisms… are there any rituals that you do before stage or daily?

It's something that I'm working on. I've been reading into it a lot more. There's this book called Sound Advice that I've absolutely been loving and it's about creating rituals, especially with your bandmates, because you need a connection before you go on stage, that's why people play ball games or silly word games before they go on stage, to get that connection and bring the best onto the stage.

But before all this, I definitely took maybe 5 minutes before I went on stage and just didn't talk to anybody. I'd kind of take the time for myself because of the nature of the songs. I had to be in the right mindset to go sing them before, without breaking down onstage.

It's talked about all the time, how exercise helps your brain, and so I've started running and doing yoga a lot more and not for any physical benefits. But just because I know that it's going to help me in the long term and my brain.

What habits do you think you've had to unlearn over the last few years?

Finding my voice was difficult. We're in the middle of recording my album and this time I've taken the reins a little bit and realise that I like having a hand in everything in every aspect of my music. So, I'm definitely a lot more assertive than what I was, maybe three or four years ago whenever I was just starting out. And it is something that you learn – that you have a voice. And you're allowed to use it, even if you're young.

Some of the youngest people in this industry are the ones with the most inspirational ideas.

Always remember that you have a voice and you're allowed to have that creative expression and guide your own music like it's your music, so don't let anybody else take charge of it.

You put up a post recently saying that you were really excited about your new tunes and how they were really different... in what way are you excited about them being different?

They’re very true to what the songs are about. It’s shown in my writing how I’ve evolved as an artist. Practice makes everything better, so I'm really proud of these songs and I'm really excited about them. The whole mental health thing has carried over a whole lot and I'm glad that it has and I don't think I'll ever step away from talking about things like that.

There's been so much talk about how the music industry needs to step up, and I think it's really important to talk about these things ... what do you wish people knew about being a musician that isn't always visible or obvious?

All of the hours that go into and everything that goes into behind the music. Whenever people hear your music, it's a finished product. It's all shiny and bright and they don't realise how much has gone into the thought, the artwork or the production or the videos and all that aspect of it as well.

I think it's really hard to see music as a nine to five because you always end up coming up with ideas and the best ideas that I have always come at like two in the morning whenever I'm going to sleep, and I have to roll over and write them in my notes app or else I won't remember them in the morning.

Is there anything else you would say about your new tunes?

I’m being very mysterious at the minute! We’re working away trying to get everything done for my debut album and it’s the first time that I've had so much space to sit with every aspect of a project without shows in between. I want it to be something special to me and I think putting in the time into it is making that real.

What do you hope for the music industry going forward, what changes would you want to see?

That it’s more of a gender-neutral environment, especially when it comes to radio because I think everybody has seen the disparity when it comes to Irish radio at the minute. I want to see more opportunities for women in the music industry that aren't token, that you're not the only woman on the line-up.

Also more transparency. There’s a lack of transparency when it comes to a lot of the industry stuff and I know my manager, Liam, he's been great at the minute because he's started this Instagram page all about the industry and everything you need to know about labels, publishers. Everybody seems to keep to themselves and I wish that there was less of this competitive nature. There's room for everybody to get the opportunities that they deserve and there shouldn't be this need to be better than somebody, because we're all in this.

I want it to feel like more of a community than competition. I feel like if there was a worldwide community of musicians and everybody in the music industry was helping each other, that would be the day.

I think if it was more accessible and more open to young artists, people wouldn't be as scared or feel as if they need somebody else to know all this stuff. They wouldn't be taken advantage of. There needs to be more education when it comes to that, especially when it comes to the younger artists.

---

You can check out ROE's music here.

#CMDublin CMProcrastinate CM2021

[news-sein]

[news-lisaar]

[news-ase]

[asoenews]

[punkscowardschampions]

Ali & Tommy

Ali: Now on the coach Ali: How's Ro been? Ali: Tried to give her as much space as poss Tommy: I'll give it a minute before I let ma know, yeah? Give you some space too like Tommy: Proper shut down. Standard Tommy: She ain't said a word to none of us Ali: Cheers Ali: Been a fucking event, don't think even Ma can top the drama but not dying to find out Ali: I thought as much 😟 Ali: I don't think there's much to be done but be there when she's ready though, right? Ali: idk, plenty of friends cried on these shoulders but never Ro over this, its new ground Tommy: You're alright Tommy: I reckoned as much when she flew home Tommy: Like I've been in with tea but I'm blatantly juggling cups and nothing else Tommy: She ain't about my efforts Tommy: Offered to dance battle him and she didn't even laugh Ali: Tah for being tea boy though, more necessary and appreciated than it might seem when she's catatonic Ali: to be fair, that isn't funny, babe 😜 Tommy: Giving it a go Tommy: x 2 like Tommy: oi I'm well funny Ali: 💚 Ali: hmm Ali: i hope that's not your aim w this theatre school lark Ali: standup you ain't Tommy: Laugh it up or you ain't getting your welcome home cupcakes honey Tommy: 🌟 baker I am Ali: tears of a clown baby bro Ali: 'cos bet mary berry herself didn't whip up anything for your arrival only days previous Ali: that's da Ali: mum is OBVS paul Ali: the accent, the blue steel, the unnecessary harsh judgment Tommy: 😂 Tommy: The cupboards were bare before yours truly showed up to help with the big shop Tommy: Working my ballet body without rest here Ali: wanna have a fab summer not a flab one darling Ali: only thinking of all the money they ain't had to put into your training #datscholarshiptho Tommy: Put your claws away if you ain't aiming them at a diff blonde lad Tommy: That'll be why I'm shameless fave not cause none of yous are about Ali: seriously don't Ali: he better square up when we're in that car park Ali: if the teachers don't get him first...you won't believe the fucking scandal blatantly occurring rn Ali: obvs 😘 'til Bea and Fraze become the big ballers they wanna be and start paying it back Ali: all 'bout that dolla Tommy: if you heard that lad, gotta post up 🥊 Tommy: someone better smack that cunt Tommy: Spill it sister, how is he on worse behavior? Nearly a proper skill at this point Ali: I plan to Ali: just followed Carly into the fucking cupboard bog, like Ali: in what world are you not getting caught Ali: we're in a fucking tin can Tommy: ERRR Tommy: Your Carly? Tommy: she can do better Ali: I been telling her Ali: best believe Ali: can't drag her out like time out bitch Ali: he's a disease s2g Ali: every fucking girl I know Tommy: 💔 not about that for her Tommy: Every girl except you? 🤔 suspect Ali: nah Ali: don't need to tell you he treats her like shit, duh Ali: ☕ Tommy: let me at her inbox tbh Tommy: not having this Tommy: she's a cutie Ali: do it Ali: meddlin' gay who smugly knows best defs a better stereotype than jealous ex Ali: 😣 no tah Tommy: Valid Tommy: Your eyes ain't gone green though, have they? Tommy: If this is a triangle, or love square tell me now bitch Ali: Bitch Ali: how dare you do me down like that Ali: Nah, I just want her to be happy Ali: and ain't happening with that cunt Tommy: Don't you reckon she knows that Tommy: She was happy with you but that went how it went maybe she's not looking for it to be like that again Ali: Oh, so I just let her fuck her life up Ali: polite smiles from the sideline like SOOOOO happy for you babes, what a man! Ali: Pfffft 😒 Ali: be a better gay Tommy: Nah but putting yourself out there for the real shit is such a THING Tommy: I get it Ali: So dramatic the lot of you Ali: not gotta get a pug and a mortgage Ali: if you ain't going out there tryna be happy every day every way Ali: what's the point Ali: a madness Tommy: Maybe she's all out of trying after putting up with your high maintenance arse for so long ☕ Tommy: 😂 Tommy: Nobody's bringing their best for that basic fuckboy Ali: 🖕 piss off hair product Tommy: Like you take any less time putting together your 'effortless' lewks you faux hippie Tommy: Don't be coming for my crowning glory Ali: Bleurgh Ali: forgot how much of a bitch you were Ali: when you going back again? 😘 Tommy: We've all seen you #bringitforberlin Tommy: Not that I'm jealous nah Tommy: But how was it? Drama aside Ali: 👼 Don't push me down the stairs, watching my back now like 👀 Ali: It overshadowed everything lowkey but yeah Ali: still ace Tommy: You'll bring it back around when you flatten Drew Ali: 🍑👏 him Tommy: 👑 Tommy: what are we gonna do about Ro and Carly though? 🤔 Must focus Ali: soz, my booty has that affect Ali: but seriously Ali: I am fresh out of ideas... Ali: maybe he's like Samson and we need to give him a buzzcut Ali: break the spell Tommy: or shove a bowl on his head and ✂ Ali: ain't far off Ali: ☕ it ain't that cute a cut Ali: its just shiny and blonde, snap out of it ladies! Tommy: Honestly Tommy: Meena got all the looks and that's the tea Ali: Oooooooooh! 😉 Ali: No argument tho even if you're 😍 Tommy: SHUT YOUR MOUTH WHEN YOU TALK TO ME ALISON Tommy: She's just better than him very HIGHKEY Tommy: Take it up with our man JC Ali: 😂 Ali: Bless Ali: so sweet Ali: and finally Ali: a matrimony we can all get behind Tommy: excuse me he made me and her both queens Tommy: too fabulous for your hetero baiting of the audience Ali: sure jan Ali: can't fake that chemistry Ali: told you, you're a shit actor Tommy: Take a step back Marsha if you don't want me coming for your weave Tommy: You reckoned on your ex a few back? Marlene would blatantly kill Drew no questions Ali: 💅💄 jealousy's a disease, get well soon bitch 😷 Ali: now you gay baiting! Tommy: 😂 Ali: Let karma sort him out Ali: Ro's well out of it Ali: Carly, I hope, knows what she's doing, even if I don't fuck with it Ali: he ain't gonna 💔 Tommy: Yeah Tommy: Still, drink and debrief when you get home? Tommy: I wanna hear how the teachers throw down Ali: fosho Ali: dog or you SO 100% G.A.Y. now you refuse to go anywhere that ain't flying at least 2 rainbow flags at all times? 😉 Tommy: 🌈 or bust Tommy: not gonna be Ro's scene but if you wanna bring Carly that cunt isn't gonna set foot in such hallowed ground Ali: A different concept for scared straight but I'm with it Ali: I'll ask her Ali: got a party dress I didn't get to debut, gotta save something for the home crowd, like Tommy: I'd watch THAT show Ali: wouldn't we all Ali: so much teen mum to catch up on, you best not have watched it without me! Tommy: Not trying to get struck down ta Tommy: That fury's all for Drew Ali: unless you've deleted all the recording like ur burning after reading, you're alright kid Tommy: Honey I know what's holy Ali: thank God someone does Ali: Drew getting kicked straight to hell and off this bus if he don't chill Tommy: They still going? Tommy: Ugh Ali: Nah Ali: Laoise and her crew dobbed, which fair enough literally no one needs it, doubt they got started before the teachs' were yanking them out Ali: if they had handcuffs Drew would be chained to his seat rn no lie Ali: citizen's arrests and full-scale riot behaviour going down rn from everyone slating Carly Tommy: omhg Tommy: I hope someone's streaming Tommy: Gonna send my girl 💚🍀 Ali: no doubt Ali: reckon we might have to make an emergency stop Ali: couldn't even make the trip home Ali: really lads REALLY Tommy: And I thought my school was full of drama queens and kings Tommy: Christ alive Ali: honestly Ali: got nothing on the common people Ali: i'm so over it Ali: gonna knock myself over the head in a minute so i don't have to deal Tommy: I'd suggest a sing song but don't reckon that'll cut it Tommy: Call me a bad gay again but Tommy: Never hear you over the war cries like Ali: 😂 if there was ever a moment for kumbaya Tommy: If they'd let you keep your 🎸 you'd be thriving Tommy: Yeah I heard about that casual confiscation Tommy: Weapon in more ways than one though, lads Ali: THANK YOU Ali: how we gon' play for peace now Ali: gonna have to get real happy clappy Tommy: 👏stop👏 slutshaming👏 carly👏 Tommy: End with a mexican wave that knocks that cunt out Tommy: She alright? Tommy: I just saw a flash of Ro, safe to say she ain't Ali: I mean, as much as they're all just using this as an excuse to do that Ali: lowkey have a point on this one Ali: why here and why now Ali: its disrespectful Tommy: Talk to her Tommy: Someone's clearly keeping Ro in the loop somehow, is that likely to be her? Ali: Idk Ali: I don't think its her style Ali: she isn't doing it to be malicious to Ro but yeah, idk why she is Tommy: Is she proper 💘 on Drew Tommy: 'Cause lord Ali: How could anyone be Tommy: I have literally no clue Tommy: But Ro's not 💔 about her German accent or whatever Tommy: It's all about him so there's gotta be something we're missing Ali: Oh, that ain't about him Ali: about a lot of things but him being a vessel for her intimacy issues and insecurities is just one of 'em Tommy: So he could've been anyone? Score - 1 for Romeo Ali: Any dickhead who's not gonna make it real on his end and ruin the fairytale, yeah Ali: dime a dozen Tommy: ☕ Ali: safe to say he's fucked the narrative still tho Ali: although, has he? 'cos secretly feeds into the 'i'm wrong and strange' deal we all know is there Tommy: Savage Tommy: But accurate Ali: I know Ali: Die before I said it to her face, like but Ali: makes me worried if she needs to prove that theory right again he could make a reappearance Ali: everyone loves a bit of self-destruction Ali: can't judge but I am Tommy: Samsies Tommy: Fuck's sake Tommy: This family Ali: Rocky the only one with a healthy functioning relationship tbh Tommy: The realest Tommy: Even ma's met her match in ro rn though Tommy: She's lowkey freaking me out and I'm used to you weirdos Ali: Explain Ali: I've seen her at her freakiest, remember, so are we talking worse? Tommy: True maybe I'm just out of practice Tommy: Ghost like vibes catching me off guard Ali: We'll have to keep an eye on the food Ali: she doesn't eat much, and never in front of any of us now Ali: but I can tell when she's had something Ali: make sure we're not hungerstrike vibes again Tommy: I reckon she'll be alright-ish when you get home Tommy: Much as she ever is, you know Tommy: ¯\_(ツ)_/¯ Tommy: She's not gonna want to go to hospital or any of that shit Ali: Yeah, you're right Ali: I'm being dramatic, it's catching Tommy: 👑 Tommy: Bea will be if she sees her Tommy: Jesus take the wheel and spare me that Ali: 😬 Ali: can hear the 'I told you so' from here Ali: we're all thinking it but shh Tommy: Inside voices like we do at least Ali: Never know Ali: might be the motivation she needs Ali: Bea disappointment Tommy: Oh snap Ali: You know it works Ali: on Fraze too 😂 Tommy: 😂 Tommy: Yeah

[gamerszone2019-blog]

Life is Strange 2 Devs Don't Know Where Franchise Will Go Next, But They Want To Keep Making Games Like It

New Post has been published on https://gamerszone.tn/life-is-strange-2-devs-dont-know-where-franchise-will-go-next-but-they-want-to-keep-making-games-like-it/

Life is Strange 2 Devs Don't Know Where Franchise Will Go Next, But They Want To Keep Making Games Like It

Developer Dontnod’s choice-focused, narrative Life is Strange games have come to occupy a specific niche on the video game industry landscape. Life is Strange and Life is Strange 2 tell stories about coming of age and growing up, and while both seasons of the franchise also include kids with fantastic supernatural powers, they also try to focus on getting at subjects that are relatable in everyday life. Life is Strange 2 is particularly interesting for its setting in the current US political climate, taking place right before the 2016 presidential election and including a lot of the issues and rhetoric surrounding it.

Life is Strange 2 director Raoul Barbet and lead writer Jean-Luc Cano took part in a panel at San Diego Comic-Con 2019, where they discussed some of the ins and outs of working on the Life is Strange franchise and creating the young characters who make up its world. Ahead of the panel, Barbet and Cano sat down with GameSpot to talk about the burgeoning Life is Strange “universe,” which now spans Life is Strange, its prequel Before the Storm, Life is Strange 2, and The Adventures of Captain Spirit, a free episode that functions as an add-on story for Life is Strange 2.

While the franchise seems to be expanding to include a variety of different stories, neither Barbet and Cano were sure where the franchise might be headed after the conclusion of Life is Strange 2’s last two episodes, the next of which is due out in August. Regardless of whether Life is Strange continues, though, the formula of narrative game it embodies is something both developers said Dontnod will pursue.

GameSpot: As you think about the Life is Strange “universe,” what is it that makes a Life is Strange game?

Raoul Barbet: As you may know it’s Square Enix, the publisher, that owns the brand of Life is Strange. So after the first Life is Strange, we were discussing with them if they were interested in creating a new season. That was the case and we were asking ourselves what really was the DNA of those games, and those style of games. So for the first Life is Strange, we didn’t want to create, like, a universe or something like that, it was more about creating a game–a good game, I hope. And even after the first episode, we didn’t know if we’d continue to create the other episodes. We were in luck because it works quite well and we were happy, so we were able to finish the first season and create the new one.

So I’d say that because it was really an independent game and a full story that works by itself, we wanted to do the same thing with Life is Strange 2, so it’s a new story, new characters, but of course, the DNA of the game is still there. So it’ll be the artistic direction, it will be that we want to create, first, believable characters and a good story, and that tackles some actual subjects of society’s problems and that kind of stuff, and puts the player in some interesting situations. And in the end, you’ve got the supernatural element, so in the first season, it was the ability to rewind, linked to the story of Max and the coming of age story. And this one involves Daniel and the education subject, and the fact we wanted to talk about, what does it take to educate someone and take care of someone else?

What are you guys thinking about as this world keeps getting bigger, and what do you want to do with it?

Jean-Luc Cano: We don’t really know if we’re going to do another Life is Strange game, but with Captain Spirit, Life is Strange 2 was already written, and we were thinking about how to present it to the players, to the community, to the fans, the new flavor of Life is Strange 2. That’s why we made Captain Spirit, to introduce in a smart way Sean and Daniel, not by making them the heroes of Captain Spirit, but by making them the guests at the end. When you see Sean and Daniel at the end, nobody knew that they would be the heroes of the new season. Then we released the first trailer for Life is Strange 2, people were like, oh man, it’s the two guys from the end of Captain Spirit.

For the future, we don’t know if we’re going to make Life is Strange 3 or expand the universe. We haven’t been thinking about it in this kind of way. Actually, we’re working on Episode 4 and Episode 5, and we’re really dedicated to these last two episodes because it’s a lot of work. We don’t know what we’re going to do next.

Barbet: The fact is that Square Enix owns the brand, so it’s their decision to expand the universe. Even if we have created the first season and the characters, and for this one and the characters. They own the brand. So I don’t think we’re going to continue, but if we continue as creators, game creators, we’ll continue to create narrative games like this. And I think Captain Spirit was a great experience for us because it was very different. It’s a small game some would say, it’s a shorter game, but I think we managed to create very quickly our universe and believable characters, and it was quite a challenge at this time, but we would be able to continue to create small games like this. So it might not be in the Life is Strange universe but we don’t know. We’re game directors, so we don’t know what we’ll be working on, and I don’t know what Square Enix wants.

As you were focusing on Episode 4 and 5, was the whole story written ahead of time or is it evolving as you’re making it?

Cano: The whole story was written from the beginning. So our process is to write and imagine the story with Michelle and Raoul, we three imagine the story, then I write the first big [take on the] story. And then after that, the story’s cut into five episodes. We’re working from the top, the main story, and then we divide it into sequences, and then from sequences into small scenes, and then from scenes into dialogues. So we know from the beginning where we’re going to, but because of the game itself, the episodic approach, we’re able to change stuff in production. But basically, the main story is written from the beginning.

Have there been any changes like that, any responses to how maybe how players are experiencing the game or their feedback?

Cano: Yes, the fact that we have four months between two episodes and at the end of every episode we have the statistics, we can shape the experience of the new episode we are in production on. So we’ve made a few adjustments regarding player choices, and also from a production point of view, sometimes the episode is too big to be done, so we have to cut some sequences. Our job is to say, okay, if we cut all these sequences, what we’re saying in these sequences has to be said somewhere else. So we have to reshape the episode from this point of view.

The game is very much set in this specific current political climate. It’s reacting to things that are happening in our real world, like with its mention of Donald Trump’s wall on the Mexico-US border. That situation is, even now, evolving every day–is what’s going on in the real world filtering down to you as you make each new episode, and are you responding to what’s happening in our world?

Barbet: I don’t think we want to make statements, for sure. It’s not the purpose of our game. It’s more about putting the players in interesting situations where they can think about all those subjects. The idea is not to make political statements or to say this is good or this is bad, it’s more to see the situation, live this moment, and to think about it. …But I think it’s not evolving so much in the beginning of the game, because by the time we had written the story, all those subjects were already there, and I think even like a hundred years ago. It’s the same in Europe and in other countries. Our game is taking place in the US so we talk about it here, but in France it’s the same. We wanted to talk about those subjects because of the story and the sequences we wanted to create for the players. Like you say, it’s evolving very fast, but we’re not changing the story for that, I think it was already there from the beginning.

Creating believable kids is a big part of what you’re talking about on your panel, and it seems like a big challenge. What’s it like trying to build those characters, and what work are you doing maybe from a research perspective?

Barbet: At the beginning, we were doing a lot of research about that, and about education in a general way, books and documentaries about psychologists and sociologists who talk about this. And after that, it’s a lot of work with the writers and with the actors. For Daniel, it was a very young child, and the voice actors as well, so we discuss with them. Jean-Luc has a daughter, so there is a lot of his own story inside the story of Life is Strange 2. And after that, we research and talk about the scene with different people to be sure to be accurate. But having a believable young child is really difficult. It’s dialogues and sentences, cues, but it’s also acting, like in the animation, those little elements that give Daniel believability. It’s a lot of small stuff like that during production.

So you’re bouncing lines off the actors and asking “Does this feel authentic to you?”

Barbet: Yeah, even when we are shooting a scene, we’re asking, “is it believable like this?” and they’re saying, “no, it’s not really believable to do that,” et cetera. And the same for the voice actors, each time we record some lines, as we’re French, we prefer to trust American people to tell us it sounds natural or to make sure it’s not cliche or the French way of saying things.

All the Life is Strange games, they don’t back down from dealing with social issues and things that are real part of kids’ lives and of growing up. What kind of issues would you say you’re trying to tackle in Episodes Four and Five, thematically?

Cano: To be honest, we can’t really talk about what will happen in Episodes Four and Five, but the themes we are tackling in Four and Five are new themes that haven’t been seen in the first three episodes of Life is Strange 2, or in the first season of Life is Strange. Sean and Daniel will face new scenes, new characters, new moods. So we really can’t wait to see the reaction of the fans and the players and the community, because it’s a new subject.

You mentioned that a lot of the story is kind of yours, with your daughter. Can you tell me more about that?

Cano: Yeah, when we were imagining what Life is Strange 2 could be with [co-director] Michel [Koch] and Raoul, I was just figuring out that, as a father, everything I was doing, everything I was saying, my little daughter took it as an example. For example, if I said to her, “You know, it’s bad to say bad words,” she’d say, “Yes, but when you’re driving you say a lot of bad words.” Okay, so, yeah, I figured out that everything I was doing or saying, I was an example for her, so I had to behave myself not for me to be a better person, but for her to learn to be a better one.

So I think the beginning, the seed of Life is Strange 2 came from this, and when we imagined the story of Life is Strange 2, I told Michel and Raoul, we could have this thing where you shape a new character by your actions. So the fact would be in LIfe is Strange 2 every decision you make as Sean would have an impact not only on you and your story, but also on Daniel. So as a player it will be really interesting to see, oh my god, Daniel is growing up, but he’s becoming a bad kid. But it’s only because of me, and what I had done? I thought I was making good decision for him.

Is it tough to balance the idea of consequences for your actions with giving the player a chance to fix things? I know after Episode 2 I was thinking, okay, how can I get Daniel back on track, how can I “win.” How do you balance the push and pull of wanting consequences to flow forward with giving the player the ability to try to “fix” things?

Barbet: I would say there’s not a good or bad ending, or things to “fix.” Because I think it’s more, maybe you think you have made a mistake, or you think you could have done better with something that happens every day in your life, you know? You make decisions, you make choices with any of that. But you can’t rewind. You can’t go back in time. So the idea of this game is: be careful, you will be responsible for some consequences, but you will also be responsible for Daniel’s whole life, maybe, because of this education aspect.

So I really think it’s strong as a basis for a game. It was really strong. And from a design point of view, I would say we find good moments for the player to be able to choose a bit, but we really, of course, stay on a storyline we have to tell. So you can have very different endings, like you have seen in Episode 2, but we have to go on and continue to tell the story. So we can’t, I would say, have too many different scenes and different endings, for example in this episode, because we want to keep the characters believable, and we want the story to continue to work, even if Daniel is changing a lot. So you have to find the right balance between giving some freedom to the players and in the meantime, keep your story safe, or keep your story believable.

Cano: And I think the main difference between the first season of Life is Strange and Life is Strange 2 is that, in the first season of Life is Strange, when you make a decision with Max, you can see the consequence immediately. And you see, two or three sequences later, another consequence, but you knew it was because of this decision.

In Life is Strange 2, you don’t see immediately the consequences. You don’t have your massive, big decisions. The behavior of Daniel is shaped by a lot of small details you don’t notice at the time. Even if we have big, huge A or B choices, Daniel is not always shaped by only these big decision. He is shaped by a lot of little stuff, vital choices, action you’ve made, picking up some stuff. And it’s all separate stuff, you know. So when you say, “Okay, what I’ve done wrong?” It’s not one decision you have made. It’s a lot of different small details that shape Daniel, but it’s not right or wrong. It’s only your experience.

Source : Gamesport

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