I think there's no greater indication that disco elysium is sympathetic towards communism when it literally says "communism is failure" and then the literal gameplay itself rewards trying and failing. The most obvious one being the Shivers check at the FELD mural, which is an Impossible 20 check BUT opens itself up again and again the longer you spend in the world doing things, but even just looking at sheer probabilities, for any given white check, rolling first and THEN putting a point into that skill upon failure is more likely to grant you success than putting a point first and then rolling, but that would require failing first.
Other things too: Precarious world saying you'll 100% fail red checks no matter what (not necessarily a bad thing, btw!! throwing the boule into the sea is a success but like. in some other ways one would want a perfect petanque throw instead. but people wouldn't typically assume that failure is desirable sometimes from the start) persuading you to accept that you'll fail some things that is irrevocable, for a world where everything is just a tiny bit easier.
The faux game over screen when you faint after reading Dora's letter— emulating a sense of failure on the scale of the entire game. When it rolls up most people go "What?? Game over?? No way, what did I do wrong!!" and waking up after that, with no huge or lasting impact on Harry's health or morale really tells the player, "Sometimes things will seem so bad that it all seems like it's coming to an end, but it's not the end, it's really not the end, go drink so water, you can still go on despite this failure"
I'm sure there are other things as well that are eluding me but like. The literal gameplay rewards failing and succeeding far more so than simply succeeding every single time, and I think you get a fuller experience of Elysium that way too
one of the things about being an educator is that you hear what parents want their kids to be able to do a lot. they want their kid to be an astronaut or a ballerina or a politician. they want them to get off that damn phone. be better about socializing. stop spending so much time indoors. learn to control their own temper. to just "fucking listen", which means to be obedient.
one of the things i learned in my pedagogy classes is that it's almost always easier to roleplay how you want someone to act. it's almost always easier to explain why a rule exists, rather than simply setting the rule and demanding adherence.
i want my kids to be kind. i want them to ask me what book they should read next, and i want to read that book with them so we can discuss it. i want my kid to be able to tell me hey that hurt my feelings without worrying i'll punish them. i want my kid to be proud of small things and come running up to me to tell me about them. i want them to say "nah, i get why this rule exists, but i get to hate it" and know that i don't need them to be grateful-for-the-roof-overhead while washing the dishes. i want them to teach me things. i want them to say - this isn't safe. i'm calling my mom and getting out of this. i want them to hear me apologize when i do fuck up; and i want them to want to come home.
the other day a parent was telling me she didn't understand why her kid "just got so angry." this woman had flown off the handle at me.
my dad - traditional catholic that he is - resents my sentiment of "gentle parenting". he says they'll grow up spoiled, horrible, pretentious. granola, he spits.
i am going to be kind to them. i am going to set the example, i think. and whatever they choose become in the meantime - i'm going to love them for it.
I love it when women hate men. I love it when women are allowed to vent to each other about how horrible and creepy men are. I love it when women form friendships with and prioritize each other over relationships with men(whether they're attracted to them or not). I love it when women put men dni in their bios and on their nude photos and on posts on their blogs. I love it when women refuse to mollycoddle and accommodate entitled male feelings with "but this doesn't mean I hate all men, I know a few men who are great, I love my father/sons/brothers/uncles/male cousins/guy friends" I love it when women complain about men WITHOUT "not all men" being a disclaimer. I love it when women avoid socializing with/refuse to be around/befriend/get close to men because they know men can't be trusted. I love it when women make "kill all men" jokes. I love it when women offer absolutely no concern or care for men's feelings and if their misandry offends men whatsoever because why should we, men are the oppressor class who have raped and killed and abused us and kept us as subjugated as second-class citizens for millennia, they regularly mistreat us and the women in their own marginalized communities still every single day and make this world so much harder and more awful for us to be in, and if we choose to hate them and not spare them any sympathy then so be it, and I don't just mean "men as a class" either, you can be a woman who doesn't want to have anything to do with any man on an individual basis and completely cuts off men from her personal life too and ykw I will love and fucking support you in that because men deserve absolutely NOTHING from us. If they're so tough and strong then they can handle it just like they can handle being lonely. If you are a woman who hates men, ESPECIALLY IF YOU ARE A LESBIAN AND/OR A TRANS WOMAN, then just know that I love you. I love you, I support you, and you are safe here.
Hey you said something about the my hero academia creator being unhinged about sexism, do you mind explaining?
I tried to write like, a thorough explanation of this and it just got longer and longer and longer and I have not touched this series in actual years and yet I've still got all these receipts a;lkjk;lfasd.
So rather than trying to build the whole massive case, here's a pared-down version. It's normal to have sexism in media, and shounen manga especially. Everyone does it. The level and mode and intentionality and so forth all vary, but of course it's there.
What's not normal is to have lots of varied and interesting female characters with discernible inner lives, and on-page discussion of how sexism is systemic and unjust and holds them back in specific ways, and then also deliberately make consistent sexist writing decisions even where they don't arise naturally from the flow of the narrative.
Horikoshi is actively interested in gender and sexism, he's aware of them in a way you rarely see outside of the context of, you know, fighting sexism. He is hung up on the thorny issue of what women are worth and deserve and how power and respect ties into it. He genuinely wants, I think, to have Good Female Characters, and not be (seen as) A Sexist Guy!
But. He doesn't actually want to fight sexism. He displays a lot of woman-oriented anxieties, and one of the many churning paddlewheels in his head seems to be that he knows intellectually that morally sexism is bad, but emotionally he really feels like it ought to probably be at least partly correct.
There are so many things I could cite, and maybe I'll get into some of them later, but the crowning item that highlights how the pattern is 1) at least partly conscious and deliberate and 2) about Horikoshi's own weird hangups rather than simply cynical market play, is Mineta Minoru.
The writer has stated Mineta is his favorite character. Mineta is also designed to be hated--that is, he is a particularly elaborate instantiation of a character archetype normally deployed to soak up audience contempt and (by being gross and shameless and unattractive and 'unthreatening') make it possible to include a range of sexual gratification elements into the narrative that would compromise the main characters' reputations as heroic and deserving, if they were the actors.
Good Guys don't grope girls' tits and run away snickering in triumph, after all. Non-losers don't focus intense effort around successfully stealing someone's panties. Nice Girls don't let themselves be seen half-dressed. And so forth. You need an underwear gremlin for that. So, in anime and manga, longstanding though declining tradition of including such a gremlin, for authorial deniability.
Horikoshi definitely uses him straight for this purpose, looping in Kaminari as needed to make a bit work. And yet he has Feelings about the archetype itself.
The passages dedicated to the vindication of Mineta, then, and the author's statements about him, let us understand that Horikoshi identifies with the figure of the underwear gremlin. He understands the underwear gremlin as a defining exemplar of male sexuality, at least if you are not hot, and finds the attached contempt and hostility to be a dehumanizing attack on all uh.
Incels, basically.
It's not fair to write Mineta off just because he's unattractive and horny (and commits sexual harassment). Doesn't he have a mind? Doesn't he have dreams? Doesn't he have human potential?
So what's going on with Horikoshi and gender, as far as I can figure out, is that he knows damn well that women are people and are treated unjustly by sexist society, but however.
He also understands the institutions of sexism as something protecting him and people like him from life being nebulously yet definitively Worse, and therefore wants to see them upheld.
So you get this really bizarre handling of gender where obviously women's rights good and women cool, women can be Strong, and the compulsory sexualization imposed by the industry isn't them or the author, and so forth.
But also it's very important that in the world he controls, women never win anything important or Count too much, and that jokes at their expense that disrupt the internal logic of their characters are always fair game, that women asked about sexism on TV will promptly get into catfights amongst themselves, and they are understood always in terms of their sexual and romantic interests and value, and sexual assertiveness and failures to perform femininity well enough are used to code them as dangerous and irrational, and that the sexy costumes are requisite and will never be subverted or rebelled against--at most they might be circumnavigated via leaning into cute appeal.
And that Yaoyorozu Momo, who converts her body fat into physical objects, is being frivolous when she wants to use money to buy things instead (rather than as sensibly moderating her Quirk use) and is never encouraged to eat as much as possible at every opportunity to put on weight and even shown being embarrassed by hunger (even though Quirk overuse gives symptoms that suggest she's been stripping the lipids out of her cell walls or nervous system to keep fighting) and always, no matter how many Things she has made, has huge big round boobies.
This is something I've been struggling with myself, and it's also something I have a general chip on my shoulder about (in terms of the corporatization of self-care, ugh), so here have a post
It can feel impossible or even cruel, to "practice self-care" in the face of the world right now - and in particular, in the face of the ongoing genocide in Gaza.
So, I think it's really important to say that self-care does not mean that you are always emotionally balanced at all, that you are never overcome with rage and grief at the horror of ongoing atrocities.
To never be overcome by rage or horror or grief or any other negative emotions would be to shut ourselves off from a huge part of the human experience, in a situation where our connection to our common humanity is, I would argue, more important than ever.
Some days you will feel completely laid low by that rage and horror and grief. Sometimes for a few hours, sometimes for days or more.
That's not only normal, it is a completely rational response to what Israel is inflicting on Palestinians right now. I think it's a completely rational response to any genocide.
In some ways it's also a healthy response. Bottling up or choking off your emotions isn't good for you. Refusing to ever sit with pain isn't good for you. Refusing yourself grief and mourning and catharsis isn't good for you. We know all of this.
Self-care, in times of atrocity, doesn't mean always keeping yourself on some kind of even keel. In a lot of ways I think it means letting yourself cry, letting yourself channel all of your storming emotions into a force that can help, rather than just eat you up inside.
And self-care isn't the kind of corporate, hypercapitalist "buy yourself out of your feelings" bs that we're quite literally sold, either.
Self-care is, very often, not about indulging or pampering yourself (not that there's anything wrong with indulging or pampering yourself).
A lot of the time it just means...taking care of your physical form, as best you can, even when you least want to, so you don't pile more on top of everything else.
A lot of the times it means making yourself eat something, even just some crackers, even though you feel sick from horror.
Or groaning and forcing yourself to drink a glass of water, because you can, you have access to drinkable water, and you can honor that for the privilege it is by avoiding a terrible dehydration headache.
Or making yourself take a shower, even though it's the last thing you feel like doing, because you have an important meeting tomorrow.
Or locking your phone in a drawer for a while, because staying up all night doomscrolling won't do anything but drain you further.
And if you're ever feeling too guilty to do any of that, remember: you cannot pour from an empty vessel. Meeting your own basic needs as best you can is one really, really important way to make sure you have the energy to help.
I think it's interesting to look at the 'Mr. Bridgerton' scene as a backdrop for the eventual mirror scene. Firstly, in the fact that I think we've kind of misinterpreted it.
So many people are of the mind that scene's purpose to 'drag' Colin, but really, that scene has 3 primary functions. The first is to inform Colin that Penelope is aware of what he said of her, thus opening the door to clearing the air between them and providing an avenue for which Colin can apologize. The second is to establish the ground that they are currently on: Penelope has given up on the dream of Colin Bridgerton, in particular the perfect prince that can do no wrong, and has made it clear to him. It also creates distance between them that they will bridge.
But the third, and to me the most wrapped up in the mirror and the inner workings of their relationship is that it reveals how Penelope feels about *herself*. It's not necessarily an echo of what the ton considers her as, after all, we have a lot of evidence indicating that, for all intents and purpose, people aren't *unkind* about her, but rather that they ignore her. Audience members recognize this as Penelope's own shyness being the cause, she is often sitting off on the sidelines or not really talking to much of anyone, in the books she's referred to as the 'one who doesn't speak', and her LW business takes her away from being a character in the action of the ton to a bystander, kind of a self-fulfilling prophecy of sorts that perpetuates itself. Pen felt unseen so she became LW to have some power, but then LW herself must remain unseen and Penelope continues to be by design of her own making.
No, I think what it really reveals is that Penelope has incredibly low personal self esteem. We as a fandom has lauded that scene as her dragging Colin, saying that he's cruel and calling him Mr. Bridgerton is absolutely meant to create distance between them, but I don't think she's dragging him.
Because the person she is *actually* dragging here. . .is herself. And it is a general theme in her life. In Whistledown. Aloud. Even with Marina, when she complimented her, she assumes that she's lying. When Edwina says she's wearing a pretty dress, Penelope puts herself down and doesn't believe her, even when the compliment is genuine. In truth, Portia is not seen as being particularly unkind to Penelope. At least, speaking as someone who's mum was *awful* about my size and weight and outfits, Portia is. . .overall rather mild. She's not KIND and loving, not by a long shot, but she's also not targeting Penelope only. She's plenty mean and critical to Prudence, too, even to the point where she foists her off to her own cousin as a pawn piece. Penelope has low self esteem because of a lot of reasons, she's bullied by Cressida (I think a lot of girls are, she was pretty mean even to Daphne in S1) and her family isn't very tender to her, and she's not being pursued at every turn, but part of it is also her own perpetuation.
Listen to what she says "Of course you would never court me" "I embarrass you" "I am the laughingstock of the the ton". She sees *herself* as an embarrassment. She puts *herself* down. Arguably, more so than the ton does. She's meaner to herself than anyone else is, aside from Cressida. And honestly? Looking at Colin's face there. . .he is HURT that she considers herself this way. That she's projecting that onto him. Yes, he's hurt that he hurt her, of course he is, he never wants to hurt her. And yes, he's ashamed that he said he wouldn't court her the way he did and that in doing so, he validated her fears that she is unloved and unwanted, but also because. . .she already feels that way about herself. She's felt that way for years. And it's painful to care about someone, to see them as wonderful, and realize. . .they don't feel the same about themselves at all. I don't think Colin is out here feeling so wounded over the fact that she called him cruel and won't refer to him by first name anymore, but that he's most hurt by what she says about herself.
Because he *doesn't* see her the way she accuses. She says she never expected him of all people to be so cruel, but he feels the same way. He never expected her to be so cruel to *herself*. He wants to go somewhere private, not because she is an embarrassment, but because he wants to have a private conversation with her. Maybe assure her. Maybe explain himself. Maybe hash it out. But god Luke Newton's acting. . .he is *aching* for her. And it feels like he's going to do those lessons not in atonement for what he said (thank god) but to genuinely help his friend who thinks badly of herself. To lift her up. It's not about him at all, not about earning forgiveness, but about elevating Penelope. And that's. . .fuck, I just find that's just so heart stoppingly beautiful.
You can see, in that scene, how much he cares about her. How deeply and genuinely he adores her as a person. And just how painful it is for him to know he has validated, whether on purpose or otherwise, how poorly she feels about herself. How low her self-confidence really is. She is giving him a glimpse into the cracks of her heart, and when he sees them, he wants to reach out with both hands and make it feel better. Make her feel better.
After she says 'even when I change my entire wardrobe', he looks so fucking crushed. So 'don't say that'. So 'you really believe that?'. So 'God, I hate that you think that way'.
Because regardless of it all, he does love her. It's not romantic yet. It's not sexual yet. But he genuinely, truly, from the bottom of his heart, thinks she's wonderful. That was evident even in the 'purpose' scene. Every time Penelope opens up and reveals a facet of herself, he likes it. He likes her barbs and her dreams, he likes talking to her. He likes her. And he feels awful that he hurt her. And he feels awful that she's hurting herself. He loves her. He wants her to love herself.
And that's where the mirror scene comes in. Because the mirror scene isn't about sex, not really. Not entirely, at least. The mirror scene is about *intimacy*. The mirror scene is about being seen. Not just her seeing him, or him seeing her, but for Penelope to see *herself*. In a way, through his eyes. Because hers are biased rather negatively toward herself, which is evidenced in the 'Goodnight Mr. Bridgerton' scene, and in so many little moments we've already gotten where she's literally looking down on herself, feeling down. She doesn't necessarily *like* what's in the mirror, but he does. Because he likes *her*. And he wants to show her that he does. Show her that he finds her beautiful and have her recognize that in herself.
The 'Goodnight Mr. Bridgerton' scene is about Penelope revealing how she sees herself. The mirror scene is about Colin showing her how *he* sees her. The Goodnight scene is about Penelope thinking she means nothing to him, that he thinks of her the way she thinks of herself, that this is how everyone thinks of her, and the mirror scene is a direct response to that: No, he doesn't. No, he doesn't think she's embarrassing. No, he doesn't think she's a laughingstock. No, he doesn't think she's unappealing. And he doesn't think she should, either.
And he's going to show her that. Not just tell her, but show her. The mirror scene is so often a focus on Penelope, so much of Polin is in Penelope's focus, but approaching it from Colin's perspective and his motivations is so fulfilling, too. It's a glimpse into them in conversation, and a demonstrate of how Colin loves her. How Colin loves in general, openly and earnestly and altruistically. How he encourages her to be braver and more confident in herself, bolstering her because he just likes her *that much*. How he finds the most fulfillment and satisfaction in caring aloud. The mirror scene is a demonstration of his heart in reflection.
When Luke Newton said the first word that came to mind with the word 'Mirror' was 'Exposed', he doesn't just mean physically. He means emotionally, too.
[A sad violin song plays over an image of a sad hamster]
Pac: This doesn't have anything to do with me – I wear a blue sweatshirt, you're crazy, this mouse doesn't even have a sweatshirt, this hamster! [Reading chat] Am I a depressed hamster?
[ Transcript continued ↓ ]*
–
Pac: Actually– that's fine! I embrace that idea – of course I'm going to be depressed, are you crazy? [He hits his desk, then starts counting off people on his fingers] Fit is gone, Richarlyson is gone, Ramon is gone, Bagi and Empanada who were always there when we were there are also gone, I haven't seen them! It's just me and Tubbo, and sometimes Philza shows up.
Pac: I lost Chume Labs, I lost the Favela, I lost Murder Mystery, I lost Ilha Chume Labs, it's crazy! Look at how much I've lost, and I've gained nothing! Of course I'm going to be depressed, are you crazy?! How am I supposed to be happy?!
Pac: [Reading chat] "You have us Pac," that's true, thank you. No, that's true, sorry.
* NOTE: Please note that this is an incomplete transcript, as I was primarily relying on Aypierre's translation mod at the time and if I am not confident of the translation, I do not include it. As always, please feel free to add on translations or message me corrections.
LOVE how Alice tells Sam he can't stay in the past while bringing him his favorite coffee and a pastry and high-key flirting with him. Like, sure, don't live in the past. Sure.
It's fucked up that pets are dependents and you need extra money to feed them and shit and you have to consider that before you get one. In my opinion when you put a collar around a girl's neck and watch the personhood drain from her eyes she should become immortal somehow also.
dude i fucking love how this server has communication as its premise and built into its fucking core. i fucking love that. bc it's one thing to be like 'this server is about multilingual communication and cultural exchange!!' bc that could present in any NUMBER of ways but like. with the federation and the eggs and a common shared goal they all decided WE ARE A TEAM. and like, ok,
when baghera was sus of jaiden because of the thing when pomme died and jaiden had been the reason baghera left her side for the only time that day, i wasn't even worried. i wasn't worried bc i was like "we just wait. because i know they will TALK TO EACH OTHER." and I WAS RIGHT. TWO DAYS LATER IT WAS ALL CLEARED UP AND BAGHERA WAS HELPING HER OUT WITH CUCURUCHO
and the ordo theoritas is functionally a secret organization. it would be SO EASY to gatekeep the lore, on grounds of "the federation is always watching and anyone could be a spy" and yet the ordo theoritas says that, like bad SAYS THAT, says OUT LOUD, "anyone could be a traitor" and then turns around and goes "hey person i've had a few days' worth of conversations with, here's a detailed rundown of everything we've learned about the island's mysteries, and the secret location of the ordo base". SOFIA was supposed to be secret from everyone, and for a little bit she was. but now like, the ordo theoritas is showing her to everyone. it would be SO EASY to hide things and to gatekeep things but they just. don't do it. here's the supercomputer!!!! don't forget to grab her waystone so you can come back anytime!!!
bad learns something. "i need to tell forever/cellbit/baghera". forever figures out a new way to protect the eggs, and he gets it to everyone within days. cucurucho tries to have a secret conversation and the entire server knows about it almost instantly and there are three people buried in the walls reading the subtitles and giving each other meaningful glances
i love it. i love it. miscommunication plotlines drive me up the fucking wall and the fact that i wasn't even SCARED when jaiden and baghera could easily have angled into an angsty tangled web of that and instead just MET WITH EACH OTHER AND EXPLAINED EVERYTHING AND CLEARED THE AIR ALMOST IMMEDIATELY was so fucking breathtaking. and this is a multilingual server. this is a MULTILINGUAL SERVER. i love it. i love it so much i want to cry. it's a server for communication and people Communicate, it would have been SO EASY to slip into monolingual factions and stick to the familiar but they DIDN'T. they DIDN'T. WE GET TO HAVE A THEORY TABLE WITH SO MANY LANGUAGES SITTING AROUND IT. we get to have conspiracy walls in every language!!!! idk sometimes i forget how fucking CRAZY all this is, like the scale of what they've accomplished
so yea thank you to quackity and the qsmp admins for this, and thank you to the streamers for hearing 'this is about connections' and taking it ENTIRELY to heart, and also thank you to whoever the fuck decided to give quackity's school class the job to look after a fucking egg to learn about parenting. bc holy shit. holy shit.
ok ok, listen. I am gonna be straight with you. I am not a Patholic nerd and I really like the game. it has one of the most extraordinary stories/lore, plus its gloomy aesthetic is just my shit. but as a local Khalkh Mongolian, I very much dislike the herb bride designs. they have no inspiration from the cultures they are supposed to vaguely resemble, like literally nothing. i am a visual type of person and love it, ADORE it when shit is pretty to look at, it's in my blood. instead they opted for looking like straight-up savage unevolved cartoon cavewomen with skimpy outfits and foliage in their hair for good measure.
they look so out of place here, which you could argue its intentional but cmonnn???
here’s my take on how they could have looked like or at least what kind of things the devs missed out on:
—and their hair should have been braided in many different styles? all three of the major inspirations for the kin doesn’t like loose hair, if we are speaking traditionally. i really like these thin braids:
yeah, i get Orkhon economy is in shambles so no jewelry and colorful clothes but at least cover their boobage?? idk just slap on thin deel + belt and then just rough it up? make decorations out of wood?? and beads out of bones without just dangling them?? just because shit is desperate doesn't mean we gotta lose our dignity too?
edit: This post’s main point is not about restricting the nudity or the creative liberty i am only saying they should have approached this aspect from a different perspective with a native eyes on the IPL development team. It may have came off that way because i used the word boobage huh?
so have you heard about the ride kamens app game? seems like it's gonna be a twisted wonderland like game with all the riders being hot anime guys now, and it's also gonna be written by yuya takahashi and produced by naomi takebe (apparently it was in development before geats), with designs by the person who did sk8 the infinity, so take that for what you will
have you ever gotten the feeling that a piece of media came into existence just to appeal to you specifically, or
(brb preregistering immediately)
(as far as I can tell you play as an agent who maintains a secret superhero base for riders in the basement of the rider-themed cafe that you run with your butler, and there's some other plot stuff going on but honestly I'm way past sold at this point, this sounds amazing)