Category Archives: Things We Need to Stop Doing

Until Dawn and the Indestructible White Guy

Mike11

A while back, WB and I attempted what we called a Maximum Chaos playthrough of the game Until Dawn. Until Dawn is basically an interactive horror movie, presented cinematically but offering its players the chance to steer the story in different directions based on character interactions, decisions, and quick time events in action scenes. The Maximum Chaos run involves picking the most risky choices, starting as many fights between characters as possible, and not hitting any of the QTEs, leading to the most exciting, dramatic, and gory story possible. Given Until Dawn’s “anyone can die” premise, this leads to some interesting and brutal action. But, as we learned along the way, it also reveals that certain characters are quite literally indestructible no matter what your button-pressing and narrative choices inflict on them, and some are far too easy to damage, which leaves the game with some unfortunate implications.

Read the full post on Lady Geek Girl and Friends!

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Filed under Fun with Isms, Things We Need to Stop Doing

The Problem with the Dark Magical Girl Genre

Sad Homura

Magical Girl Raising Project finished airing a few months ago, drawing its Battle Royale-esque death game to a close with most of its young, frill-clad, magical girl cast dead. It’s the expected outcome of anything that comes with that formula, but it’s an incredibly grim way to describe a magical girl show—shows that are, traditionally, at their hearts all about girls banding together to support each other and saving the world with the power of love and friendship. Murder and despair are normally nowhere near the magical girl archetype, but that’s changing in some recent and disturbing developments.

Read the full post on Anime Feminist!

Author’s notes: WOOHOO! This piece has been in development for a long time owing to both AniFem still growing and getting onto its feet as a website, and owing to the amount of tireless and passionate editing and re-outlining it was put through in collaboration with Caitlin and AniFem’s editor in cheif, the stellar Amelia Cook. The result is the beautiful analytical 3,000+ word beastie you see before you, which I have to say I’m immensely proud of.

In the Patreon link to this post, AniFem says “We’ve linked to Alex’s work on The Afictionado before, and this definitely won’t be her last piece for Anime Feminist!” which a) fills me with all sorts of warm and fuzzy feelings of a “senpai noticed me” variety, and b) has me excited to get on board and contribute to this website more as it grows. Watch this space!

Never laid eyes on AniFem before? Here are some of my favourite pieces:

“Your Name”: Body-swaps beyond ecchi punchlines by Hannah Collins, a review and picking-apart of the blockbuster Your Name.

Straight Guys!!! on ICE by Amelia Cook, a look into Yuri!!! on ICE’s references to actual queer skaters and queer culture, and (in the wake of episode 7) lamenting  the fact that homophobic fans were bending over backwards to deny the “gayness” of Yuri and Victor’s relationship, and lamenting that LGBTQ+ fans had to bend over backwards in turn to try and justify their stance.

Force Him, Not Me! Rape culture in shoujo romance by Amelia Cook. Well, the title really says it all–an in-depth analysis of Kiss Him, Not Me! and the incredibly skeevy “romance” tropes it has been playing into of late, and what that means for the genre.

She and Her Cat and her story by Dee, a heartstring-tugging review of She and Her Cat.

Why aren’t problematic translations fixed? by Amelia Cook (if you couldn’t tell by now, she’s both editor in chief and a writing juggernaut), in which I drag my hands down my face and ask why the hell the supposedly progressive American industry would bend sideways to take implied gay out of Dragon Maid (and other such examples).

And the one that started it all, How fan service can attract or repel an audience, and how to tell the difference by Lauren Orsini. Interesting and on-point thoughts.

Also, their podcast about Utena was super fun, even if I myself haven’t watched the show yet. Looking forward to seeing what else Chatty AF covers in future!

 

 

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Filed under Archetypes and Genre, Things We Need to Stop Doing

The Art of Being Self-Aware

Let’s say you’re writing a horror story set in what’s meant to be the real world—that’s a world where horror stories exist, right? So it stands to reason that your characters might have seen some of these horror movies or shows. As a storyteller you have to make the choice whether to have your characters say, upon walking into an abandoned abattoir full of meat hooks, “Hey, this is the kind of place where people usually get horribly murdered in horror stories!” And once you’ve done that, you need to make the choice to either fulfil the expectation that a knowing audience will have, or not to fulfil it, thus demonstrating the story’s awareness of the genre it exists in and playing with the tropes you, your characters, and the audience know are going to come up. It’s a multi-layered delightful mess, and is sometimes done better than others.

My personal take on this trope-wise trope is that if you’re going to glance knowingly at your audience through the fourth wall, you may as well attempt to play with their expectations. True, it can just be a self-congratulatory wink from author to audience, but it can change the kind of story you’re telling and make it fun and fresh. If your horror story protagonist knows a lot about the horror genre, they probably wouldn’t walk into an abandoned abattoir in the first place. And, in the realm of anime romance, as are the two examples I’m looking at today, awareness of the formulae that romances usually follow can actually twist and break them and lead you down a much more engaging story. Or not. Let’s discuss: Continue reading

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Reincarnation Stories in YA and Eternal Silliness

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Man, I read a lot of crappy paranormal YA in high school.

The novel Elegy—coming out this year—is about how “in a small Australian town, the most epic love story of all time is unfolding…. again”. Two teenaged stepsiblings, Michael and Caitlin, turn out to be the reincarnated souls of every major tragic mythic love story of the past: Pyramus and Thisbe are named, Lancelot and Guinevere are highly implied, and many more are vaguely alluded to along with the sweeping mention that they have been gods, slaves, and rulers in the past. The novel’s decision to be deliberately and irritatingly vague about everything in place of actually building tension and mystery is a gripe for another day, because oh, I have so many gripes about this book, the biggest one being something that should by all means be an absolute dealbreaker in any romance, especially romance that crosses time and space, but somehow slipped through and got published:

I have no idea why Caitlin and Michael like each other.

In fact… they don’t. They spent their entire childhoods being standoffish with one another, largely due to Caitlin remembering that they’ve lived a thousand magical lifetimes before and Michael not, and the emotional gulf this created. Even once his powers emerge (because he has those) he and Caitlin quite blatantly don’t get on most of the time, until some magical moment of bizarreness happens and they… I don’t know, decide to embrace it? Their personalities don’t change, and indeed neither does much of their dynamic except that Michael is more open to accepting his powers and place in the universe, and so they fall back into the patterns of the past. They are deeply passionate and in love, as they have been many times before, as they are doomed to always be. Because there’s nothing more romantic than doom. Continue reading

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“Joss Whedon is the Devil and the Russo Bros. Will Save Us”

Do you notice anything… off about that article title? Is it slightly polarised?

Polarisation is the name of the game at Marvel Studios these days though, with Captain America: Civil War just around the corner and the whole world waiting with baited breath to see the clash of two heroes. I wouldn’t be surprised if they started selling ‘Team Iron Man’ and ‘Team Cap’ t-shirts and throwing us all back into the Twilight era… scratch that, someone’s definitely already made those. In any case, hype is in the air. I don’t think it’s exaggerating to say this is one of the most highly-anticipated movies in the Marvel Cinematic Universe, and a lot of this seems to be coming from the pure joy of a movie that looks really good after the disappointment that was The Avengers: Age of Ultron, and Ant Man, which I’ve seen about two people talking about.

How can we be sure it’s going to be good? Well, it’s in the hands of the Russo Brothers, the creative team behind Captain America: The Winter Soldier, a high-quality movie that ensured their place as gods upon the mountain… especially compared to other creative devils like Joss Whedon, who betrayed and enraged everyone with the cluster-mess of Age of Ultron. The anti-Whedon backlash in the wake of Age of Ultron was nothing short of stunning, and a little frightening, and that same energy is now swinging the other way to praise and delight over the Russos and their work. They will bring Good Writing™ back to the MCU. They are the heroes we need.

Now, I’m not saying I don’t think they’re good—they did a damned good job on Winter Soldier on a technical level and clearly love the source material to bits—but we shouldn’t be too quick to put people on pedestals. Civil War has just as much potential to be a heroic mess as Age of Ultron did, because it’s actually facing a lot of problems from the get go. Continue reading

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Happiness is a Nuclear Family in a Dystopia

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Mockingjay Part 2 succeeded as an adaptation in that its ending scene was just as silly as it was in the book. It would have been fantastically poignant and sweet to end on “You love me, real or not real?” “Real” and fade out with hopeful ambiguity that maybe, even after all they’ve been through, our two young heroes are going to be okay, but instead it was deemed more appropriate to have a flash-forward to them picnicking in an idyllic field with their 2.5 children. Which is a strangely pervasive trend and one that, while kind of cute, is outweighed in most cases by the problems with it.

The other obvious big example of this is the Harry Potter epilogue, in which the characters we’ve grown to know and love return as adults to load their beautiful children onto the Hogwarts Express. A lot of people have a lot of problems with this ending, and I can see why, the largest two being that in the scene’s cyclical nature—complete with half the kids seemingly named after past characters—it creates a sense of repetition and almost stagnation. What are Our Brave Wizarding Heroes doing in the future? Oh, they’re dropping their kids off to go to Hogwarts, just like their parents did, and just like their parents did before. What are they doing career-wise? Are dark wizards still on the loose? Have muggle relations improved? How are they coping psychologically with the events they’ve lived through? A lot of the interesting business regarding the state of the world and its inhabitants after the story’s end is effectively shuffled to the side in favour of demonstrating everyone’s family trees. Continue reading

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Waifu Culture: A Troubled Marriage

waifu bar

[First, I’d like to apologise for using a pseudo-meme as the opening image. Second, I would like to forewarn that this post contains mention of sexual harassment and child abuse]

There is nothing wrong with loving fictional characters. When everything else in a story goes to pot, the characters and the emotional attachment we have to them are often what keeps us hooked and allows many a show that would have otherwise run itself into the ground to soldier on. The characters are what we hold dear to our hearts and imaginations, and as they are non-existent conceptual beings created for the purpose of art, copyrights aside, they are in a way ours as soon as they hit the public sphere. I’d say no harm has ever come from loving something, but if you get deep enough into some subsets of fan culture, it can have some weird outreaching connotations.

I repeat, there is nothing wrong with being passionately invested in a character. By all means, write endless meta on them, gather every piece of fan art and merchandise you can find, plaster your walls with their posters and hug a pillow with them depicted lounging on it if it makes you feel any more at home. Call them your wife or your husband or your angel or your child—if you’re with them for enough of a long haul, it can develop into a constant relationship, cheering when they succeed, weeping when they don’t, perhaps identifying with or finding a sense of emotional support in them that you haven’t found elsewhere.

This is, as most things in fandom are, all harmless fun, and being voraciously attached to a fictional person has generally helped more people than it’s hindered. It can spark trouble, of course, because fandoms are weird and subject to self-destruction like any conglomerate of vocal and passionate people, but I’m not here to examine in-fighting and accusations of your waifu being shit, if you’ll allow me to paraphrase, but the people who take this “too far” and the genuinely problematic effects it can have on the outside world. Continue reading

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