Vent

how people even manage to get sucked into viral post discourse on this site is beyond me my page is like a constant stream of megaman occasionally interrupted by someone complaining about a post apparently everyone else has seen and is angry about judging by the notes. I like it this way though being able to just opt out of nonsense by culling my feed in a way I cant on twitter.

I do not know how to use this fucking website dawg

I owe you an apology Hokazono, I wasn't familiar with your game...

Kagurabachi's Popularity: Familiarity Through Structure

Having a degree in writing and media is so fun because I can write an essay on why Kagurabachi can be defined as well written through craft standards and attribute its popularity overseas to its structure, which is framed similarly to western movies.

And I am!

After this interview confirmed that Takeru Hokazono, author of Kagurabachi, is a huge fan of western films, I went back to this idea I was playing with in October when KB had less than ten chapters. I had been reading since day one, and I knew it was good, and other overseas fan knew it was good. But what made it so good to us, overseas?

I made a quick thread on it on my Twitter account (that I never posted) where I mentioned Blake Snyder's Save the Cat book on script writing and story structure. I also brought up characterization and how it would've been really popular in my comic book class from undergrad. This thread discussed both Chihiro and Sojo, and the quick yet steady pace of the manga has given us more characters and moments to pinpoint. To not overwhelm myself, I'm not going to discuss the craft of characterization (maybe another time), and I'm not going to do a beat sheet for Sojo. For now, I'll try to stay under the first arc to map out why Kagurabachi has so far moved like a high budget film in manga form. So, spoilers ahead!

A quick lesson on Save the Cat, its three main characteristics are: Three act structure Fifteen plot beats Mostly applied to American Hollywood films

One of the biggest things I noticed right away was the resemblance a lot of the chapters, even the story as a whole, had to Snyder's beat sheet. This beat sheet that comes from Snyder's book is somewhat of an industry standard, so a lot of movies, even those that preceded Snyder, go through this structure of Act 1, 2, and 3. Snyder just identified the parts and broke them down to fifteen beats. Plus he dubbed the save the cat moment:

A decisive moment in which a protagonist demonstrates they are worth rooting for. Having the protagonist save a cat can be literal or figurative.

This was something KB needed and did have to have us warm up to Chihiro who post time skip, just gave gloomy orphan energy in the previous chapters. Here, Char would be our cat. Chihiro chose to save Char and chose to protect her, and continued to fight for her until she was rescued. He made this choice even before it's revealed that Char's mother died for her, something that would parallel Chihiro. This is what got readers to see him three dimensionally after being introduced to him. He's still the caring little 14 year old we saw at the start, who continues to take care of the innocent despite the tragedy he's been through. It is only natural for us to care for him, too.

Above are the fifteen beats of Save the Cat and although KB on occasion doesn't hit all fifteen exactly as specified, especially final image as it's continuing, the song and dance is quite similar. Here are examples of The Dark Knight (2008) and Inglourious Basterds (2009), two movies that have inspired Hokazono's work.

Before Chihiro meets Char, we get his opening image of him and his dad forging which is works well as the entire story revolves on the consequences of them creating weapons. We get the set up to his world where he lives with his dad who made famous katanas that wield the power to end a war. The theme is stated, and it's not kept a secret: The katanas they make are weapons made to kill people. Are they willing to carry the burden? In another variation of this question, is Chihiro willing to carry the burdens unintentionally passed down by his father?

The catalyst is his father's murder that catapults him into seeking revenge and recover the katanas.

Now, for the rest of the story, this structure can be applied to the first 18 chapters or even 1-3 chapters at a time which in my opinion, is kind of insane. There's story telling inside the story telling, and these moments are both subtle and grand, signs of a strong and captivating writer. Hollywood would kill for a script like this these days. In order to get you to believe me how prominent these beats are, I'm going to do arc one and Daruma's story. The main story line should be around act one and two right now as of chapter 20, if we want to get down into it, but if anything, this feels like it's moving like a second "movie."

Overall, this structure that comes from Hollywood movies can be identified in multiples parts of Kagurbachi's storytelling. I was going to do beat sheet's for Char and Sojo's stories as well, but I think this is enough of an example of a bigger picture versus smaller. Although other mangas also fall into three act structures, as most story telling does, KB masterfully uses the 15 beats to its advantage. I believe the familiarity of this pace is what hooked oversea audiences, and aside from that, the characters that quickly capture us.

Very quickly, because I don't want to make this about characterization, Chihiro is well written through his past, who he chooses to kill and save, his dialogue that can be surprisingly vulnerable at times, and his cool façade that melts because of how hot he truly runs. He is also straight up a badass. We get handed Char's background in an "all is lost" segment as well as some lore that can present her as a resource for the main cast. We see Azami's phone background photo that's minimum 3+ years old- a government employee with a soft spot for his friends, one who he is still clearly grieving. We get one tiny yet so fucked up bit of Sojo when we see him get a flashback where he's a child and his single dialogue of "I truly love Kunishige Rokuhira," that launched his type of villainy in the maniacal fanboy category. Who does it like that? Nobody but Takeru Hokazono.

Thank you for reading this essay! I do have two other essays drafted, one on Sojo's possible return (I'm a delusional Sojo fan) and just his overall significance and impact as the first villain even if he doesn't return, and on Hiyuki plus servant leadership versus self service.

happy testament tuesday

how is isis different from hamas?

Gonna make it easy and comprehensible:

ISIS or DA'ISH is a transnational terror organization consisting of Iraqi Baathists, former Syrian rebels or moderates, recruited fighters from all over the world, former US captives in Iraq, and oppressed and disenfranchised Sunnis. Wahhabi in nature, ISIS subscribes to the literalist tradition of Islam. Their religious verdicts are based on the literal interpretation of the Qur'an and Sunnah, rejecting metaphorical exegesis. They aim to establish a global caliphate, seeking to eliminate anyone who opposses it regardless of religious or ideological differences. They see their cause as a hastening of various Islamic end time prophecies in their interpretation of Islamic eschatology. Like many Salafis, they reject Taqlid, which is to conform to one of the four schools of thought in Sunni Islam. On top of that, they reject religious innovations (Bid'ah), which is the idea that anything introduced to the religion without any religious basis is heresy. Whether it be practical or theological, they deem any Muslim who engage in Bid'ah to be an apostate or heretic. They are notorious for their intolerance of non-Muslims and application of Takfirism (excommunication). Christians had to pay the Jizya (poll tax) in their territories, while in other cases, they were murdered, expelled and had their churches destroyed or converted. They have no tolerance for Shi'a Muslims and will kill them on the spot (see: Speicher Massacre), and will often target them with IEDs or suicide bombers. Non-Muslims, like the Ezidis or Ahlul Haqq, were often subjected to execution whereas their women and children were either married away, converted or used as sex slaves. DAESH is not interested in national liberation, seeing it as a blasphemous innovation. DAESH does not consider Hamas to be Muslims due to struggle for national liberation which is supported by Iran and various Shi'i proxies.

Hamas is a political and military resistance group that consists of Palestinians. After the failures of the Oslo accord, Hamas broke away from PLO and formed their own political party. They either subscribe to the Shafi'i school of thought or some form of Ikhwani Salafism (Salafism as envisioned by the Muslim Brotherhood). They're a semi-governmental power in Gaza and are responsible for upholding the social and civil institutions, such as hospitals, schools and etc. Hamas' specific aim is localized and seeks to destroy the Zionist entity in order to form a one-state solution under an Islamic emirate or Islamic democracy. Their only enemy is Israel and any of its allies. As of the Hamas charter of 2017, they do not have an intolerance for non-Muslims or people of different religious and ideological comportments, as seen by them holding ties with both Shi'a and Socialist militias, such as Hezbollah and the PFLP/DFLP. Hamas is concerned with the national liberation of Palestine and the Palestinians. They are not concerned with global jihadism like ISIS nor do they carry out attacks internationally.

Nagi ended up growing on me significantly throughout the game as I started to pick up in the clashing of philosophy between her and Fret, and looking at her development in general.

I made a whole Twitter thread about this a few months back but I figured that I might as well bring it here as well.

Today I want to take some time to make another NEO TWEWY analysis post on the Identity Crisis sidequest revolving around Eiru and how it actually provides extra insight into Nagi and Fret’s characters.

Basically, the main gist of the sidequest is that Nagi and Fret are debating on how to imprint confidence onto Eiru, who’s suffering with his physical insecurities, and this is where we see the differences with Nagi and Fret's philosophies on life.

Fret's response is to tell Eiru to ignore the haters and even more so, ignore confronting the insecurities; life is better when you don't have to concern yourself with anything or try; don't take anything seriously. Nagi, however, believes that insecurities should be understood and harnessed so that they can ultimately be turned into a strength that can be used as a tool for success; accept your weaknesses and come to terms with them so that you can weaponize your strengths better.

On a surface level, these might read to be the same thing. Fret’s advice can be read positively as "don't let others judge you for something you can't control" and Fret certainly thinks so, hence why he thinks that he and Nagi are on the same page even though she disagrees.

However, when you read between the lines and think about it some more, there are notable implications that Fret's advice is more of a dismissive approach to dealing with emotional struggles as opposed to Nagi's own methodology. It’s no coincidence that Fret used to be a fan of the Eiji "the Prince" Oji in his ennui/apathy phase. The Prince in the original TWEWY was beloved for his “don’t give a damn attitude” and how he expressed that both in person and in his blog “F Everything.” Fret claims to have grown out of it but with certain reveals about his character later on, there are some implications that Fret latched onto the Prince and aspired to his attitude due to his own struggles with feeling genuine and wanting to embracing apathy instead.

However, if you recall in the original game, Neku and Joshua came around and helped the Prince sort out his own issues and in the process, helped him to become more genuine and true to himself in the process. With all of this in mind, you can interpret Fret’s response as him seeing the process of the Prince’s reconciliation with his genuine emotions happening in front of him and didn’t want to confront the possibility of that happening to him as well so he "grows out of it." It also acts as a neat parallel to Neku and his own thing with CAT. Whereas Neku latched onto his misinterpretation of CAT’s words in order to cope with his trauma, Fret turned away from the Prince changing so that he wouldn’t have to deal with his own trauma just yet.

To get back to the quest, if player had decided to choose Fret's philosophy, Eiru ends up doing just that, spinning Fret's stance on the situation into self-motivating positivity. However, there's a element of emotional responsibility lacking in Fret's way of processing struggles in that he doesn't seem to have the awareness to recognize the difference between overcoming adversity and just ignoring it (or maybe he does but refuses to confront that truth). In order for someone to truly not care what other people think, they need to do what Nagi suggested first, which is to find acceptance with their insecurities and build a stronger foundation for their character through that acceptance.

If the player chose Fret's approach to solving Eiru's issue, his dialogue afterwards shows how he feels about not having to face issues head on, with Nagi lamenting that her approach was not used despite being glad that Eiru's mood was visibily improved.

I also really like this moment here for how it subtly foreshadows what caused Fret’s attitude and way of thinking to happen in the first place.

Stuff like this is why I always tend to roll my eyes whenever I hear the claim that "Nagi is mean to Fret for no reason" when moments like these show why she acts the way she does towards him: their philosophies on life are complete polar opposites.

In Nagi’s eyes, Fret acting the way he did screamed to her that he seemingly had no regard for how his attitude and actions towards others made other people feel in service of his own self-interest and she fundamentally cannot get along with other people of that nature, as shown with how she dismisses Motoi entirely off the bat when the crew first meets him because she could tell that there was something off about his attitude. However, once it was revealed that Fret’s attitude was due to him trying to unhealthily cope with his trauma and not because he was seemingly unconcerned for the feelings of others, she’s far more understandable towards him and empathizes with his grief.

That’s when Nagi learns to understand that she does not need to dismiss people right away and that they, like Fret, might be going through struggles of their own and trying to cope with it via other means, even if she doesn’t agree with it at first. Hence the friendship they start up at the end of the convo.

The characters in NEO have a lot of internal flaws they need to work through, some that might not be immediate obvious at first compared to the original, but when you look back at it all, the game goes through a lot of painstaking detail to flesh out their struggles and mindset and aspects like these is what makes the game a joy for me to replay whenever I go back to it.

Drew (edited) @finalgirlkimi ‘s oc as Testament from Guilty Gear 🖤🧡

Just started on volume 5 of witch hat atelier and all imma say is master Qifrey is my husband fr like I wont hold u I would cook n clean for this nigga like I will be his stay at home wife

Im like 13 eps into Gundam IBO so far and have hella conflicting feelings about this series. Orga is possibly my favorite character in this franchise outright, and I'm a sucker for well done found family (doomed as it may be) so I've really enjoyed Tekkadan so far. On paper its straight up my fav Gundam, not to mention Barbatos' design is raw as hell. That being said, the writing is just not good a lot of the time and the more Gundam series I watch the more I feel that G Witch might be the only one in the history of this franchise with romance that DOESNT make me wanna turn my skin inside out. (Mikazuki kissing Kudelia made me sigh so loud dawg) I've got quite a few grievances but I'll save my full thoughts for when I've finished the series.

Kissinger.

US bombs dropped on Laos, 1964-1973. [Map published in article: Rosita Boland. "Death from below in the world's most bombed country." The Irish Times. 13 May 2017. Though map first uploaded on Redd/it by Andrew Gloe, as u/AJgloe, 12 September 2016.]

US bombs dropped, 1965-1972. [Map and animation by: Ha Pham. "Vietnam bombing history with data - Part 1." Medium. 4 November 2018.]

Laos. From 1964 to 1975, the US dropped over 2 million tons of bombs, equating to over 250 million bombs/ordinances. By some estimates, this averages as: full plane load of bombs dropped on Laos every 8 minutes, 24 hours a day, for 9 years. After the official end of the US military campaigns, US bombs on the ground continued to kill dozens of people every year for decades; the bombs still maim today, as over 80 million unexploded bombs/munitions still remain on the ground in Laos.

Cambodia. Kissinger was architect of the "Secret War", which the US president initially tried to hide from the public. Beginning in 1969, the US dropped over 2 and a half million tons of bombs at over 112,000 sites; over 11,000 sites were bombed indiscriminately. Most estimates suggest that US bombing of Cambodia directly resulted in hundreds of thousands of civilian deaths. On 17 March 1969, when the president's office received news of the first bombings in Cambodia, Nixon's chief of staff wrote in his diary: "Historic day K's [Kissinger's] 'Operation Breakfast' finally came off at 2:00 pm our time. K really excited, as is P [President]." The next day he added: "K's 'Operation Breakfast' a great success. He came beaming in [...]."