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There's a pattern stories follow when they're written by cultural Marxists--also known as SJWs--and most especially particularly when the stories deal with "the Next Generation" of whatever saga. Examples are Legend of Korra, several current Marvel comics, and, it seems (I haven't seen them myself but from what I've heard) the new Star Wars movies.
This pattern is to deconstruct and denigrate the earlier generation. You know, the one that made people love the story in the first place.
Legend of Korra made Aang have been a terrible father, never told us whether Zuko and Mai married or whom/if Sokka married, and made Toph a slut who was still as selfish as she was in the pre-learn-a-lesson part of "The Runaway," not to mention making the heroine contrivedly homosexual, so that there will never be another next generation.
Marvel comics have replaced almost all their major heroes, Thor, Captain America, Iron Man, Spiderman, with new characters, the old ones left in humiliation: Thor unworthy to lift his hammer, Steve Rogers disgraced by that Nazi business, Peter Parker a failure.
And Star Wars, I have heard, has made Han and Leia divorced and their son hate them, Luke having abandoned all hope – which I just realized was his signature virtue in the original story – and has both Han and Luke die pathetically.
I may be wrong about this last one because, as said, I haven't seen them, and I know some Star Wars fans who still love the new films. But I also know of many fans who feel betrayed, just like I did with Korra.
It makes me sad for those who loved these stories, but it also makes me very grateful that the story I love most of all, Ace Attorney, did not do this when it had its own Next Generation segment. So I started to think, what would it have been like if Ace Attorney had been given the SJW treatment? It's an interesting thought experiment.
DON'T READ ANY FURTHER UNLESS YOU'VE PLAYED THE ACE ATTORNEY GAMES THROUGH APOLLO JUSTICE.
It might appear on first examination that Ace Attorney did indeed do something like this in Apollo Justice, with Phoenix disbarred in disgrace, drinking too much, fallen so far from his brilliant career as the defense attorney who always believed in his clients and snatched victory from the jaws of defeat. But this is not actually a degradation of Phoenix's character. The secret is the turnabout. Phoenix was unjustly disbarred, is actually most knowledgeable and in control of the situation, and arranges everything so that Apollo will come into his own and defeat the murderous plot years in its infernal fruition. The key to the whole game and trilogy – indeed, the key to any real good Next Generation story, is the older generation nurturing and bringing the rising generation into its own. It should be about passing on the torch, not trampling on the ashes of the past and cursing the darkness.
DON'T READ ANY FURTHER UNLESS YOU'VE PLAYED THE ACE ATTORNEY GAMES THROUGH SPIRIT OF JUSTICE.
So, what would the second Ace Attorney trilogy have been like if it had been written according to the cultural Marxist playbook? Well, Phoenix's alcoholism would be a much bigger deal and make it so he'd have never risen from his ashes of disbarrment, and Apollo's disappointment in him would have carried through to a rejection of his guidance. Apollo would not be allowed to be the central figure of the trilogy that he is, because he's male! He would have fallen in Dual Destinies when he loses faith in Athena (who would be the main hero overall). It wouldn't have been Phoenix who rescues him from his grief and doubt in a healing way, no; Athena, who wouldn't lack confidence or be suffering traumatic panic attacks, because she'd be a Strong Female Lead, would just show him how wrong he is. Then, oh my goodness, Spirit of Justice. Fathers are the thing which must be brought down most of all in the SJW worldview. No father figure can go without being shown to be wicked, a failure, or weak in some way. So not only would Apollo's feelings that Dhurke abandoned him never be counteracted, Jove would have to be shown to be a failure too. They'd probably have him leaving baby Apollo to the flames in an effort to save himself. And a revolution leaving a theocratic monarchy intact? No way! Rayfa, like Prince Wu in Korra, would abdicate and pursue self-fulfillment as a dancer, and Nahyuta would lose his faith.
Aren't you glad it isn't that way? I sure am. If there's one thing I've learned from the disappointments of Korra, Homestuck, Doctor Who, it's that the SJW Narrative makes for horrible storytelling. That's 'cause it hates Truth, Beauty, and Goodness.
Let's make stories that are better than that.
I almost missed having a Advent wreath this year!
It will be mostly Lay of Leithian/Tale of Tinuviel
I just finished reading The Silmarillion for the first time and I want to draw a bushel of illustrations. The condensed form of it, as opposed to the novel form of The Lord of the Rings, really spurs one to want to fill in what isn't described in great detail with what one imagines. And I want to use a style that's very different from how people usually draw Tolkien characters. Almost everybody these days is influenced by the look of Alan Lee's work and the Peter Jackson films. Now I have no problem with that, but it's not at all what I want to do. Since The Silmarillion really surprised and delighted me with how much it wasn't just noble high fantasy, it had many parts that were very fairy tale, even whimsical, I want to go for the look of a fairy tale storybook for children; plus influence from 1980s illustrations of toys for girls, like Lady Lovelylocks and Peppermint Rose; and just a touch of 1970s psychedelic graphic design. I don't know whether Tolkien would approve, but it's
Well that explained NOTHING
I'm being hyperbolic. It did explain a few things. I'm speaking of course, of Layton Brothers: Mystery Room, which I just finished playing. For a long time, I vehemently refused to consider playing this game, and rejected it as part of the Professor Layton canon. And I developed a personal animosity towards the character of Alfendi. How dare he claim to be the Professor's child, which he couldn't possibly be? But then along came the Katrielle Layton game and anime, another character making the same claim. And as it turned out, these were absolutely wonderful, and explained in a totally satisfactory way how Katrielle is the Professor's child. So I grew willing to give Alfendi a chance. I knew, however, from basic descriptions I'd read, that Mystery Room does not explain how Alfendi could be the Professor's child. So I came at it with the specific goal of settling, based on whatever information the game did provide, on a theory. Possible theories, both acceptable and unacceptable
Where once was Walden
I have a secret sewing and lolita fashion blog, purposefully hidden. There, I've made fanciful allegories of various web platforms as buildings. Tumblr I described as a city of strip clubs and public gallows, now mostly empty since the strippers were outlawed. Livejournal is an abandoned library--not a majestic classical library, but one like the public libraries of my childhood, with office-industrial tile and carpet and glass-block wall segments--in a forest, with ivy growing into it. Instagram is a fun-house mirror-lined carousel whose round-and-round motion spirals down into a consuming vortex. So what is Deviantart? The obvious answer is an art gallery, but imagine being in an art gallery: quiet high-ceilinged rooms of well-lit paintings, carefully curated and organized. It's not like that at all. No, I think it's a shopping mall, with all that implies in our cultural context: it was once fun, full of teenagers both dippy and angsty, with arcades and subculture-based clothes
Listening to fireworks from a garret room
A year ago this night, I was working frantically on the last page of Issue #2 of Clockwork Dancer, and I finished it as 2021 rang in. Many people were adamant that 2021 must be a better year than 2020, but on a certain level it has been much worse, as genetic agents are injected, poisoning the hearts of many, and become the basis for totalitarianism. But even as things fall apart and people reveal their true colors, both years have been very good to me personally, particularly in time spent with nieces and nephews. Once again, I'm working on the last pages of Issue #2 of a comic. This time, it's Bovodar and the Bears. But I'm not likely to finish by midnight. I'm away from home on this New Year's Eve, and I don't know how long I will remain so. It's for a good reason and I'll miss it when it's over, but I don't have much time to work on art. When I do, it's an hour in the early morning, by the windows in a garret room. If and when I return home, I hope to resume a rigorous work
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Stories as a whole tend to, and should, have a theme of good triumphing over evil.
It's hard for authors who don't even believe in inherent good and evil to incorporate such things into their works.
It's hard for authors who don't even believe in inherent good and evil to incorporate such things into their works.