A camera trained on Yui (red) running introduces us to the town, a lush place with trees at every corner. With urgency, she runs into a lightly forested area outside of town, bursting into the wooden shack clubhouse tucked away in a grove. She declares that trouble is afoot, mobilizing her fellow Colors Sacchan (yellow) and Kotoha (blue). They have to protect the town, in this case a lost cat that looks like a panda, from danger. And this public space they want to cherish is filled with greenery.
Often vegetation invites more opportunities to interact with the environment, whether it is a physical or a metaphorical interaction. It is a place for people to meet, children to play strange acts of sheer imagination, and musing to occur. Beyond being a nice thing, such as parks for example, this provides a template for an environment that fosters a greater sense of inclusion, as buildings and public spaces are often subtly designed to keep out those unwanted. Stairs to block strollers and wheelchairs. Spikes and other hostile implements to ward off the homeless and various passerby. Green spaces are often constructed as a haven for the rich but in their true form they are public, open to all. Such areas also serve to improve mental health (according to Citylab). Vegetation can also filter the air. From the Colors we can learn how important it is to to the construction of safer public spaces.
But i want to note that this analysis unfortunately is not equipped to foster discussion around sensitivity or allergies to plants. However, I am receptive to suggestions on how to include such discussions in future analyses.
In one of the most comical scenes of the series, the Colors declare death to trees but then realize that they play a vital world in the town. In another episode, they visit the zoo. Most convincingly, in the finale the colors mark their place in the town, setting up a picnic and watching the flow of time. In the process of wandering across town, harassing satou the police officer, finding cats, interacting with the young and old, the Colors are able to demonstrate that this public space thrives from the atmosphere afforded by the greenery.
Thursday, December 20, 2018
Tuesday, December 18, 2018
Day 4: Disabled, Decomposing: The Body Politics of the Girls of Zombieland Saga
Skin conditions are often stigmatized in anime and otherwise. This form of coding often marks villains like Freddy Kreuger, or even more often zombies. As animated corpses, zombies represent disability in a literal sense by having figuratively and literally decomposing bodies. Limbs falling off, skin discolored, stiff walking, and other features. This usurps the basic idea behind ability of what a basic human being behaves like and what they do. To see zombies become consistently transformed into villain bait is...decidedly unnerving for this reason. Works like Train to Busan, which highlight the humanity of those transformed into zombies, are a welcome exception. Works like Gakkougurashi strip identity markers off zombies, except for in
Zombieland Saga, MAPPA's surprising runaway hit of the Fall 2018 season, is here to set this record straight. The disabled, decomposing zombies are presented as beings worth of our love and respect, as main characters in a world that would see them as antagonists. Their bodies failing societal norms is commented on many times, by themselves, the jerk producer, and by others. Occasionally, when ableist jabs about decomposing bodies arise, this can cause wincing. It's hard to say if Zombieland Saga completely radically imagines the zombie as a new form of life because of this. But at the same time the difficulties the girls face as Zombies still speaks to broader truths about how disability is perceived. The show offers a template to reject tight norms around bodily existence, like keeping your head on your neck, and some fun shenanigans again involving Tae's disembodied head. This is a local moment of empowerment that can help usurp the ideas that animate society.
The series also explores how disability is often regarded as a template upon which to exact violence. The zombie girls face police suspicion and brutality on account of their appearance and have to endure several rounds of being shot at. They must wear makeup extensively to conform to expectations and to avoid physical violence. This, however, does not remove the metaphorical violence exacted on them as they live an undead life.That makes them all the braver.
The zombie girls, by facing such injustice, are clearly heroes we need, and whose songs we should accept.
Zombieland Saga, MAPPA's surprising runaway hit of the Fall 2018 season, is here to set this record straight. The disabled, decomposing zombies are presented as beings worth of our love and respect, as main characters in a world that would see them as antagonists. Their bodies failing societal norms is commented on many times, by themselves, the jerk producer, and by others. Occasionally, when ableist jabs about decomposing bodies arise, this can cause wincing. It's hard to say if Zombieland Saga completely radically imagines the zombie as a new form of life because of this. But at the same time the difficulties the girls face as Zombies still speaks to broader truths about how disability is perceived. The show offers a template to reject tight norms around bodily existence, like keeping your head on your neck, and some fun shenanigans again involving Tae's disembodied head. This is a local moment of empowerment that can help usurp the ideas that animate society.
The series also explores how disability is often regarded as a template upon which to exact violence. The zombie girls face police suspicion and brutality on account of their appearance and have to endure several rounds of being shot at. They must wear makeup extensively to conform to expectations and to avoid physical violence. This, however, does not remove the metaphorical violence exacted on them as they live an undead life.That makes them all the braver.
The zombie girls, by facing such injustice, are clearly heroes we need, and whose songs we should accept.
Monday, December 17, 2018
12 Days of Anime Day 3: Liz and the Bluebird, and the Patterns of Traversing the Space Around Us (Gait)
Disclaimer: This post contains Spoilers and Impressions and should NOT be read by anyone named Jet prior to their viewing of the film.
------------------------------------------------------------------------------------------------------------------------
Kyoto Animation's 2018 film Liz and the Bluebird prominently features footsteps; it is woven into a fluid series of images in the montage opening the film. Beyond that, Ushio's soundtrack deftly inserts footsteps into the music itself, guided by sound design that amplifies the footsteps. Footsteps and ambience. Footsteps and piano. Footsteps and introspection. Footsteps and excitement.
Mizore behind Nozomi. Mizore ambulates slowly, irregularly, and embracing the shoe-gazer aesthetic; it is not walking geared towards socialization. Nozomi bounces excitedly with rhythm, hair swinging side to side; perhaps more active than a typical walk cycle (gait), but in line with the "normal". Deeply amiable. A conversant pace. Society values rhythm in walking and in conversation; walking in particular is seen as a window into one's soul. This appears in how Nozomi and Mizore are demonstrated as disjoint, physically implicated in their gaits, in the opening sequence.
Whether Nozomi and Mizore are truly disjoint is a major question permeating the film. Especially from that individualist western perspective, Nozomi and Mizore are fundamentally dissimilar, not fitting together now or ever. Like begets like. In the classical form of storytelling, physical ability, yes even including something simple like footsteps or social behavior, is used to differentiate people. Oedipus is punished by blindness for his sins. Sisyphus is 'punished' on account of not being able to stop the boulder from rolling back down. Difference in ability (disability) is offered as a tragic punishment or hubris, and is levied as power in such a storytelling style. In this perspective, Mizore's tempo will never 'catch up' to Nozomi's (simply based on their gait patterns), and this belies the tragedy of the film. But Liz textually suggests they are, by the end, joint -- and director Yamada, notorious Nozomizo and Mizonozo shipper, likely believes this in full honest. I firmly believe the film spins and fractures this western classical tradition of storytelling.
But I deeply worry that people would read Nozomi and Mizore as disjoint from such a background. I worry because this reading invokes deeply ableist ideas that people must be similar in behavior in order to have a fulfilling relationship. People come from different ability backgrounds and for many it is difficult or impossible to live up to those standards. From my condition, there are many tasks I struggle with tremendously, such as cleaning (a room), which places me at a 'disadvantage' relative to many relationships I would make. I've personally had circumstances where this inequality led to friendships not forming, or dissolving. This idea that people must exist in equal positions, and equal in being normal, is therefore quite harmful to me.
Furthermore, we are trained to consider ability medically and this provides a framework for seeing disability as a tragic form of punishment. Sisyphus and Oedipus are templates upon which medical correction could apply if they were not undeserving (on account of opposing the society). In this case, the circumstance between Nozomi and Mizore is far less dire. But this idea of correction still applies, as there seems to be an expectation for Nozomi to fix Mizore.
To get to this concept, I want to talk about this idea of normal gait. Gait is deeply pathologized and used to infer much about a person. From the opening sequence of Liz, someone could infer that Mizore is not in the right place, physically and emotionally, based just on how she's walking. As an activity that directly connects people in space and time, it is a physical metaphor of great importance. Ambulation via wheelchairs or mobility scooters or with other mobility devices (like a cane) is typically stigmatized from an emphasis on normal walking. However, it should be noted, that modes of transportation, like buses, cars, and bikes are socialized as normal. There's a lot of politics around walking that have to be contended with, even if they are (in my experience) generally unstated.
Biomechanics, the study of human motion, has devoted much attention to gait. In my classes of biomechanics, gait and its control are seen as important enough to warrant their own section. This often involves defining, precisely, normal walking in terms of a walk cycle; an essential part of this for example is the swinging of the leg while it is airborne (the "swing" phase). Nozomi strongly emphasizes this behavior in her walking, while Mizore barely focuses on it. One cannot overstate how reductive normal walking, defined by an ideal gait cycle, can be. For a class, my partner and I defined this gait cycle based on a series of differential equations and conditions to compare to a 'disabled' gait cycle. This model does not offer much room for human variation (unless the model were to be modified to account for it). Though gait may seem like it is a low-energy task, to the able-bodied, it involves a tight coordination of the lower body.
This may seem like just a simplification. But this approach underlies ideas about what a normal gait is, and potentially how Mizore does not fit into it. For something so subconscious for many, walking is a complex and coordinated activity. Nozomi's gait is expressive and musical seemingly without explicit attention. But Mizore walks in such an explicit manner, almost as if transfixed by the very act of walking. But walking in this manner is seen as inherently disabling and out of bounds. (Let's return to the ideas of physical disadvantage needing correction.) In practical terms, we see Nozomi as having to wait for Mizore on account of her pace, which creates a supposedly unequal dynamic. After all, mathematically, Nozomi and Mizore will not meet up due to Mizore's lower tempo. This very situation has played out in my life, where I often find the sensory act of walking overwhelming and sometimes I walk more slowly or pause. But walking slowly and/or consciously is not an aberrant trait and is also a valuable part of the human experience. I want to push back on this idea that Nozomi must correct Mizore (though I will maintain that the pressure on Nozomi still exists).
But let's probe this correction more. For starters, the differences in walking between the two characters are implicated in broader differences in social behavior. So Nozomi would play a role as correcting Mizore as a person, not simply as a walker.
From a social perspective, Nozomi is expected to fix the "disjoint" between Mizore and society. But this attitude treats disability (inequality of ability) as something to be violently removed. This may sound deeply cynical to suggest. This corrective attitude is rarely fully intentional, though. Though not explicit, there are many opportunities when people will stop precisely in time with other people; but this itself creates a drive to replicate the same patterns.
This form of social pressure excludes people who walk in a "disjoint" manner as someone who needs to be corrected. And living with disability is to experience this. Not being able to "do" many social norms consistently or well...and being pressured to correct oneself to rise to that normal behavior.
It's an awful power.
To me, seeing Nozomi and Mizore as disjoint, at the conclusion of the film, invokes this devastating power. This comes directly from my experiences.
But, Nozomi and Mizore are in fact joint because Nozomi and Mizore grow to understand each other intimately. Through moments of sharing, like when she waits for Mizore to catchup, or when she plays music with her. To see Mizore as needing correction is to dismiss these beautiful moments of human interaction. Nozomi refutes this. In the story of Liz and the Bluebird, difference of ability is positioned as valuable, as signified through the motif of footsteps, by dismissing the expectation of punishment borne out of Western storytelling and of society.
------------------------------------------------------------------------------------------------------------------------
Kyoto Animation's 2018 film Liz and the Bluebird prominently features footsteps; it is woven into a fluid series of images in the montage opening the film. Beyond that, Ushio's soundtrack deftly inserts footsteps into the music itself, guided by sound design that amplifies the footsteps. Footsteps and ambience. Footsteps and piano. Footsteps and introspection. Footsteps and excitement.
Mizore behind Nozomi. Mizore ambulates slowly, irregularly, and embracing the shoe-gazer aesthetic; it is not walking geared towards socialization. Nozomi bounces excitedly with rhythm, hair swinging side to side; perhaps more active than a typical walk cycle (gait), but in line with the "normal". Deeply amiable. A conversant pace. Society values rhythm in walking and in conversation; walking in particular is seen as a window into one's soul. This appears in how Nozomi and Mizore are demonstrated as disjoint, physically implicated in their gaits, in the opening sequence.
Whether Nozomi and Mizore are truly disjoint is a major question permeating the film. Especially from that individualist western perspective, Nozomi and Mizore are fundamentally dissimilar, not fitting together now or ever. Like begets like. In the classical form of storytelling, physical ability, yes even including something simple like footsteps or social behavior, is used to differentiate people. Oedipus is punished by blindness for his sins. Sisyphus is 'punished' on account of not being able to stop the boulder from rolling back down. Difference in ability (disability) is offered as a tragic punishment or hubris, and is levied as power in such a storytelling style. In this perspective, Mizore's tempo will never 'catch up' to Nozomi's (simply based on their gait patterns), and this belies the tragedy of the film. But Liz textually suggests they are, by the end, joint -- and director Yamada, notorious Nozomizo and Mizonozo shipper, likely believes this in full honest. I firmly believe the film spins and fractures this western classical tradition of storytelling.
But I deeply worry that people would read Nozomi and Mizore as disjoint from such a background. I worry because this reading invokes deeply ableist ideas that people must be similar in behavior in order to have a fulfilling relationship. People come from different ability backgrounds and for many it is difficult or impossible to live up to those standards. From my condition, there are many tasks I struggle with tremendously, such as cleaning (a room), which places me at a 'disadvantage' relative to many relationships I would make. I've personally had circumstances where this inequality led to friendships not forming, or dissolving. This idea that people must exist in equal positions, and equal in being normal, is therefore quite harmful to me.
Furthermore, we are trained to consider ability medically and this provides a framework for seeing disability as a tragic form of punishment. Sisyphus and Oedipus are templates upon which medical correction could apply if they were not undeserving (on account of opposing the society). In this case, the circumstance between Nozomi and Mizore is far less dire. But this idea of correction still applies, as there seems to be an expectation for Nozomi to fix Mizore.
To get to this concept, I want to talk about this idea of normal gait. Gait is deeply pathologized and used to infer much about a person. From the opening sequence of Liz, someone could infer that Mizore is not in the right place, physically and emotionally, based just on how she's walking. As an activity that directly connects people in space and time, it is a physical metaphor of great importance. Ambulation via wheelchairs or mobility scooters or with other mobility devices (like a cane) is typically stigmatized from an emphasis on normal walking. However, it should be noted, that modes of transportation, like buses, cars, and bikes are socialized as normal. There's a lot of politics around walking that have to be contended with, even if they are (in my experience) generally unstated.
Biomechanics, the study of human motion, has devoted much attention to gait. In my classes of biomechanics, gait and its control are seen as important enough to warrant their own section. This often involves defining, precisely, normal walking in terms of a walk cycle; an essential part of this for example is the swinging of the leg while it is airborne (the "swing" phase). Nozomi strongly emphasizes this behavior in her walking, while Mizore barely focuses on it. One cannot overstate how reductive normal walking, defined by an ideal gait cycle, can be. For a class, my partner and I defined this gait cycle based on a series of differential equations and conditions to compare to a 'disabled' gait cycle. This model does not offer much room for human variation (unless the model were to be modified to account for it). Though gait may seem like it is a low-energy task, to the able-bodied, it involves a tight coordination of the lower body.
This may seem like just a simplification. But this approach underlies ideas about what a normal gait is, and potentially how Mizore does not fit into it. For something so subconscious for many, walking is a complex and coordinated activity. Nozomi's gait is expressive and musical seemingly without explicit attention. But Mizore walks in such an explicit manner, almost as if transfixed by the very act of walking. But walking in this manner is seen as inherently disabling and out of bounds. (Let's return to the ideas of physical disadvantage needing correction.) In practical terms, we see Nozomi as having to wait for Mizore on account of her pace, which creates a supposedly unequal dynamic. After all, mathematically, Nozomi and Mizore will not meet up due to Mizore's lower tempo. This very situation has played out in my life, where I often find the sensory act of walking overwhelming and sometimes I walk more slowly or pause. But walking slowly and/or consciously is not an aberrant trait and is also a valuable part of the human experience. I want to push back on this idea that Nozomi must correct Mizore (though I will maintain that the pressure on Nozomi still exists).
But let's probe this correction more. For starters, the differences in walking between the two characters are implicated in broader differences in social behavior. So Nozomi would play a role as correcting Mizore as a person, not simply as a walker.
From a social perspective, Nozomi is expected to fix the "disjoint" between Mizore and society. But this attitude treats disability (inequality of ability) as something to be violently removed. This may sound deeply cynical to suggest. This corrective attitude is rarely fully intentional, though. Though not explicit, there are many opportunities when people will stop precisely in time with other people; but this itself creates a drive to replicate the same patterns.
This form of social pressure excludes people who walk in a "disjoint" manner as someone who needs to be corrected. And living with disability is to experience this. Not being able to "do" many social norms consistently or well...and being pressured to correct oneself to rise to that normal behavior.
It's an awful power.
To me, seeing Nozomi and Mizore as disjoint, at the conclusion of the film, invokes this devastating power. This comes directly from my experiences.
But, Nozomi and Mizore are in fact joint because Nozomi and Mizore grow to understand each other intimately. Through moments of sharing, like when she waits for Mizore to catchup, or when she plays music with her. To see Mizore as needing correction is to dismiss these beautiful moments of human interaction. Nozomi refutes this. In the story of Liz and the Bluebird, difference of ability is positioned as valuable, as signified through the motif of footsteps, by dismissing the expectation of punishment borne out of Western storytelling and of society.
Saturday, December 15, 2018
Friday, December 14, 2018
12 Days of Anime: Day 1
Participating in 12 days of anime was not much of a premeditated choice. But as an apparent Aniblogger, I realized this became my lifeblood. What else could I ask? All taht remained was to tweet about Monogatari, Evangelion, and some other classics. I definitely knew this was going down!
Hold the accusation of liar -- here I Come clean, and admit I am new to this 12 days thing. ((For 12 days of anime, I will write about anime once a day for 12 days,....roughly.) It is a 91days prequel. But instead of Prohibition era shenanigans, I will try to review my thoughts on anime emotionally and intellectually. This is grounds to experiment with previously unexplored domains and to pen the "epic owns" I have had brewing for a while. In some ways, unabashed quick-writes of articles I want to write. In some ways, self-exploration. Hopefully this journey proves fruitful for both I and my dear viewers.
For this, I have assembled as rough list of topics (strikethroughs added later on):
1. An introductory post talking about my aims for 12 Days of Anime (this one).
2. On Darlifra and disability representation
3. On Liz and the Blue Bird and Gait
4. Feminist disability studies and Zombieland Saga
5. On Revue Starlight's First Episode
6. Race and Anime, an Overview
7. That new Furuba anime
8. [Wildcard]
9. [Wildcard]
10. Koe no Katachi: my favorite film
11. Shigatsu #5: a Personal and Technical reflection
12. Concluding post, and what's next
Wait a moment,Zeldaru! WHere is the earnest self-own (self-reflection)? Well...supposedly....this is a good time to bring this up. Here the intellectual and emotional are intended to meld as yin and yang. Emotions are part of the intellectual package and vice versa. Even the most 'scientific' thing is not divorced from this reality.
Specifically, I recall my Masamune-kun post delving into a rather intimate territory, even though it originated as an episode analysis. There's no easy way to go from formalism( that objective nonsense we pretend applies in order to let us do analysis) and reader response (where we talk about our feelings, but run the risk of ignoring the work in front of us). There might be a beautiful intersection somewhere in there. Maybe from these 12 days I can understand this possibility.
Right now, I am simply equipped with the fact that objective is ornately obsolete and that we are socially guided beings situated in time and space. If you complain that this makes no sense, then check in at the end of this. I'm sure you'll still feel the same.
Shout out to Barty for peer pressuring me into doing 12 Days of Anime.
Hold the accusation of liar -- here I Come clean, and admit I am new to this 12 days thing. ((For 12 days of anime, I will write about anime once a day for 12 days,....roughly.) It is a 91days prequel. But instead of Prohibition era shenanigans, I will try to review my thoughts on anime emotionally and intellectually. This is grounds to experiment with previously unexplored domains and to pen the "epic owns" I have had brewing for a while. In some ways, unabashed quick-writes of articles I want to write. In some ways, self-exploration. Hopefully this journey proves fruitful for both I and my dear viewers.
For this, I have assembled as rough list of topics (strikethroughs added later on):
1. An introductory post talking about my aims for 12 Days of Anime (this one).
3. On Liz and the Blue Bird and Gait
4. Feminist disability studies and Zombieland Saga
5. On Revue Starlight's First Episode
6. Race and Anime, an Overview
12. Concluding post, and what's next
Wait a moment,Zeldaru! WHere is the earnest self-own (self-reflection)? Well...supposedly....this is a good time to bring this up. Here the intellectual and emotional are intended to meld as yin and yang. Emotions are part of the intellectual package and vice versa. Even the most 'scientific' thing is not divorced from this reality.
Specifically, I recall my Masamune-kun post delving into a rather intimate territory, even though it originated as an episode analysis. There's no easy way to go from formalism( that objective nonsense we pretend applies in order to let us do analysis) and reader response (where we talk about our feelings, but run the risk of ignoring the work in front of us). There might be a beautiful intersection somewhere in there. Maybe from these 12 days I can understand this possibility.
Right now, I am simply equipped with the fact that objective is ornately obsolete and that we are socially guided beings situated in time and space. If you complain that this makes no sense, then check in at the end of this. I'm sure you'll still feel the same.
Shout out to Barty for peer pressuring me into doing 12 Days of Anime.
Monday, December 10, 2018
2019 Resolutions (The Destiny Henceforth Laid Out)
1.
Procure employment or a PhD admission or
something
a.
Complete Masters degree (by end of January)
b.
Submit applications 3x a week (???)
c.
Figure out how the heck this is supposed to
work.
2.
Improve self-care routine:
a.
Cook at least four times a week
i.
Learn non-Desi dishes
b.
Sleep 7 or more hours at least 5 days a week
c.
Do at least 20 minutes of yoga 5 days a week
d.
One 5-10 minute walk a day
e.
Eat more vegetables and fruit
3.
Writing work
a.
AniFem writing
i.
Complete Natsume article
ii.
Pitch and draft another article
b.
Blogwork:
i.
Write at least one 3-4 page analytical post per month
1.
Including the posts on Liz, Eva, Franxx
c.
Write a 30 page short story whether through
Nanowrimo or otherwise.
4.
Anime
a.
Complete one 70s TV anime and one 80s TV anime (that
is NOT Dirty Pair)
b.
Complete the following longer series:
i.
Cardcaptor Sakura
ii.
Yu Yu Hakusho
iii.
LOTGH
iv.
Utena
v.
Doremi Season 1
c.
Watch:
i.
5 of the Years in Anime selections
ii.
Chihayafuru
iii.
Symphogear
d.
Maintain Watching + Complete at or below 40
series, including OVAs and TV Shorts
5.
Manga
a.
Read more LGBT+ manga
i.
Including After Hours, Bokura no Hentai,
Shimanami Tasogare, and others
b.
Complete:
i.
Fruits Basket
ii.
Gunslinger Girl
iii.
Others
6.
Games
a.
Read/Play:
i.
Higurashi
ii.
Subahibi
iii.
House of Fata Morgana
iv.
Child of Light
v.
Bastion
vi.
Transistor
vii.
Hades
viii.
Umineko
7.
Reading
a.
Read an actual book, ya fool
8.
Languages
a.
Learn Urdu and Japanese
b.
Polish French skills
Thursday, November 15, 2018
Ideology in Video Games: The Propaganda of Mario, and Galaxies
Today we will talk about how Mario reflects an incredibly problematic pro-space program in the Super Mario Galaxy games. Ideology in video games exists, and I'm here to explain this in clear detail.
For far too long, people have used the spectre of Gamergate to 'pretend' that games are art and to cover for the ideologies long present in games. Gamergate is gone now, and it was just about the journalists anyways.
Just why does GG come up so often? It seems incredibly unfair to accuse me, a person holding an ideology, of holding an ideology. Get a grip of reality. We're here to talk about Mario's problematic pro-space program, so stop trying to distract me.
All of that twisting over to own the individuals subscribing to a liberal set of political beliefs. It's weary. God is Not Dead!
Now, Mario wants to explore the known universe, making comrades while jumping from planet to planet. One can barely wonder that the game pushes communism, the main purpose of a pro-space agenda. But it gets worse. Communism is a fancy way to discuss the Lenin-driven approach of science; scientists are the fiends holding us at plumber-point. Who needs to understand the known universe? Not Mario, not gamers. We need only be concerned with conquest, the greatest failing of teh Galaxy games.
Why fight Bowser when he is the one with this conquest goal in mind? He is the anti-space program hero of the games, of all games, and is the only way we can call them art. Gamergate obscured that by labeling games as ideology. Games are not ideology and are not art. Quite simply, there is truth, and lies; science and righteous conquest; Mario and Bowser.
For far too long, people have used the spectre of Gamergate to 'pretend' that games are art and to cover for the ideologies long present in games. Gamergate is gone now, and it was just about the journalists anyways.
Just why does GG come up so often? It seems incredibly unfair to accuse me, a person holding an ideology, of holding an ideology. Get a grip of reality. We're here to talk about Mario's problematic pro-space program, so stop trying to distract me.
All of that twisting over to own the individuals subscribing to a liberal set of political beliefs. It's weary. God is Not Dead!
Now, Mario wants to explore the known universe, making comrades while jumping from planet to planet. One can barely wonder that the game pushes communism, the main purpose of a pro-space agenda. But it gets worse. Communism is a fancy way to discuss the Lenin-driven approach of science; scientists are the fiends holding us at plumber-point. Who needs to understand the known universe? Not Mario, not gamers. We need only be concerned with conquest, the greatest failing of teh Galaxy games.
Why fight Bowser when he is the one with this conquest goal in mind? He is the anti-space program hero of the games, of all games, and is the only way we can call them art. Gamergate obscured that by labeling games as ideology. Games are not ideology and are not art. Quite simply, there is truth, and lies; science and righteous conquest; Mario and Bowser.
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