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Post by alanc9 on Mar 14, 2017 16:29:26 GMT
No, I don't think most JRPGs are the same type of game as WRPGs and I don't really want to get into an argument over precisely what the exact definition of each is because it tends to go nowhere. I think it's sufficient to say that they are very different styles and types of games as your own argument itself demonstrates. Providing the player with choices regarding the theme is fine and precisely what I'm talking about. In this context of MEA such a choice might look like: I chose to be conscious of native species and not colonize certain areas OR I don't care what they think and I will do it anyway almost certainly making them hostile. This is simplified and many games would offer much more nuanced choice than that. Pushing a message (or more specifically a certain correct action) would be something more like: my choice is to forgo colonizing at all OR I must convince the natives to let me colonize because colonization is wrong. One is merely getting me to think about the theme of the consequences of colonization. The other is explicitly coaching me on what is correct. The most egregious violation would be to simply remove choice altogether and force me to listen to some lecture. I don't see how you can avoid the genre definition issue. If the position is "WRPGs shouldn't do X," and a game does X, maybe the game is actually a JRPG. Or maybe it's neither. I'm not sure the hypothetical is a great fit for ME:A; that decision is above Ryder's pay grade, isn't it?
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Post by alanc9 on Mar 14, 2017 16:42:44 GMT
Ok, ME2....you are shoehorned into Cerberus cooperation when, lo and behold, the very first freaking thing you can do is go STRAIGHT to the citadel get you spectre status back, get the council and Anderson's blessing.....and wait....why the fuckety fuck are we still working with Cerberus when we could simply turn all the fuckers in, have the alliance raid all the known bases after getting any kind of intel out of Miranda and Jacob we could and continue the operation as we see fit? Because Bioware wanted for us to follow that path even tho anyone playing the game would see the huge hole in it's internal consistency (tho in this case the issue is not shoehorned ideas). Notice that a choice COULD HAVD BEEN GIVEN in that situation that would have allowed us to play the game with minimal variations but it was not afforded to us. This would have been fairly costly, as far as I can see. Maybe a good way to spend zots, but expensive. (We also have to get around the problem of a Cerberus crew going to the Citadel now that we're not handwaving the issue anymore; Joker'd obey the order, but wouldn't EDI tell Miranda?) I asked this before, but what exactly are you actually asking for here? What should the Inquisitor have been allowed to say that she can't now? Something like the Winter Palace dance with Florianne, where she can sound like an idiot? And what hints in ME3 are you talking about?
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Post by dropzofcrimzon on Mar 14, 2017 16:49:06 GMT
Ok, ME2....you are shoehorned into Cerberus cooperation when, lo and behold, the very first freaking thing you can do is go STRAIGHT to the citadel get you spectre status back, get the council and Anderson's blessing.....and wait....why the fuckety fuck are we still working with Cerberus when we could simply turn all the fuckers in, have the alliance raid all the known bases after getting any kind of intel out of Miranda and Jacob we could and continue the operation as we see fit? Because Bioware wanted for us to follow that path even tho anyone playing the game would see the huge hole in it's internal consistency (tho in this case the issue is not shoehorned ideas). Notice that a choice COULD HAVD BEEN GIVEN in that situation that would have allowed us to play the game with minimal variations but it was not afforded to us. This would have been fairly costly, as far as I can see. Maybe a good way to spend zots, but expensive. (We also have to get around the problem of a Cerberus crew going to the Citadel now that we're not handwaving the issue anymore; Joker'd obey the order, but wouldn't EDI tell Miranda?) I asked this before, but what exactly are you actually asking for here? What should the Inquisitor have been allowed to say that she can't now? Something like the Winter Palace dance with Florianne, where she can sound like an idiot? And what hints in ME3 are you talking about? obviously not what I meant Oh ME3? The fact that the "preferable ending" with the best consequences was synthesis, glassing over whole eugenics thing Or the "look at this....you must be sad, this is the feeling we think your characters is supposed to feel"
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Post by Raga on Mar 14, 2017 17:25:23 GMT
No, I don't think most JRPGs are the same type of game as WRPGs and I don't really want to get into an argument over precisely what the exact definition of each is because it tends to go nowhere. I think it's sufficient to say that they are very different styles and types of games as your own argument itself demonstrates. Providing the player with choices regarding the theme is fine and precisely what I'm talking about. In this context of MEA such a choice might look like: I chose to be conscious of native species and not colonize certain areas OR I don't care what they think and I will do it anyway almost certainly making them hostile. This is simplified and many games would offer much more nuanced choice than that. Pushing a message (or more specifically a certain correct action) would be something more like: my choice is to forgo colonizing at all OR I must convince the natives to let me colonize because colonization is wrong. One is merely getting me to think about the theme of the consequences of colonization. The other is explicitly coaching me on what is correct. The most egregious violation would be to simply remove choice altogether and force me to listen to some lecture. I don't see how you can avoid the genre definition issue. If the position is "WRPGs shouldn't do X," and a game does X, maybe the game is actually a JRPG. Or maybe it's neither. I'm not sure the hypothetical is a great fit for ME:A; that decision is above Ryder's pay grade, isn't it? The thing is I've never been arguing for some kind of convoluted classification schema. It's an argument that WRPGs do in fact have an archetype and that archetype entails a collaborative aspect between creator and audience in character creation. That's it. The less of that there is and the more static and didactic it becomes, the less of an RPG it is and the more of some other type of art. Just like the more and more text you cram into a comic and the more images you take out, the less of a comic it becomes and the more of a book it becomes. I'm not here to argue where the magical line falls exactly but merely to say that comics definitely *do* have images and the less images a thing has, the less like a comic it is. It might still be a perfectly good book. Inasmuch as I like Bioware because they make RPGs I enjoy, I think it's quite valid to point out that "hey, the more this game becomes some other type of art instead of an RPG, the less I will enjoy it." It's doubly worth mentioning when the audience largely has an expectation that their games are RPGs and that they explicitly market them as RPGs. If "RPG" had no archetype at all, nobody would even talk about it because it would be a nonsense word or else some word that literally means nothing except "a thing I happen to like."
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Post by cloud9 on Mar 15, 2017 1:08:10 GMT
Ahhh human politics in scifie... gotta love the lack in imagination. Personally, as long as BW employs designers that bitch about "evil white people" on twitter, I can't really take them seriously on any "social commentary". Just make competent, fun games and leave the highbrow topics to people that actually know how to approach them... Awww. Too hot to handle?
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Post by SalMasRac on Mar 15, 2017 1:38:42 GMT
What if Bioware is really a frontman organization placed by a real life alien Council to determine if humanity is ready to learn the truth of the galaxy and meet other lifeforms. And they take one look at the singleplayer forums and say "REJECTS" then they look at the multiplayer forums and say "yeah these guys are ready" and beam us up
so long suckahs
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Post by alanc9 on Mar 15, 2017 3:24:44 GMT
I don't see how you can avoid the genre definition issue. If the position is "WRPGs shouldn't do X," and a game does X, maybe the game is actually a JRPG. Or maybe it's neither. I'm not sure the hypothetical is a great fit for ME:A; that decision is above Ryder's pay grade, isn't it? The thing is I've never been arguing for some kind of convoluted classification schema. It's an argument that WRPGs do in fact have an archetype and that archetype entails a collaborative aspect between creator and audience in character creation. That's it. The less of that there is and the more static and didactic it becomes, the less of an RPG it is and the more of some other type of art. Just like the more and more text you cram into a comic and the more images you take out, the less of a comic it becomes and the more of a book it becomes. I'm not here to argue where the magical line falls exactly but merely to say that comics definitely *do* have images and the less images a thing has, the less like a comic it is. It might still be a perfectly good book. Inasmuch as I like Bioware because they make RPGs I enjoy, I think it's quite valid to point out that "hey, the more this game becomes some other type of art instead of an RPG, the less I will enjoy it." It's doubly worth mentioning when the audience largely has an expectation that their games are RPGs and that they explicitly market them as RPGs. If "RPG" had no archetype at all, nobody would even talk about it because it would be a nonsense word or else some word that literally means nothing except "a thing I happen to like." But where does the WRPG archetype discussion take us? Even if we grant your classification scheme for the moment, it isn't the game becoming another type of art that would bother you, it's adopting a specific feature of that hypothetical other type of art that you don't like. Put another way, even if I could produce 50 didactic WRPGs as examples and so upend your classification scheme, that wouldn't change how you or anyone else feels about a game being didactic. One might like the WRPG genre less because those games are now in the genre, but a genre isn't actually a thing anyway. And why'd you bother to say that you're not trying to establish a genre classification scheme in the first paragraph if you were going to go back to establishing a classification scheme in the second? The best way to not talk about genre classification is to not talk about genre. Isn't your substantive position "didacticism is bad" rather than "WRPGs shouldn't be didactic"?
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Post by alanc9 on Mar 15, 2017 3:45:50 GMT
This would have been fairly costly, as far as I can see. Maybe a good way to spend zots, but expensive. (We also have to get around the problem of a Cerberus crew going to the Citadel now that we're not handwaving the issue anymore; Joker'd obey the order, but wouldn't EDI tell Miranda?) I asked this before, but what exactly are you actually asking for here? What should the Inquisitor have been allowed to say that she can't now? Something like the Winter Palace dance with Florianne, where she can sound like an idiot? And what hints in ME3 are you talking about? obviously not what I meant Oh ME3? The fact that the "preferable ending" with the best consequences was synthesis, glassing over whole eugenics thing Or the "look at this....you must be sad, this is the feeling we think your characters is supposed to feel" Of course that isn't what you meant. My point was that what you do mean isn't obvious. What's your actual problem with Krem? You brought him up. As for ME3, I can see how Synthesis might be ethically similar to eugenics. But the ethical problem with eugenics doesn't exist if eugenics doesn't actually work; if it doesn't work eugenics is just a stupid mistake. So what problem are you talking about?
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Post by riou on Mar 15, 2017 9:47:42 GMT
The problem as I see it isn't the politics itself, but the fandom's consumption of it.
Dragon Age's ridiculous Mage vs Templar argument that has people in real life using your stance on the topic to judge your integrity as a human being...in real life.
Seriously, using a video game as a serious Secret Test Of Character. How bad can you get? I've never seen any of ME's arguments besides the ending of ME3 be used so venomously. And the Mage/Templar thing has been in three different games.
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Post by Link"Guess"ski on Mar 15, 2017 12:46:44 GMT
So i wonder how some of you who are against politics in games would feel about the Persona series. Its a series of JRPGs mixed with life-sim and its incredibly engaging and interesting. The thing is, Persona games always had an element of "Japanese society could be great, but right now its horrible" going on. It was mostly when you bonded with other characters and not during the main quest but still, it portrays messages like "Japan is sexist", "Japan drains its people of joy", "Japanese gender roles are way too restrictive", "Holding on to tradition for its own sake is bad", etc. All very SJW sounding things, aint they? And the fifth game that is about to come out over here apparently drops all pretense and the games main quest revolves around the fact that Japanese society should and has to change, so much so that it is even set in a real actual city instead of a made up one, and some conflicts are ripped from the headlines. That all sounds pretty heavy handed right? But according to western previews and japanese reviews and audience reaction its the best of the series and a really great game in general. I for one cant wait to play it. ^ ^ Been a while since I made this topic and I admit I both phrased it wrongly and wrote it like a piece of bait - I did not actually mean socialism, I think I meant "social commentary towards Trump and his anti-migration" or something, but not "socialism" oof, that was an embarrassing one for me. Speaking of Japanese games though, I did play the Ace Attorney series that were very timely. The first one was made in 2001 and depicts characters from the actual japanese law (heavily stylized and fictional of course) such as the low self-esteem police officer, the lenient judges and corrupt prosecution. Those were all actual things at the time and of course the game exaggerates it, but suffice it to say, politics were kind of a part of the game or at least it became so because it happened to be timely. They later made another game that was released pretty much the same time the court systems changed to a jurist trial system and the exact same thing happens in the game. It was mostly done within the boundaries of internal consistency of that series of course. I think MEA might too. I just think that all this promo stuff about the ESA talking about astronauts and them using the same logic "Real Life: we wanted to go to space" = "Mass Effect: We want to go beyond Milky Way" cannot be applied the same way and Fabrice's comments about how it's an optimistic game where we're apparently liberating the Angara race and imposing our democratic ideas on them and the Kett (we'll see how this goes) reeks of the Left banging the alt-right and right-mentalities over the head with a message and given how heated and over-discussed all this already is on social media I would just find it to be a cop out to have as the subtext for the game.
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Post by Raga on Mar 15, 2017 19:17:17 GMT
But where does the WRPG archetype discussion take us? Even if we grant your classification scheme for the moment, it isn't the game becoming another type of art that would bother you, it's adopting a specific feature of that hypothetical other type of art that you don't like. Put another way, even if I could produce 50 didactic WRPGs as examples and so upend your classification scheme, that wouldn't change how you or anyone else feels about a game being didactic. One might like the WRPG genre less because those games are now in the genre, but a genre isn't actually a thing anyway. And why'd you bother to say that you're not trying to establish a genre classification scheme in the first paragraph if you were going to go back to establishing a classification scheme in the second? The best way to not talk about genre classification is to not talk about genre. Isn't your substantive position "didacticism is bad" rather than "WRPGs shouldn't be didactic"? I never said I wasn't trying to demonstrate that WRPG is a word that does in fact mean something. I said I wasn't trying to establish a convoluted classification schema like the kind scientists used to classify animals to demonstrate exactly what's a JRPG and what's a WRPG and what's something else because *that* kind of discussion goes nowhere because there *is* nuance and genre overlap. I never claimed otherwise. I merely said that RPGs (for me specifically WRPs) *do* have an archetype or we wouldn't use the word, and the farther from the archetype you get, the less like an RPG it is. The archetype is generally agreed upon. Ask a person to name a WRPG and they are going to say something like: Mass Effect, the Witcher, Skyrim, etc. and not: Halo, Uncharted, or Age of Empires. The word has meaning. I don't have to provide a Merriam Webster definition in order for that to be the case. It's like defining porn in that sense: impossible formally, but it has an archetype that is understood enough that the word still has meaning. And my position has never been that didacticism is bad (though it is almost always personally irritating), but that didacticism can be a major reason that devs make player choices more homogeneous or remove them altogether and thus can contribute to an RPG being less like an RPG. Or if you want to really, really reduce all this down to something specific and more grounded, you can say that the more homogenous player choice becomes, the less like past Bioware games it becomes.
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Post by cloud9 on Mar 20, 2017 3:25:31 GMT
The latter may be exactly the immersion-breaker. Dark-skinned people in Thedas have looked like Duncan or like Isabela. Why do they suddenly look like Africans? The statement that the previous engine couldn't render them that way - true or not - doesn't change the fact that this is jarring, since my impression of Thedas as a world was created by the previous games. For the same reason, some of people's Inquisitor's (of any skin color) don't look convincing to me because their facial contours are just too smooth. And finally, the same happened when they decided to change the elves in DA2. That was also jarring and pulled me out of the world, albeit in a slightly different way. People have called me racist for that, but it's really a problem of consistency. There was no such problem in the MET, though of course it had its own consistency problems in other areas, which were every bit as jarring. Um, since when did Duncan/Isabelaesque people stop existing? We have Josephine and her family. They're people of color but they're not people of African descent.
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Post by alanc9 on Mar 20, 2017 6:48:26 GMT
Nobody in Thedas is of "African" descent, of course.
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Post by vilegrim on Mar 21, 2017 10:21:22 GMT
GC: The thing about real science fiction is it’s never really about the future. It’s just using that as an allegory for the present. So while you said the game wasn’t about colonisation, I wonder if the real parallel is meant to be with immigration? I'm sorry but that statement from the interview is complete BS. "Real" science fiction is only ever an allegory for the present? No, no it's not. Maybe for for the lowbrow "I can't think of anything to write, so I'll just re-skin this current political issue as aliens" science fiction is an allegory, but I would like to see the same stance be taken with something like the Scramblers from the novel Blindsight; a science fiction story built around the idea of conscious thought and whether it was an actual evolutionary advantage in the long run. In regards to the topic as a whole, I always find it hilariously hypercritical when BioWare tries to make a statement about accepting differences in people, and how we should all try and be more diverse as a people, and then immediately has us killing those sentient inter-dimensional beings, or those weird bug aliens by the truck load because "they look scary, and weird". Another good one is when they say that we should try and accept an other's way of life, but then immediately turn around and say that an intelligence like the Geth collective, or EDI, wasn't "truly alive" or a valid form of life until they gave up everything that made them unique, and became exactly like us. Heinlein, Clarke and H G Wells where low brow? Becaue they where making social commentary in their novels, hell so was Mary Shelley with Frakenstein, arguably the first scifi story ever written
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Post by Vortex13 on Mar 21, 2017 13:05:52 GMT
I'm sorry but that statement from the interview is complete BS. "Real" science fiction is only ever an allegory for the present? No, no it's not. Maybe for for the lowbrow "I can't think of anything to write, so I'll just re-skin this current political issue as aliens" science fiction is an allegory, but I would like to see the same stance be taken with something like the Scramblers from the novel Blindsight; a science fiction story built around the idea of conscious thought and whether it was an actual evolutionary advantage in the long run. In regards to the topic as a whole, I always find it hilariously hypercritical when BioWare tries to make a statement about accepting differences in people, and how we should all try and be more diverse as a people, and then immediately has us killing those sentient inter-dimensional beings, or those weird bug aliens by the truck load because "they look scary, and weird". Another good one is when they say that we should try and accept an other's way of life, but then immediately turn around and say that an intelligence like the Geth collective, or EDI, wasn't "truly alive" or a valid form of life until they gave up everything that made them unique, and became exactly like us. Heinlein, Clarke and H G Wells where low brow? Becaue they where making social commentary in their novels, hell so was Mary Shelley with Frakenstein, arguably the first scifi story ever written The key difference for those authors' works was that said social commentaries weren't the backbone of the narrative. Stories like Frankenstein, and The Time Machine aren't in the public eye, even today in the modern world, because of their allegories to social/political issues, but because of the scientific concepts explored. No one today is initially buying Mary Shelly's Frankenstein because they want to know what the political atmosphere was like in the early 1800s, they get it because it's a story about cheating death, and playing God with medical science. Contrast those stories with the unsubtle takes on social commentary present in most science fiction now. Starship Troopers is far more nuanced in it's approach to social commentary than that one episode of Star Trek that deals with aliens discussing LGTB issues; aliens specifically created for that one episode just so that we could have a "not-PSA" about the subject of LGTB issues. Starship Troopers is also much more memorable than that episode of Star Trek to boot.
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Post by Ieldra on Mar 21, 2017 13:42:06 GMT
Heinlein, Clarke and H G Wells where low brow? Becaue they where making social commentary in their novels, hell so was Mary Shelley with Frakenstein, arguably the first scifi story ever written The key difference for those authors' works was that said social commentaries weren't the backbone of the narrative. Stories like Frankenstein, and The Time Machine aren't in the public eye, even today in the modern world, because of their allegories to social/political issues, but because of the scientific concepts explored. No one today is initially buying Mary Shelly's Frankenstein because they want to know what the political atmosphere was like in the early 1800s, they get it because it's a story about cheating death, and playing God with medical science. I disagree. Scientific concepts on their own don't give meaning to a story. The time machine in Wells' story is a vehicle to explore how human society could develop, and if that's not social commentary - in this case on the human tendency towards group hierarchy and the resulting wars - then what is? Also, "Frankenstein" clearly has a message of "your appearance doesn't determine how human you are". The differences lie elsewhere. First, these stories aren't games. They present a fictional reality that has some thematic overlap with reality, but they don't force you into complicity with a specific world-view since you're not an actor in the story. Any commentary remains detached, for you to think over, if you want. Also, those classics present a fictional reality so that it becomes thematically timeless. Again, it remains up to you to apply it to your reality, and if you don't want to, you needn't. That way, the commentary is there but it doesn't pull you out of the story, both because *current* images from RL aren't used, and because the interpretation isn't made for you. In addition, these stories present a problem, but not solutions. As a rule, I acknowledge most of the social issues presented as problems in stories, but I despise many of the proposed attempts - in RL - at a solution. So if a story clearly wants to subscribe to one such attempt, I balk. If it's a book, I can ignore it if the author doesn't go into incessant filibustering, but if it's a game and the protagonist is affected, this game becomes irrevocably compromised.
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Post by midasear on Mar 21, 2017 13:48:20 GMT
Starship Troopers is far more nuanced in it's approach to social commentary than that one episode of Star Trek that deals with aliens discussing LGTB issues I love S tarship Troopers even now, over 40 years after I first read it. But like most of what Heinlein wrote, it has all the political nuance of a brick coming through a window. As for The Time Machine, The Eloi and Morlocks are kind of an obvious morality tale about social class division and its potentially dystopian consequences. Wells was a hardcore Fabian socialist and his political views permeate his popular works in a fairly obvious fashion. Don't kid yourself. Fiction writers of all sorts have never been shy about working their own personal political pet-peeves into their works. And as a class, speculative fiction writers are some of the most fervent when it comes to shoehorning their social philosophy into their stories. Most can't seem to resist even when it weighs down the narrative like lead ballast. It just _seems_ less heavy handed when the reader happens to sympathize with the views being expressed, or lacks sufficient familiarity with the ideas in question to recognize them.
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Post by jaison1986 on Mar 21, 2017 14:07:33 GMT
Starship Troopers is far more nuanced in it's approach to social commentary than that one episode of Star Trek that deals with aliens discussing LGTB issues I love S tarship Troopers even now, over 40 years after I first read it. But like most of what Heinlein wrote, it has all the political nuance of a brick coming through a window. As for The Time Machine, The Eloi and Morlocks are kind of an obvious morality tale about social class division and its potentially dystopian consequences. Wells was a hardcore Fabian socialist and his political views permeate his popular works in a fairly obvious fashion. Don't kid yourself. Fiction writers of all sorts have never been shy about working their own personal political pet-peeves into their works. And as a class, speculative fiction writers are some of the most fervent when it comes to shoehorning their social philosophy into their stories. Most can't seem to resist even when it weighs down the narrative like lead ballast. It just _seems_ less heavy handed when the reader happens to sympathize with the views being expressed, or lacks sufficient familiarity with the ideas in question to recognize them. It also depends on the "neutrality" of the political narrative. For example, Marvel has been adding an extreme ammount of politics to their comics, to the point were Donald freaking Trump is a villain now. And it's not just political bias, but prejudiced political bias. Such as for example, the Red Skull making anti immigration speeches, and then the comic pretty much saying that if you agree with such mentalities you are a neo nazi, or how Marvel has shown cops as evil oppressors that like beating up black people. I shit you not. Having politics in itself is not bad, but when enterteinment tries to use it to mirror current events and antagonize people for having a disagreeable opinion, then it becomes a problem.
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Post by midasear on Mar 21, 2017 15:36:38 GMT
Having politics in itself is not bad, but when enterteinment tries to use it to mirror current events and antagonize people for having a disagreeable opinion, then it becomes a problem. Its as it ever was, though. Nothing new. And Phah! Trump as Villain in some second-rate, barely read title? How about Ronald Reagan from the Dark Knight Returns: Reagan got to be villainous, senile and deformed all at the same time! Even as a comic book supervillain, Reagan totally outclassed Trump!
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Post by amehzing on Mar 21, 2017 20:02:45 GMT
Yes, but who is JC?
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Post by cloud9 on Apr 3, 2017 16:03:15 GMT
The latter may be exactly the immersion-breaker. Dark-skinned people in Thedas have looked like Duncan or like Isabela. Why do they suddenly look like Africans? The statement that the previous engine couldn't render them that way - true or not - doesn't change the fact that this is jarring, since my impression of Thedas as a world was created by the previous games. For the same reason, some of people's Inquisitor's (of any skin color) don't look convincing to me because their facial contours are just too smooth. And finally, the same happened when they decided to change the elves in DA2. That was also jarring and pulled me out of the world, albeit in a slightly different way. People have called me racist for that, but it's really a problem of consistency. There was no such problem in the MET, though of course it had its own consistency problems in other areas, which were every bit as jarring. Um, since when did Duncan/Isabelaesque people stop existing? We have Josephine and her family. They're PoC but not of African descent.
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Post by commandercole5 on Apr 3, 2017 16:57:10 GMT
Neat
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Post by toomanyclouds on Apr 3, 2017 18:44:30 GMT
I love S tarship Troopers even now, over 40 years after I first read it. But like most of what Heinlein wrote, it has all the political nuance of a brick coming through a window. As for The Time Machine, The Eloi and Morlocks are kind of an obvious morality tale about social class division and its potentially dystopian consequences. Wells was a hardcore Fabian socialist and his political views permeate his popular works in a fairly obvious fashion. Don't kid yourself. Fiction writers of all sorts have never been shy about working their own personal political pet-peeves into their works. And as a class, speculative fiction writers are some of the most fervent when it comes to shoehorning their social philosophy into their stories. Most can't seem to resist even when it weighs down the narrative like lead ballast. It just _seems_ less heavy handed when the reader happens to sympathize with the views being expressed, or lacks sufficient familiarity with the ideas in question to recognize them. It also depends on the "neutrality" of the political narrative. For example, Marvel has been adding an extreme ammount of politics to their comics, to the point were Donald freaking Trump is a villain now. And it's not just political bias, but prejudiced political bias. Such as for example, the Red Skull making anti immigration speeches, and then the comic pretty much saying that if you agree with such mentalities you are a neo nazi, or how Marvel has shown cops as evil oppressors that like beating up black people. I shit you not. Having politics in itself is not bad, but when enterteinment tries to use it to mirror current events and antagonize people for having a disagreeable opinion, then it becomes a problem. I don't agree. If Klaus Mann's book "Mephisto" weren't such a blistering, completely biased, passionate tirade against Nazi Germany and all Mann's old artist friends who collaborated with the Nazis and who appear as thinly veiled characters in the book, it would lose much of what makes it unique and interesting and important. Why is a problem to antagonise people with a different political view in an artistic piece? It's only a problem if you don't have the quads to back up the things you create, I would say. (Personally, I've stopped reading Marvel long ago because of the 100 event comics per year, so I can't speak about their recent stuff.) I would say art is one of the most important places to reflect and develop political views. You just don't get to complain it doesn't sell to everyone if you do it that way. One more thing, if you want something without allusions to real-world-politics, Marvel might not be the place. They started out as a company making strongly political WW2 propaganda, they have created Captain America comics which very openly criticised the politics around Watergate when it happened, Iron Man was basically an anti-communist manifesto for the first years of that comics existence and has now been used for at least a couple decades to reflect on the connection of capitalism and war, and the X-Men are a walking metaphor for whatever discrimination issue the writer feels like talking about. For better or worse, reflecting on real-world politics (and often allowing their authors strong bias while doing so) is just what Marvel does, and there's pretty much no way to be "objective" about politics.
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Post by mordivier on Apr 3, 2017 20:17:29 GMT
Um, since when did Duncan/Isabelaesque people stop existing? We have Josephine and her family. They're PoC but not of African descent. You do realize, although not according to modern standards apparently(double standards everywhere), that the phrase "Person/People of Color" is insulting to white people. White is a color as well. You cannot have a human being without color. Its impossible.
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Post by Iakus on Apr 3, 2017 21:40:32 GMT
The key difference for those authors' works was that said social commentaries weren't the backbone of the narrative. Stories like Frankenstein, and The Time Machine aren't in the public eye, even today in the modern world, because of their allegories to social/political issues, but because of the scientific concepts explored. No one today is initially buying Mary Shelly's Frankenstein because they want to know what the political atmosphere was like in the early 1800s, they get it because it's a story about cheating death, and playing God with medical science. I disagree. Scientific concepts on their own don't give meaning to a story. The time machine in Wells' story is a vehicle to explore how human society could develop, and if that's not social commentary - in this case on the human tendency towards group hierarchy and the resulting wars - then what is? Also, "Frankenstein" clearly has a message of "your appearance doesn't determine how human you are". The differences lie elsewhere. First, these stories aren't games. They present a fictional reality that has some thematic overlap with reality, but they don't force you into complicity with a specific world-view since you're not an actor in the story. Any commentary remains detached, for you to think over, if you want. Also, those classics present a fictional reality so that it becomes thematically timeless. Again, it remains up to you to apply it to your reality, and if you don't want to, you needn't. That way, the commentary is there but it doesn't pull you out of the story, both because *current* images from RL aren't used, and because the interpretation isn't made for you. In addition, these stories present a problem, but not solutions. As a rule, I acknowledge most of the social issues presented as problems in stories, but I despise many of the proposed attempts - in RL - at a solution. So if a story clearly wants to subscribe to one such attempt, I balk. If it's a book, I can ignore it if the author doesn't go into incessant filibustering, but if it's a game and the protagonist is affected, this game becomes irrevocably compromised. It depends on how you want to approach the story. You can absolutely create a story that revolves around scientific concepts. I'd say a lot of the 'hard" sf actually does that. Create a story about discovering some new technology, exploring an alien planet, meeting aliens, etc. Or you can use the science fiction concepts to explore how these discoveries might change society. I'd look a things like the Expanse series, or Starship Troopers, and so on. In these cases, the science fiction is more an excuse to examine modern society and directions it could evolve into. Or just use the science fiction to tell heroic tales of derring-do, action, romance, etc. Science fiction is a broad genre, and can cover many themes
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