I finally got around to watching Astro Boy (2009), and you know what? I liked it. Not loved it. Not “This redefined Astro Boy”- kind of liked. But, liked it.
Let’s just get this out of the way. Yeah, the visuals are kind of dated. It’s very 2009 CGI. Shiny metal, slightly rubbery faces, and that weird in-between era where animation hadn’t quite figured out how to stylize humans yet It’s fine. It works. It feels like a Saturday afternoon kids’ movie.
One of my biggest mixed feelings is how they re-imagined the world. In the original anime created by Osamu Tezuka, Astro’s adventures spanned the cosmos. There were robot wars on the Moon. Moral dilemmas across continents. Wild sci-fi ideas that felt boundless.
Here, Metro City is basically a floating city-state, hovering above a trashed Earth. It’s very “Metropolis-lite.” It grounds the story, which makes sense for an American family film, but it also shrinks the scope dramatically. The universe feels smaller. Safer. Contained.
They do sprinkle in nods to older characters and lore, which longtime fans will recognize. But the characterizations? Totally different. And that’s fine. I get that they were probably setting up a new franchise direction. It’s just… this version of Astro Boy, aside from the name and powers, feels barely recognizable.
One thing I genuinely enjoyed was the humor.
Yes, including the now-infamous:
“I have machine guns in… my butt???”
It’s dumb. It’s juvenile. It absolutely got a laugh out of me.
There are also some sweet friendship beats, especially once Astro lands on the surface and ends up with the junkyard kids. It leans heavily into the American “ragtag group of misfits who come together” formula. Predictable? Sure. But it’s warm.
One thing that really stood out to me is how simplified the themes are. Classic Astro Boy wrestles with identity. What does it mean to be human? Can robots have souls? Can they coexist with humanity? His heart, metaphorically and sometimes literally, is tied to something spiritual.
In this movie, it’s Blue Core vs. Red Core. Good vs. Evil. Intention vs. corruption. It’s very literal. Almost like the movie is afraid to wade into anything messier or more philosophical.
Astro’s journey toward humanity gets glossed over. Instead of grappling deeply with what he is, the emotional takeaway becomes: “He’s a good friend.” Which, to be fair, Astro has always been. But he’s also a robot navigating a complicated world. That complexity gets reduced to “outsider kid trying to fit in.”
It works for a children’s movie. It just feels restrained.
The voice cast is kind of stacked, which makes the restraint even more noticeable. Nicolas Cage plays Tenma in a surprisingly subdued performance. Bill Nighy brings dignity and warmth to Dr. Elefun. Donald Sutherland goes full militaristic villain as President Stone. Nathan Lane as Hamegg is easily the most fun performance in the movie... he sounds like he’s having a blast. There’s also Kristen Bell (pre-Frozen) as Cora and Samuel L. Jackson as Zog, the ancient construction bot.
It’s such a tremendous lineup. And yet the script keeps everything so safe. Even during the big climax, a showdown with President Stone who's piloting a giant robot, it never really lets Astro go wild. He fires lasers out of his hand cannons, looks at them, and goes, “Huh. Cool.”
And that’s kind of the vibe of the whole movie.
Huh. Cool.
But not much more.
I don’t hate this version. I actually think it’s a perfectly decent kids’ action movie. Throw in some good snacks, settle in, and you’ll have a good time.
But compared to the 2003 anime series, or especially the original 1960s or 1980s Tezuka vision, it feels cautious. Smaller. A little too afraid to let Astro ask the big questions. A little too determined to translate everything into simple, digestible morality.
Astro Boy has always been a good friend. But he’s also a robot built after Tenma's grief for his dead son. A machine searching for humanity. A hero navigating prejudice and war and loss.
This movie hints at those things, and then backs away.
Still, it’s always good to revisit Astro Boy in any form. And for what it is (A mid-2000s Americanized reboot trying to introduce him to a new generation.) it’s good.
Intro: As mentioned earlier, Emi aligns with Social Penetration Theory, which asserts that as relationships develop, communication moves from superficial topics toward increasingly intimate disclosure. Interaction gradually penetrates the communicators’ public personas to reach their core sense of self.
EMI (SOCIAL PENETRATION THEORY):
If Shizune’s route is structured around influence, Emi’s is structured around layers.
Social Penetration Theory visualizes personality as layered:
Outer layer: surface traits, routines, public persona
Her communication is playful, energetic, routine-based, and forward-looking. Morning runs become the foundation of their relationship. They share time, jokes, and light teasing.
This reflects high breadth but low depth. They talk often. They spend time together. But the conversation avoids emotional gravity.
“They’re just legs. It’s not a big deal.”
Even when discussing her prosthetics, she keeps it surface-level. The statement minimizes depth and redirects focus away from trauma and toward functionality.
Emi’s outer layer is transparent but controlled.
Middle Layer: Selective Vulnerability
As intimacy increases, emotional friction appears. Hisao begins asking questions about her accident and her father. Emi responds with deflection:
“Why does it matter?”
“It was a long time ago. I’m fine.”
These are penetration barriers. She is not hostile; she is protective.
Social Penetration Theory emphasizes reciprocity. Hisao opens up about his heart condition and allows emotional depth. Emi does not fully reciprocate.
“Running helps me not think about stuff.”
This line is pivotal. It acknowledges “stuff” without naming it. The middle layer is partially visible but sealed.
Physical Intimacy and Emotional Asymmetry
Physical intimacy develops before full emotional disclosure. Emi allows closeness physically, yet resists emotional excavation.
“Don’t make this into something it’s not.”
This reveals asymmetrical penetration:
Physical layer: accessible
Emotional trauma layer: restricted
Intimacy does not progress evenly across all dimensions. Emi controls the rate and direction of access.
Core Layer: Grief and Emotional Avoidance
The emotional climax forces confrontation with her core. When Hisao pushes too forcefully, conflict emerges. The core contains her father’s death, the accident, and fear of stagnation.
“If I stop moving, I have to think about it.”
Running is not just athleticism. It is emotional containment. Greater intimacy requires risk. For Emi, that risk is reliving loss.
The Rift: Premature Penetration
In the negative trajectory, Hisao presses too hard. Emi withdraws emotionally. Penetration without consent produces retreat. Depth must be mutual.
Intro: As established earlier, Shizune and Misha align with Social Influence Theory, which argues that relationships develop as a result of change in belief, attitude, or behavior caused by another person’s actions. Power is the potential to produce that change.
SHIZUNE / MISHA (SOCIAL INFLUENCE THEORY):
Shizune represents coercive and structural force.
Misha represents legitimacy and normative reinforcement.
On Festivals / Life (Misha translating for Shizune):
"Human beings evolve with each new generation! The ideals and beliefs behind a festival will inevitably change with time! Now, it's about delicious fried food and amusing little games that you play to win prizes! Hahahaha!"
This statement reframes tradition as adaptive behavior. Festivals are not sacred constants; they are evolving systems shaped by participation.
That mirrors Shizune’s approach to relationships and institutions:
Meaning follows engagement.
Structure sustains participation.
Ideals shift, but activity remains.
Misha’s enthusiastic delivery normalizes the philosophy. Shizune supplies the framework; Misha supplies social accessibility.
On Decision Making (Shizune):
"We are going to play for it... The oldest game known to man, upon which the fate of nations has been known to rest: Rock, Paper, Scissors."
For Shizune, decisions are rarely casual. Even minor disagreements are formalized into competitive systems.
Rock, Paper, Scissors functions as:
A procedural equalizer
A depersonalized method of conflict resolution
A ritualized distribution of power
This preference for structured competition extends beyond isolated scenes.
Shizune:
Has mastered snapping loudly despite being deaf; an intentional physical assertion of presence and control over attention. She has one of the “loudest” characters act as voice (Misha).
Prefers strategic board games such as Risk, where territorial dominance and calculated expansion determine success.
Turns even leisure activities, like a fishing trip, into competitive metrics of performance.
Competition is not incidental to her personality; it is her communication mode. Rather than negotiate emotionally, she negotiates through systems. Influence becomes measurable: who wins, who adapts, who participates.
In Social Power terms, this reflects:
Legitimate power (Student Council authority)
Coercive power (pressure through structured expectation)
Reward power (approval, inclusion, status)
The snapping is particularly notable. Despite being deaf, she ensures auditory impact. That act demonstrates that influence is not diminished by disability. She asserts control over the communicative environment in ways that compensate rather than retreat.
On Friendship (Shizune):
"I forgot that the whole time, Misha was there, opening up to me, and giving a hundred percent everyday. I missed what I was looking for, because it was in plain sight."
This line identifies the limits of influence when it is overly systematized.
Misha’s role is relational reinforcement:
She softens directives.
She amplifies enthusiasm.
She legitimizes participation socially.
Where Shizune creates structure, Misha creates atmosphere.
From a Social Influence perspective, Misha embodies referent power, which is compliance gained through warmth and identification. Her legitimacy makes Shizune’s more coercive directives sustainable.
When Shizune overlooks that relational labor, it highlights a distinction: Influencing behavior is not the same as recognizing contribution (participation; creating a rift).
On Friendship (General):
"The world would be a different place without you or me but who else would realize it?"
This line reinforces a central concept of Social Influence Theory: influence is often incremental and unnoticed in real time.
Daily behavioral adjustments accumulate:
Schedules change.
Habits shift.
Expectations recalibrate.
In the good ending, we have increased participation and contribution from Shizune and Misha through Hisao.
Shizune alters environments and structures.
Misha alters tone and perception.
Intro: I originally had bunch of Comm. notes after I 100%'d Katawa Shoujo back in 2015. These are just some of the "raw" notes I took. Without essay form. The essay can be found here, as can my other Katawa Shoujo analyses.
COMMUNICATION THEORY IN KATAWA SHOUJO:
Rin (Redefinition Theory): States that in communication with ablebodied persons and among themselves, disabled persons engage in a process whereby they critique the prevailing stereotypes held by the ablebodied and create new definitions.
Emi (Social Penetration Theory): Asserts that as relationships develop, persons’ communication changes from superficial to deeply personal topics, slowing penetrating the communicators' public persona to reach their core personality or sense of self.
Shizune / Misha (Social Influence Theory: Argues that relationships develop as a result of 'change in the belief, attitude, or behavior of a person (the target of influence), which results from the action of another person (an influencing agent)', and social power as the potential for such influence. (Update: I should probably write more on this and how Shizune represents coercive force/Misha represents legitimacy. More on this later.)
Hanako (Uncertainty Reduction Theory): Posits that when interacting, people need information about the other party in order to reduce their uncertainty. In gaining this information people are able to predict the other's behavior and resulting actions, all of which according to the theory is crucial in the development of any relationship.
Lilly (Principled Negotiation Theory): Argues that a good agreement is one which is wise and efficient, and which improves the parties' relationship. Wise agreements satisfy the parties' interests and are fair and lasting. The goal is to develop a method for reaching good agreements.
Hisao Represents The Stages of Culture Shock:
CH. 1:
Preliminary Phase
Marked by rising sense of anticipation tempered by regret of leaving.
Spectator Phase
Passive but alert spectator, marked by intensity of emotion that careens erratically; ends when passive stance is no longer possible
CH. 2: (Story/adaptation theory chosen)
Increasing Participation Phase.
Greatest variation from persons to person; after (characteristically) clash of values, questions arise: Are values arbitrary? A fabrication? Natural to one’s own culture?
CH. 3: (Bad endings stop here.)
Shock Phase.
Strikes people who have had some success in first efforts at adaptation; manifests as paranoia, fear, self-consciousness, intense judgments of others based on ethnocentric criteria; could precipitate departure.
CH. 4: (If good/neutral ending)
Adaptation Phase.
Sense of being foreign no longer exists; language and thinking are simultaneous—being both in and out of the culture at the same time.
Update: So, one can apply communication models to everyday circumstances, even in games/narratives where they might not be as explicit, but reveal themselves through cultural patterns and actions. I hope you've enjoyed these notes as much as I enjoyed writing them back then.
Katawa Shoujo is a visual novel game about a high school boy named Hisao Nakai in Japan. After developing a heart condition (arrhythmia), he’s transferred to Yamaku Academy, a school for students with disabilities. As he adjusts to his new life, Hisao meets five girls, each with their own experiences of disability and unique way of communicating. Through these relationships, Hisao not only explores romance but also learns to adapt to disability culture — and each girl’s story represents a different communication theory that helps him do so.
The player also meets Kenji, a paranoid, legally blind student who lives across the hall. Though his over-the-top conspiracy theories and isolation from the rest of Yamaku make him an unforgettable character, his story ends early and doesn’t follow the same structure as the others. Because of that, while he deserves a mention, he won’t be discussed in detail here.
The game’s story structure follows a pattern of culture shock. Hisao leaves behind his old way of life and enters disability culture at Yamaku. “Only after I stand in front of the haughty main building, I surprise myself by realizing why the gate bothered me: it was my last chance to turn back, even if I had no life I could ever return to.”
Dr. Igor Klyukanov outlines five stages of culture shock in Principles of Intercultural Communication, which we can see reflected in Katawa Shoujo:
1. Preliminary and Spectator Phase – Hisao’s early days at Yamaku, where he passively observes the new environment but doesn’t yet understand it. He wonders if he will ever have a “normal” life again.
2. Increasing Participation Phase – As he interacts with the students, he starts questioning his old perspectives. He wonders, “Will I ever get used to sights such as this?” and, “Is this what passes for normal around here?”
3. Shock Phase – A turning point in Hisao’s journey, depending on the route taken. This is the emotional crisis where he must either accept his new reality or struggle against it.
4. Adaptation Phase – If he successfully navigates the shock, he reaches a point where disability is no longer foreign. He is able to exist in and out of the culture at the same time, accepting both his past and present selves.
Each girl Hisao meets serves as a guide, embodying a different communication theory that helps him through this adaptation process.
Shizune and Misha – Social Influence Theory
Shizune, a strong-willed deaf student and class representative, communicates through her interpreter, Misha. Misha’s loud, bubbly personality contrasts with Shizune’s serious and competitive nature, creating a comedic yet dynamic relationship between the three. Their story aligns with Social Influence Theory (French and Raven, 1959), which suggests that relationships develop through shifts in power, influence, and persuasion.
From the start, Shizune wants to draw Hisao into her world, challenging him through student council work and games. She believes: “The mark of great people is that they are daring and can follow through.” She wants to make Hisao stronger by encouraging him to take on leadership roles.
In her good ending, Hisao embraces this influence, realizing that Shizune was never trying to control him—she just wanted to connect. In her bad ending, the power dynamic collapses. When Hisao and Misha’s hidden relationship is exposed, Shizune loses trust in both, and Hisao becomes isolated. Since Shizune views love and life as all-or-nothing competitions, there is no neutral ending.
Hanako – Uncertainty Reduction Theory
Hanako, a shy burn victim who avoids attention, struggles with social anxiety and self-worth. Her story follows Uncertainty Reduction Theory (Berger and Calabrese, 1975), which states that as people interact, they seek to reduce uncertainty about one another. When successful, this leads to increased intimacy and trust.
At first, Hanako barely speaks to Hisao, often relying on her best friend, Lilly, for comfort. But as Hisao shares his own struggles, she begins reciprocating. “I-I have to,” she says when explaining her past, indicating her need to balance the information she’s given and received.
In her good ending, she fully opens up, allowing Hisao to see her scars and returning his affection. In her neutral ending, they remain stagnant, both agreeing to “stay the same,” preventing further connection. In her bad ending, she retreats completely, rejecting Hisao in a final outburst: “I hate Lilly! I hate you most of all! I know I’m broken!”—a full breakdown in uncertainty reduction.
Lilly – Principled Negotiation Theory
Lilly, a blind and kind-hearted girl, navigates relationships with a sense of fairness and compromise, making her story fit Principled Negotiation Theory (Ury and Fisher, 1981). This theory emphasizes agreements that satisfy both parties’ interests in a balanced, lasting way.
Unlike Shizune, who views conflict as a challenge, Lilly avoids unnecessary confrontation, focusing on harmony. She even accommodates Shizune, her rival, saying, “Please, Hisao, it’s alright,” when he tries to defend her.
In her good ending, Lilly stays in Japan, choosing her relationship with Hisao over moving to Scotland. The agreement is fair and mutual. In her neutral ending, she leaves, but encourages Hisao to follow his own dreams, showing wisdom but forfeiting their relationship. Because she has an older sister to care for her, she has no bad ending.
Rin – Redefinition Theory
Rin, an eccentric painter born without arms, often struggles to express herself. Her story follows Redefinition Theory (Braithwaite, 1990), which argues that people with disabilities challenge societal definitions and create new identities for themselves.
Rin doesn’t see herself as limited: “I don’t think I’m that disabled. I mean, I do pretty much everything differently. But it’s not that hard. I can always practice.” She adapts effortlessly, seeing disability as a part of her identity rather than a restriction.
Hisao, however, initially struggles to understand her. When he tries to “fix” her or make sense of her abstract thoughts, their relationship fractures. “I think in the end, I’m not really happy with who I am, either. But that doesn’t mean that I regret being who I am. That’s the thing that’s wrong with you, Hisao.”
In her good ending, Hisao accepts that Rin doesn’t need fixing, and their relationship becomes one of mutual understanding. In her neutral and bad endings, he fails to see her as she is, causing her to withdraw completely.
Conclusion
Katawa Shoujo is more than just a dating sim. It’s ultimately about Hisao’s journey of adaptation and self-discovery within disability culture. Each girl represents a communication theory that helps him move through the phases of culture shock, from uncertainty to acceptance.
Through these experiences, Hisao—and by extension, the player—comes to see disability not as an obstacle, but simply another way of being.
Bibliography
Berger, C.R., and Calabrese, R.J. (1975). Some explorations in initial interaction and beyond: Toward a developmental theory of interpersonal communication. Human Communication Research, 1(2), 99-112.
Braithwaite, D.O. (1990). From the Margins to the Center: An Intercultural Redefinition of Disability. Text and Performance Quarterly, 10(1), 7-21.
French, J.R.P., and Raven, B. (1959). The bases of social power. In Cartwright, D. (Ed.), Studies in Social Power. Ann Arbor, MI: Institute for Social Research.
Klyukanov, I. (2005). Principles of Intercultural Communication. Boston: Pearson.
Ury, W., and Fisher, R. (1981). Getting to Yes: Negotiating Agreement Without Giving In. New York: Penguin Books.
Dungeons and Dragons: Chronicles of Mystara (2013):
“Dungeons and Dragons: Chronicles of Mystara is an enhanced re-release of Dungeons and Dragons: Tower of Doom and Dungeons and Dragons: Shadow over Mystara. Besides the obvious differences like gamepad support, leaderboards or internet multiplayer, the most important enhancement is the addition of house rules: after beating the game once, players can activate optional rules like items with infinite durability, the player character heals when killing an enemy or a time attack mode. After solving challenges like killing a certain number of enemies, the player unlocks bonus items like concept drawings. This version also introduces infinite continues and a few additional video modes which simulate things like scanlines or CRT monitors.”
- IMDB Summary
For what it is, Chronicles of Mystara is pretty good. It's a DnD-based beat-em-up. It combines two arcade games. Tower of Doom (1993) and Shadow Over Mystara (1996). There is no real character creation to speak of, only some pre-made characters. Tower of Doom only had Cleric, Fighter, Elf, and Dwarf. Shadow Over Mystara adds Thief and Magic-User (Who, for DnD, should be a given! But, it's a beat-em-up first. Maybe they couldn't decide what spells to put in.)
The Magic-User can use spells, which are basically clear-screen attacks. There's fireball. Acid Cloud, Ice Storm, Magic Missile, among others. Otherwise, it's a pretty basic beat-em-up arcade game with neat ways to use items that sort of resemble classic DnD. Because Elf / Dwarf are classes, and there are no real armor/weapon mechanics, it's sort of a weird mix of 1st Edition and 2nd Edition DnD.
Characters that don't have spells can use items like healing potions, arrows, hammers, burning oil flasks (which create fire walls, which you need for monsters weak against fire.) You need keys to unlock some chests. Sometimes, if your character is strong enough, you can break them open. You can also buy items in shops after some quests. The game also has special loot that can only be collected in-game, and Chronicles of Mystara tracks what items you've found.
Additionally, Chronicles of Mystara has challenges apart from its 2 main games. So, along with keeping track of your items, it can also track unique achievements unlocked. They start simple and get harder, in classic arcade fashion. Everything from play through a game to kill a specific monster 300+ times.
The monster designs are pretty cool. Some look straight out of the Monster Manual. You've got your basic goblins, harpies, kobolds, and gnolls. But, then you've got really specific monsters like Displacer Beasts, Ice Salamanders, and Owlbears, Dark Elves, etc. You need to keep oil on you if you don't have fire spells to defeat Ice Salamanders and trolls (who can only be killed by fire.)
All in all, it's a pretty good DnD-type experience, combining what's great about DnD fantasy with Capcom beat-em-up mechanics. Plus, you get two games in one. Sure, it's not going to replace pen-and-paper 5th or 6th Edition anytime soon. But, it's nice for a classic DnD fix, if you like beat-em-ups. And it's perfect for multi-player! I say check it out.
Let's get this out of the way: Hayao Miyazaki's “The Secret World of Arrietty” is definitely just an adaptation of The Borrowers. But it has enough Miyazaki countryside charm to stand out. It's about a tiny family who lives by stealing things from humans. But one day, a human discovers Arrietty while she's out gathering sugar. Sho (Shawn in the English dub.) is a sick child who has some form of heart condition. I think Arrietty is like an inch tall. It's a cute movie, and not too long.
After discovering her, the sick boy wants to help Arrietty. He brings her sugar, and out his mom's old dollhouse for them to live in. But, it makes things worse for her family...because more humans notice them. Being so small, almost everything is a threat to the Borrowers. I like how it plays with perspective. A needle is a sword to Arrietty. A cat is like a dragon. One drop of tea fills her little teacups.
There are some gross scenes I thought, but that's because the Borrowers (Arrietty, and her parents, Homily and Pod.) are so small. People are giants. Bugs are huge and scary. Crickets, pillbugs, spiders...gross. But, Arrietty can fight them off with a needle. Humans are by far the biggest threat to the Borrowers though. The boy's caregiver Haru (Hara in English.), kidnaps Arrietty's mom, and calls pest control. So the last part is them saving her, and moving out.
Arrietty's parents warned her to stay away from Sho, even though he needs rest, and so won't be much trouble. Pod hurts his leg while out looking for Homily, and discovers a wild Borrower named Spiller who says they can live with him on the other side of the river. So, Arrietty and Sho say a tearful goodbye, as the Borrowers float down to the other side of the river in a teapot.
Overall, it's a cute movie about an unlikely friendship and unintended consequences. It doesn't overstay its welcome, has loads of charm, tons of playful perspective shots, and a good story. Plus, Amy Poehler and Will Arnett voice Arrietty's parents in the English dub. I always liked them. Arrietty is voiced by Bridgit Mendler. Anyway, give it a watch if you can.
“It’s 2065, and you are an interrogator-model android tasked with rooting out deviants among your own kind. You must probe for lies, monitor and exploit emotional spikes, earn the trust of your subjects, and make the final call: release, or destroy?”
-Steam Synopsis
So, I managed to get an ending for Silicon Dreams. It's sort of like a visual novel/cyberpunk mystery game. You work for a mega-corporation KRONOS Robotics. They send in Androids who are malfunctioning. Getting emotional, violent, in love, feels human, etc. You interrogate them until you find out what's wrong, and make recommendations whether to reset, kill, or keep the android as is. So far, so good.
Later on in the game, you learn about rebel groups of androids that want to be human, or in love, and doctors or teachers that want to help them, and you're supposed to either hunt them down or join the resistance. That's supposed to be the game's moral dilemma. The problem is, (for me.) some of the game's mechanics directly conflict with getting a “good” moral ending.
In order to stay employed at KRONOS, you have points out of 100. If your score falls low enough, you can't stay in the game. So, on a certain level, you have to maintain points just to keep playing. And, although we're told in-game by various Androids or humans that KRONOS is evil, and they control them, etc., I just never saw enough evidence that KRONOS was evil to care. At a point, you can just start doing your job just to finish the game.
It certainly doesn't help when the rebel androids or humans start threatening you, hacking androids and planning to bomb KRONOS multiple times. I will say, there's a lot I agree with tonally in the game. I get that maybe I'm supposed to feel like KRONOS is evil, and manipulating robots and people. I just wish the rebels...and the Androids that want to escape, were less violent and whiny. It's not a moral dilemma, it's just called having a job.
For example, an android comes in. We know she's been working with a scientist to help Androids escape. I'm trying my best to keep her calm (The game registers emotions like “Fear” “Anger” “Joy” “Disgust”.) Well, none of that mattered, because she blows herself up when you ask about removing her hard drive to get the scientist's location, after cursing the company.
Frankly, the game just feels like a checklist to me. I know what I'm supposed to feel, but in the end I didn't care. Another time, my score fell so low, for misdiagnosing Androids that KRONOS started to suspect that I was part of the resistance. Well, I wanted to keep my job. So, I went into interrogation myself, gave all the safe, pro-KRONOS answers, and boom, reputation back up to 80.
In the end, an android comes in threatening to release a video proving androids have emotions. Which is fine, I guess. Wouldn't have particularly mattered to me. But, of course, it turns out, he has a bomb in his stomach. Well, now I'm going to disarm the bomb and arrest him. This of course, got me to the pro-company ending, where I became assistant to the Vice President of KRONOS. I never really felt one way or the other about the company. I just wanted to finish the game.
I guess I wanted to help humans and rebels, but I also wanted to keep playing, in which case, you need to stay employed. By the way, if an android started showing excess emotion, I usually just reset them. Which sometimes got me in trouble with the company, either because a customer was dissatisfied, or the android had evidence the company needed on rebels. But, again, I just kept doing my job, giving pro-company answers, and completing my diagnostics, and I could keep playing.
I don't know. I don't really recommend the game, unless you really like those scenes in Blade Runner where they're diagnosing androids. That's clearly what this game was inspired by. But, I just didn't see enough evidence of the “evil corporation” being evil for me to care about androids that claim they want to be human, or any of the rebels. I did have plenty of androids try to bomb me, or hack me. So, mostly I just did my job for KRONOS. As far as I could see, the only evidence that KRONOS was evil, was that they are a mega-corporation, not that they directly interfered in the lives of androids or consumers.
I wish I could recommend the game. I love robots, Blade Runner, and sci-fi. But, this has all the moral subtlety of an angsty teenager. It's hard to care for rebels when they're constantly violent. It's hard to care for androids who want more emotions when they are clearly unstable. Again, I can't help feeling that they were supposed to be more sympathetic. That KRONOS was supposed to be wrong. But, I had to keep up my points to keep playing. Oh, and also rebels kept bombing me, and androids kept hacking me. So, maybe that had more to do with it.
In conclusion, the game has some neat mechanics, but fails in that it has black-and-white moral dilemmas. By the end, I would just whiff entire cases just to move the game along. I get that it wants to be about big issues, moral dilemmas, inducing emotions, etc. All you need to do is keep up your points. It's a classic case of “show, don't tell”. It's hard to believe the corporation is evil, no matter how many times you tell me...when it was the rebels who actively tried to kill me.
What was the worst KRONOS could do? Deactivate me? Big deal. Rebels and androids had tried that already. I just gave my answers, and kept playing. I wish I wanted to play again. I don't. But, if you do, it's on Steam. Maybe it would've meant more to me if I were a teenager. I don't know. But, I got one play-through, and that was enough for me.
An Analysis of “Mein Krieg My Private War”: Amateur Films by German WW2 Soldiers (1989/1990):
Bringing Memories To Life:
“I think I still have my 8mm Siemens here in this wardrobe.”* The former German soldier, a narrow-faced old man now with unkempt tufts of white hair moves a heavy vacuum cleaner out of the way, and he sorts through the old closet, and pulls out a hefty old machine that looks like a miniature metallic jack-in-the-box. “Ah! So, it was the 16mm model, then! Look here!” He says, out of breath. The old man takes the big square camera and turns the crank on the side so that the lens is slowly exposed. “Hey, it still works!” he says excitedly. “I’ll be, look at that. Pretty hefty, ‘ey?”
As the man walks to a white room where a small table is sprawled with old black and white photos, the German seats himself in a big red armchair, his British translators sitting opposite him behind the lens of a camcorder so as to be transparent. “I am always amazed how these photos excite my senses...” He says, his voice falling from exasperation. “I still remember the smells of burning wood. The pictures...they sure bring memories to life, don’t they?”
He began slowly with a deep breath: “At first...we didn’t quite know where we were headed. Then, I saw this sign in some sort of Polish script or something as we headed further eastward from Berlin, and then I knew we were going to invade Russia. In the train, the next day our commandant said to us: "Boys, I'm not supposed to tell you, but 4:00 is attack time. We all had butterflies in our stomachs; we didn't know what to do." The face of the man then turns and laughs at an old film shown on a projector: German soldiers drinking beer around a campfire. One sticks his hand on the lens so as to hide.
"Aha! There I am! With a mustache, even! Look! And I was camera shy.
"Camera shy?" asks a translator.
"Camera shy!" he laughs.
ANIMALS TO MEN:
The next former soldier is a bald, tall man with glasses and an orange sweater. He sits in a dimly-lit room, possibly a darkroom, with a small round off-white table. The bookcases and shelves in the background suggest he has knowledge of his dark past. He begins nervously, speaking with a cracked voice. "My parents were of the opinion that anything that was considered good must be good for their son, too. And in these times... (falling voice, notably sweating...from clothes?) ...it was considered..."good" to be in the Hitler Youth; you see, not to be an outsider." Cut to black and white footage of a line of boys in Hitler Youth regalia; brown shirts, khaki shorts, and swastika armbands. They are carrying a big swastika flag on a pole and marching around a hilly meadow. "I think I was...14 years old, then? Yes, 14 years old."
He explains that his parents were very curious about what a young boy does in a Hitler Youth camp, and so they gave him a camera. But, he only took pictures of what interested him at the time. You then cut to photos of puss willows and a boy in a Hitler Youth uniform cleaning the front wheel of a bike.
"There was a certain regimentation to it all, you had a sense of purpose." He says. "You didn't walk around aimlessly. You marched." Footage shows boys raising the flag in a busy town center next to two Nazi troops. "I remember one day I was being very curious and troops came by me, and I looked at them, thinking "Aha! What's this, then? And a pedestrian grabbed me by the arm and barked: "STRETCH YOUR ARM OUT when the Führer's troops pass by! Then, I learned to stretch out my arm and stand at attention when they passed by from then on."
The old man then comments on some color footage of a teenage soldier smiling, standing at attention and marching, which he happily explains to be himself in basic training. Then, his voice becomes quiet as more footage of basic training is shown. Two men crawling on their stomachs in the snow. A man hopping up and down like a bunny. Men with bayonets stabbing a dummy. "Of course, when you were in basic training you had to be tough or the men would tease you and call you a softie. On the other hand, I did not want to lose my friends. So, I wanted to stay in the middle ground, you see." He says, while the footage runs.
"Did you, also?" Asks the male translator.
"Well..." The old intellectual hesitates slightly, pushing up his glasses. "Remember: I was 18; I was a different person!" He speaks fast and holds up a finger. Then, again at normal pace. "Now, I am 66. Back then, I had no way of knowing that their objective was to humiliate us, to break our will, to make us behave like animals, so that you were capable of carrying out ANY order without asking 'Is this right or is this wrong?' And that makes me an accomplice. Yes. As a soldier I was an accomplice."
"
Did you participate in the firing squad units [Todeskopfeinheiten] or did you see any in Russia?" Asks the female translator. He jerks at his collar and takes a deep breath, relaxing as he rests his knuckles back on the table: "No. I never even saw a firing squad but I heard stories when I was a POW in Kiev. Of the atrocities that the members German army, me, my friends, and Germany had committed." His voice is strained (from tears?) and he continues, gesturing slowly and half-heartedly to swat away the memory. "At first we...we thought this was exaggerated, or Soviet propaganda; they did call us the "fascist hordes", and to us the Russians and the Jews were subhuman. [Untermenschen]." Cut to a scene of gallows with 5 Russians hanging, all marked with a gold JUDE [Jew] star on their chest. A sign reads: THESE JEWS AGGITATED THE GERMAN WEHRMACHT. [Hitler’s army] “But when I was in Kiev, I saw the Russians starving, wrapped in blankets...they didn’t seem like a threat; they were human. I saw photographs of the concentration camps, too.” Next, the German is huddled over filing cabinets marked with the names of cities and concentration camps. “These are my archives. I decided to publish them.” The German nods.
MEN TO ANIMALS:
“NIEMAND erwartete den Russlandfeldzug!” [NO ONE anticipated the Russian campaign] yells a round, tanned interviewee wearing a loose red tie and open grey business suit, throwing up his hands emphatically. He sits in a yellow armchair, his stance is slouched, comfortable and relaxed, but he speaks passionately of the journey to Russia: “The feeling was...the...the...well, the same feeling when you undertake a journey!” Now, they were soldiers he says. Now, they were doing something. What mattered to him was the journey though, and not the politics: “I was an instrument of the state! The word kill never occurred to us, that was not a topic.”
he says, waving his hands. “I had orders and I had to fulfill them!” He tells of being in Sevastopol, and sings a song in Russian he heard when he was with 90,000 (Russian) POWs. He shot films of his artillery unit shooting down a Russian fighter plane with their carbine rifles. He laughs: “You see, it was a hornet that stung us. And that was very unusual at that time, to shoot down a plane with rifles. But, it was the only thing we had. He could’ve killed maybe five of our men.” The shot centers on the dead pilot, with a blue sweater among the smoking wreckage. “There’s the pilot...gray-blue sweater. A bit still there.”
“One felt like one was a rabbit! Poking in and out of the trenches, and eating and celebrating! War heightens the senses, you know.” Footage of men in trenches, digging, then drinking beer, and eating hard bread. He continues, this time around a small miniature model of the Brandenburg Gate, positioning Napoleonic cavalry models to the right, left, and center. “You see, I didn’t want to destroy; that’s not me. I only wanted to observe. I didn’t want to see ruins.” He says.
Cut to him back in the armchair, behind a large bookcase. It is obvious the translator has asked a question about the trains. “Oh, the trains during the wartime are a great topic!” He smiles. “We were so covered in armor, and our backpacks and supplies that we could barely move. The further east we came, the more room there was on the train. But, there were a few who packed instruments and...and we danced, sang, and until…uh, Russia.”
Then, in the first battle, at Sevastopol, he saw the first dead person ever in his life. “There was a German soldier: wedding ring glistening in the sun, face red… and bloated…flies around his mouth…” Footage of wounded Russians standing in line, bandaged. “There is no war manual that says ‘What do I do with 90,000 prisoners!” He says, “I looked after some Russians and give them water, dressed their wounds. I am amazed at how determined these wolves were. Look! There’s a Russian pilot. 17 years young!” Close-up of a captured Russian pilot.
“You have a clear conscience of all of this? What about the pilot you shot?”
“The pilot...yes… well, sure! Crystal-clear!” He smiles and clears his throat. “I could not tell you about all this so powerfully today if I DID…NOT…HAVE…A CRYSTAL…CLEAR…CONSCIENCE!” It is unclear to me whether this was meant to stop the questions, or if it was said slowly to reinforce his own affirmation.
SPARE ME THE ANSWER:
An older-looking German, his hair sparse, wearing a white business suit and tie with glasses. He is still notably blond as steers the wheel of a car. We arrive at a mall of some kind where he stands in front of a booth with a map on it. He begins his story: “I didn’t want to be in the army, I wanted to be a photographer. But, my parents said this job is not practical. You need discipline, and the army will prepare you for a job.” He was deployed to Vitebsk, Russia. His parents, as a farewell gift, gave him a camera. “It was amazing to me that we did it, but we attacked Vitebsk from the west. The Russians anticipated this. For hours, nothing happened. I climbed up a fir tree to watch, but nothing. I wanted action.” He goes on to explain that the battle began when they found out the population was living underground in earthen bunkers.
“And what did you do with the Russians you found?” Asks the male translator.
“Oh…They were…” He exhales, removes his glasses, and touches his palm to his forehead. “Questioned. Rounded up. Shot.”
“Did you hear the firing squads or see them, too?” The translators asks.
“I saw them, too.” He says.
“Did you participate in them, too?”
He turns stone-faced, whispering inaudibly...weeping softly. “Do I have to answer that? Spare me the answer, please.” His head in his hands. “I was glad to be doing what I wanted to do.” He is now standing, having collected himself and is apparently showing the translator a photoalbum either of dead Russians, or his comrades. He is frustrated and flips through the book fast and angrily. “See here? Gone-gone-gone-gone-gone-gone! Well, I’ll be…! A complete causality list! Colors you’ve never seen before. Only in Siberia at -55 C.”
The next shot is of the man at a department store in the aforementioned mall. He holds a large music box [Glockenspiel, toy clock] and says: “If you turn the crank this way, the soldiers march around the face of the clock. This toy is beloved of people of all ages. The parents buy them for the children, see?” He chuckles, pointing at the nutcracker- like soldiers, and showing of the cloudy panorama on which is painted a little girl in a pink dress. “But, the parents enjoy playing with it more than the children. And here’s how you turn it off.” He flips a pendulum switch at the top. The soldiers halt.
SEEING IS SEEING:
A full-lipped, round man in a neatly-cleaned business suit walks down a long hall, opens the white door, and enters a room with a large, crank-operated projector. He turns the crank, then faces the camera and speaks. “I saw many people taking photograph but very few were filming, probably because there were little film materials to be had. But, I made sure I had many sources. At the start, everything was available, there was Kodachrome film even, and my Kodachrome film...the last I had developed in ’42, and they kept their color very well...turned out great.” He then describes at length how the camera works and that it stayed in perfect condition, even in Moscow in the extreme cold. It is sounding as if he is personifying his camera, and attesting to his own physical endurance.
Color images of a swastika flag waving over a barracks transition to young men, firing rifles. Cut to the interviewee in a large leather armchair. Behind him is a bookcase. He now wears glasses. “That is a normal part of learning how to fit in to society.” He says of his basic training. “Naturally, when somebody fell out of line, there were consequences.” The next film shows a bombed-out high-rise building in Poland, the top completely blown off. “...we climbed to the top, got in, and filmed it. It was just interesting at the time. You can’t say: “You must evaluate this morally; as the majority of people say today.”
He explains his departure to Moscow, and not knowing originally where he was going. “Am I going to Persia? Turkey?” He muses, and then reveals that: “Everyone was hopeful that the destination was Moscow.” Color footage of an armored car, bearing a swastika flag, atop which a young man stands. Then, the camera focuses from the window of a jeep, and pans along the wreckage of another car: “The Russians would hide along the roads and try to flip the cars, crack them, or kill the driver,” He smiles, and explains matter-of-factly. “So that that didn’t happen, you spotted a hole, you threw a grenade in, and that took care of it.”
“Were you scared of that?” asks the female translator.
“No. It could’ve been anybody bombed out there. The jeep here took a direct hit. Well, that’s war.”
Black and white footage goes on, showing a pile of dead bodies, and men being thrown into ditches. “Here I was in Moscow, all alone.” He says.
“Why did you film the dead bodies?” asks the translator.
He becomes a little defensive, and waves his hand as if to dismiss her. “That’s war.”
Toward the end of the interview he says that he has no regrets, only that he never saw the Western front, in wartime too, because “seeing is seeing” and the circumstances don’t matter.
Conclusion:
Mein Krieg: My Private War is about war. Consequently, it also follows the soldiers as they experience different stages of the war. Comradeship, joy, death, and horror. The reactions ranged from abstraction of humans as animals, or returning to a natural state so as to avoid human conscience, to the deconstruction of the animal propaganda to confront human conscience. Soldiers were represented as instruments, toys, or as just observing events over which they had no control.
The question must be asked: why then was it filmed? Obviously, all the men experienced death, but most stopped short of expressing any guilt directly, except for the man in Kiev, who joined the Hitler Youth at 14. Responses to death ranged from avoidance of acknowledgment. “I was amazed at how determined these wolves were.”, “Spare me the answer.”, and “That’s war.”
Rather than seeing the horrors of war as they were, they were regarded as interesting, but something you did not judge morally. Accordingly, the more soldiers identified with their enemies as humans, and their actions as humans rather than instruments or animals, feelings of grief and remorse increased. The abstraction of enemies is directly related to, in other words, being a good killer vs. being a good human.
As we worry about the dying WWII population, we must not forget the stories of the Germans.
The Allied powers have reveled in the “glory” of its victory over Nazism far too long without considering the consequences of war itself. We think we are invulnerable, because we think we do not need two sides of the story.
__________________________________________________________________
* My translation differs from the film version of Mein Krieg: My Private War, in order to preserve both the phenomenological happenings (such as stuttering) and the narrative-analytic continuity. Rather than cutting from story to story, I proceed soldier to soldier with no cut scenes. As such, the information is not presented in the order of the film. It is hoped that I could better represent their stories holistically and thematically in this way.
Bibliography:
Eder, Harriet. Kufer, Thomas. Mein Krieg. BBC Elstree, 1990.
“Gary is caught in a strange dream and now he must overcome the adversities on his path or perish in the attempt. In this adventure you will meet 3 children in dream-like scenarios, next to a mysterious girl who talks about a promise.”
- IMDB, “Connected Hearts: Visual Novel”
So, I played Connected Hearts: Visual Novel. I mistakenly thought it would be a romance visual novel, but instead it's a surreal fantasy adventure. That said, the story is pretty good for the adventure story that it is. There are 2 drawbacks immediately though. One is that it's obviously translated from Russian, and there are a lot of typos, and phrases that repeat. (Get ready to read “I swallow saliva...” a lot. I'm guessing they meant gulp, which they actually write once; much to my relief.) But, I guess in the end, the surrealism of the adventure drew me in.
It starts like a romance visual novel. A guy named Gary dreams of a girl, but then discovers that he can travel between dream worlds. He can't wake up. So, each dream world has a child that you're supposed to protect from a dream world monster. You teach them about growing up, facing their fears, embracing their talents, etc. So, it's pretty solid, storywise. Let's get to the plots.
There are 4 dream worlds. The Forest of Whispers (misspelled as Wishpers, but not a dealbreaker.) was the first one I entered. There are wolves there that insult you, and look scary. If you run from them, you'll discover the first child, Mary. She's alone and scared and her cabin is all she knows of the world. You tell her to be brave, and enter a maze where you just keep going in circles.
You soon discover the wolves don't actually do anything. They just insult you. So, you guide Mary to the exit, having conquered your fears. The next world is the Kingdom of the Sun, where strange robot-like inhabitants wear masks and live in fear of people from the “real world”. Their king, Henry, is a talented young boy who built the kingdom from his mind. You have to convince him reality is worth facing. You can't just isolate yourself inside your fantasy.
After that, you escape his robot guards, and return to the dream world hub. The next story I chose was Into the Deep. In this one, a young boy called Royer is trapped on a boat with vicious mermen. Some of the decisions you have to make here to survive, like not hiding from the monster, and “throwing” your lead pipe at a Merman (Did they mean swing?) are all pretty good for the “face your fear” theme. But, I think this one was my least favorite. The robots in The Kingdom of The Sun were the coolest.
Having done all that, you can then visit Alice's Castle. Alice is the girl Gary sees in a dream at the start of the game. Here, you find notes about “Director Heart”, and psychological test subjects all demonstrating a particular phobia. I can guess that Alice created the “dream worlds” to trap Director Hearts' children. Her phobia is chronophobia, and the entire game has been about maturing and confronting fear. So far so good, translation issues aside.
This last bit is where the game loses me. After you confront Alice, she asks you if you remember a promise you made to her. You say no. She says to remember the promise, you have to dream again. Then, the game repeats! I can easily guess, based on her choronophobia, that the promise was never to grow up, or to stay with her forever, or something like that. Something antithetical to the game's theme of maturity and bravery. Maybe I'll finish the game later, but I'm not playing through the same game again right now just to get the “real ending”.
All in all, Connected Hearts: Visual Novel is a strong fable-like story, with a good central message, and vivid imagination that helps it through some of its shortcomings. I still think the title misleads you into thinking it's a romance novel, and not a surreal adventure to save the Heart children. I'll finish it eventually, and I do recommend it, but right now I need a break. There's only so many times I can read Russian-to-English typos, and the novelty of the fantasy story has sort of worn off. That said, I do reccommend at least one playthrough.
The typos weren't the dealbreaker. I'll come back to it. I guess I just don't like games that repeat. It just strikes me as padding out the game. Particularly, when they are full of scenes I just played through. It's exhausting. For now, I need a break. But, It's free on Steam. Check it out!
Final Fight is probably the first beat-em-up game I remember playing in the arcade. It was just so cool. Waves of punks coming after Haggar and Cody and they just beat the crap out of them with wrestling moves and karate. It didn't make much sense, but it was so cool. The continue screen with the dynamite was so dramatic that it still sticks in my mind as one of the greatest continue screens of all time.
Next up is probably Street Fighter II. It combined everything that was awesome about karate movies and action movies, then made it into an international fighting tournament. Each fight was different, and the fighters had such personality and cool moves that I always enjoyed seeing how each fight would play out, even if it was just me holding forward and heavy punch, it all just looked so badass and became a cultural phenomenon.
After that, I'd have to say X-Men the Arcade Game was top-tier. It was like playing a version of the 90s cartoon. Nobody cared that the characters were actually from the 1989 pilot episode. It was enough to trash sentinels and then stomp on them, and use your mutant power to clear the screen. The mutant powers always felt so impactful and powerful, especially if you were low on health, and cleared the screen to save the day.
Number 6 is a tough call, but I think I'm gonna have to give it to Peacekeepers on SNES. It's cool for the same reasons X-Men Arcade was cool, except ramped up to 10. So, there's a superhero team, and they're taking on monsters and mutants with karate moves and huge wrestling slams. Even bigger if they're in “Angry Mode” and they just launch the bad guys. Plus, each character has their own attacks, special attacks, and super special attacks, so it's all really satisfying to keep beating on baddies, which is important because that's all you do in beat-em-ups.
This one probably a little more obscure: Saturday Night Slam Masters for SNES. It was a wrestling game that combined wrestling with beat-em-up mechanics, instead of the total clickfests that most wrestling games were at the time. The grapple system was still a clickfest, but they were on their way out. Cool special moves, tournament fighter-style and a memorable cast meant that I could keep playing. It probably started my love of wrestling games.
Number 4! Oh well, that's gotta go to Super Street Fighter II: The New Challengers. I can still play this game and enjoy it. Plus, it introduced some of my favorite characters like Cammy and Fei Long! It blew my mind that they just put the boss characters in there. It's like they said forget it. Just put everything that made Street Fighter cool into one game. And the world is better for it.
Marvel vs. Capcom 2 was the same next-level kind of insanity. Only now they let two characters tag-team together and unleash all kinds of crazy special moves, assist attacks, and hyper combos with a few easy button presses. This game was always pure eye candy. Did it make sense that little Mega Man could body slam Captain America? No, but it was so cool nobody cared. It was worth it to see them all on the screen together.
Oh, gosh. What's at Number 2? Super Street Fighter 4! I love that on the touch-screen version they let the player unleash super moves and super combos with a simple poke! Sure, it was the same animations over and over, but it meant there was a level playing field and wasn't a combo and clickfest. Plus, it still has most of my favorite characters like Cammy and added Juri Han! I can always still pick up and play this one.
Number 1 is BlazBlue: Continuum Shift! A great cast of colorful characters, big colorful attacks, and a complex, crazy anime-style narrative make this game my favorite. They put a lot into this game, including story modes, tournament modes, and branching visual novel-style presentation. This many ways to play plus such cool moves for each character means I never get bored of it!
Bonus: Lastly, the perfect way to end the 90s fighting game craze! In 1999, there was Tekken Tag Tournament. The inputs were easier, the characters were cool (You could play as a dinosaur!), it was easier to do combos, they let them tag between each other, each with their own crazy moves. Plus, they even added an unlockable bowling mode, which automatically makes it my favorite. How many other fighting games have a bowling mode?
“A short visual novel about a middle-aged man on his summer vacation, where he meets a strange girl who claims to be from the future. Adapted from a short story.” - Steam
Well, the title kind of spoils the twist, but let's get into it. This is a kinetic novel (There are no choices, so it's not actually a visual novel.) based on a short story by Robert F. Young in 1966. It's about the adventures of a man named Mark who has decided to take a vacation in Cove City, after working so hard as a lawyer. There he meets a 17 year-old girl Julie Danvers in a field of dandelions. She lets him in on a secret. Her father is a government scientist who built a time machine, and she is actually from 240 years in the future.
At first, Mark plays her off as just being imaginative. But, the more they talk, the more she lets some of her father's time travel theories slip, and Mark starts experiencing odd fits of deja vu. Over the course of his stay in the cabin in Cove City, he begins to appreciate his get-togethers with Julie and talking time travel with her, as well as appreciating her playfulness and his own present moment.
Mark starts to wonder if he could've avoided being drafted in the Vietnam War, and has a violent flashback of shooting an enemy soldier. Julie explains that no, you can't change time, because it's like a book that's already been written. “Whatever happens, happens.” she says. You can only create events that lead to the present. Or at least, that's what her father says.
Julie enjoys looking at clouds and nature and says everything is destroyed by industry in her time. She also mentions that her father is being pursued by the Time Police. Mark and Julie enjoy looking at clouds and Julie says everything is perfect in the 1960s. Mark laughs, and says Julie will say that about other decades too.
Over time, she starts missing get-togethers with Mark and he starts to worry about her. Years later, when Mark is getting married, he experiences the deja vu, and realizes all of Julie's irrational fears about Time Police and her father make sense. I'm not going to spoil it. You can download it on Steam.
So, was it a good read? Yes. I usually prefer visual novels over kinetic novels, but I also like sci-fi. To be fair, this is soft sci-fi, and very short. But, it's still a good story about having experiences and connections with someone that you can't quite explain. It's definitely of its era, as Julie helps Mark heal from the trauma of the Vietnam War, and Julie escapes the destruction of her time. The format of the kinetic novel fits really well with Julie's “Book of Time” theory.
That said, there was one thing I didn't like, and that is the inclusion of onomatopoeic sound effects in the novel. “Ah...” “Kuuuu...” and “Unngh...” that I'm sure are not in the original 1960s “The Dandelion Girl” story. They just point out that you're playing an anime-style game. I found it distracting in what was otherwise a relaxing and philosophical game. The music is gentle and good for reflection, and then you see...”uuungh”. It really breaks the deeper moods.
That's the only thing that really took me out of it. Other than that, it's a good game. Check it out on Steam. It's free. Took me about an hour to read. A good soft sci-fi story. There are no killer robots or action scenes, but if you just want to relax and take a break, it's a good read. Give it a look, if you can.
Rooster Teeth, the company that made RWBY, closed recently. I wanted to talk about it. I really only joined Rooster Teeth fandom around 2015. I was certainly aware of Rooster Teeth, because Red vs. Blue premiered in 2003, when I was in high school. But, that was before it had a plot, and it was just kind of friends messing around with HALO assets to make a comedy show. Things changed when Monty Oum was brought in. Monty Oum was a wunderkind animator.
He made things like Dead Fantasy and Haloid (HALO vs. Metroid). What made these shows work was always that they were kinda familiar, fast-paced, and action-packed. Dead Fantasy was Final Fantasy, but not really. Haloid was Metroid vs. HALO, but not really. Along with Monty Oum's focus on fast-paced rhythm-based action (with a background as a dancer.) Monty Oum's style of animation was ultimately a victory of re-branding that re-vitalized Rooster Teeth, and gave it direction.
Now, under Monty Oum, Red vs. Blue became an action show, where it was HALO, but not really. It had a plot and characters, and action scenes. After the success of HALO, but not really, Monty Oum was given the green light to develop RWBY, which was Final Fantasy 8, but not really. The costumes, weapons (Everything is a gunblade.), and plot were straight from the 1999 videogame, but not really.
Parts of media like Kingdom Hearts, fairytales, plus shows like Once Upon A Time and Snow White and The Huntsman can also be seen as influences on RWBY, with a color scheme and elaborate rhythm-based team battles, and attacks. Several fairytales had become public domain in 2012, which made them easy to adapt for the small business. RWBY's popular team-based color schemes allegedly came to Monty in a dream, probably from working on Red vs. Blue too much.
So, I joined right in the middle of all this, by watching RWBY. FF8 was my favorite Final Fantasy, so I picked up the plot immediately. I was all about RWBY for a good while. It was like revisiting one of my favorite games, with a fairytale twist, as was popular at the time. The success of RWBY was unprecedented, spawning a fandom. Unfortunately, Monty Oum fell into a coma in 2015 just before the completion of Season 3. (Seasons of RWBY are called Volumes, like fairytale books.)
Season 3 is widely considered the best Volume of RWBY, as it is a tournament arc featuring many different teams and battles, showcasing the fighting mechanics that made RWBY unique. Additionally, it would open up the world, going beyond locations visited in the previous volumes and introducing the second half of the plot with new villains and character development for Team RWBY. Perhaps most importantly, this meant that Volume 4 would be the first without Monty Oum, as his coma proved fatal.
Volume 4 introduced Salem, the new big bad villainess who was secretly controlling everything. The characters slowly discover that magic is real, and that they do in fact live in a fairytale-type world where they are to act as guardians for sacred relics, before Salem can get to them. This was an okay Volume. It's basically the second half of FF8, but at least it left you wondering what could happen.
Volume 5 splits up each individual member of Team RWBY to give them their own arcs. I understand the reasoning behind this, but I felt like they hadn't developed much as a team first. Yang recovers at home and then tries to find her mother, Ruby joins a new team, Weiss is imprisoned back at her home, and Blake takes a boat trip home to confront her misguided past.
At least they reunite by Volume 6's end. I hung in for all the new characters and villains. The writing on the wall for RWBY came, I think, by Volume 8...when COVID happened. It seemingly changed some direction of the show. Instead of the fast-paced action scenes, I felt like now we have cramped action that takes place in one static location, opting for flashes and bangs in place of dynamic movement, often resolved quickly by Ruby's eye powers or one big move, despite earlier establishing the series' love for gun kata (Kung Fu with guns.), and the characters' skills with their own unique weapons.
Also, earlier the series had made references to the fact that the Kingdom of Atlas was basically Germany. It combined its education and military, and chose a different side in the series' Great War. Even Weiss Schnee from Atlas uses a German name. So, the twist that Ironwood actually wanted to defend Atlas by himself by forsaking dust and the other Kingdoms, didn't shock me at all. If it was supposed to be shocking, it failed, since it was telegraphed all along if you know Final Fantasy and history. Final Fantasy is always setting up Magic vs. Technology.
Since the heroes use dust (magic), it's logical to me that the antithesis of that would be embodied in Ironwood, who favors militarism and technology. But, even this distracts from the main plot, which was supposed to be now defeating Salem. Although, I understand they were trying to create villains for every continent in the show's world, with Ironwood being the villain for Atlas. I was disappointed that they couldn't come together already to defeat Salem.
Time was running out. We were now at Volume 9 (2023), and they took a detour once again to The Ever After, a place where fairytales are real. Yang lost her mechanical arm and Ruby lost her weapon. Weiss keeps insisting there's no way they're in a fairytale. It's pretty much at this point where I watched, but lost my former interest. Magic and fairytales had already been proven real. Ruby had already proved herself as a leader. It was a neat visual detour, but there was no thematic reason to reset characters' motivations, other than that's all the writers knew to do absent the guidance of Monty Oum.
I will say I liked the inclusion of BMLB (A fan-created romance between Team RWBY members Yang and Blake.) being absolutely confirmed in this Volume. But, otherwise, it seemed to retread familiar ground, and reset characters' motivations. The Rooster Teeth merger with Warner Bros forced new projects to be focused on instead of the main show. On top of this, dramatic scandals rocked the once-seemingly benign company, including pay disputes and harassment charges. But, it ultimately survived.
I've already written about RWBY: Ice Queendom, the Japanese anime version of RWBY. In addition, Rooster Teeth focused on cross-over comics and movies with DC's Justice League, which again, while interesting both covered familiar grounds. By this point, if you didn't already like RWBY, you weren't going to watch another origin story and re-introduce the team. They staked everything on the success of RWBY and Batman, but Batman doesn't need RWBY.
You see, what made the show work was always that it was Final Fantasy, but not really. I say that as a fan of RWBY. It was not perfect, but it was the little animation studio that could. If you add Batman to it, or bigger more recognizable entities, in my view, it kills the idea that these characters were home-grown successes. Rooster Teeth had fans who had watched it grow from a small web animation studio, to become something original in spite of being a victory of re-branding Final Fantasy characters with twists. The merger with a giant corporation killed their home-grown success myth.
What will happen to RWBY now that Rooster Teeth is going under? I don't know. Probably, it will just move to a Warner Bros. Company. Maybe Cartoon Network will pick it up, or Crunchyroll. It was a wild ride while it lasted, Rooster Teeth. Everyone involved will probably just come back under a new company. I just hope they can finish RWBY's story, and give it a good ending.
