going absolutely fucking feral. fuck?

I’ve been getting a lot of TERF posts rec’ed to me through the #feminism tag lately. And they’re most often only tagged something like #feminism or #woman, so filters aren’t catching them. And it’s all just… anti-woman and anti-feminist take after take. Like. How have they hijacked the narrative and monopolized the meaning of feminism to be something so reactionary and reductive? They genuinely believe takes like, “women should be forced to abort children” are feminist. BFFR. They just hate other women having bodily autonomy.

I saw one just now where someone was like, “I was daydreaming about men just disappearing”— like being raptured— “and then realized that all women don’t know how to do male jobs and got angry” (and they did say ALL). They then went on to talk about how no women knows how to operate machinery because women have been prevented from EVOLVING to do the same things men do because men forced women to EVOLVE to serve them. Evolved. They were like, “all men could just… build a wood bridge but we women are kept from that knowledge. We have no teachers.”

Further fucking proof that these misogynistic asshats do not build community with black, brown, indigenous, poor, rural, or working class women. They live in a theoretical fantasy world daydreaming about men disappearing and “female separatism” rather than offering real fucking solutions. They live in a world where every last woman has the same lived experience as them. They assume all women are oppressed in the same way. They ignore intersectionality to purposefully minimize ableist, racist, classist, heterosexist, and cissexist structures so that everything is organizable into a simple and universal M > F dynamic. This way, in their chronically white movement, they, the white woman, is always oppressed and never responsible for the marginalization of others.

Oh. And the OP had the label “fascist” in her username. They’re self aware now, but at what cost?

Trans Exclusionary Radical Fascism, everyone:

The patriarchy is inevitable. Change is impossible. We are never escaping this hell hole.

Some other “gems” I saw, TW for racism, misogyny, ableism, and abuse:

The amount of Arabophobia, Islamophobia, racism, misogyny, and ableism I see in the #feminism tag every day is truly sickening. Like 1/4 of the posts anymore seem to be from white radfems sexualizing Arab, Asian, and Black women (while denigrating and singling out typically Arab, Asian, and Black personal-care and beauty practices) while another good 1/4 of the posts seem to be anti-queer. And then some 50% are porn bots with #sissy kinks. The tag has been trashed by bigots and bots, and I’m surprised that Staff hasn’t marked it mature content yet for the sheer level of porn bots using the tag. Oh, wait. I do know why. It’s because Staff employs JKR stans who would rather label #transfemme as mature content than combat the porn bots.

Botching Backwards and Forwards, Or: Today’s KH Ramble, Part I

As I play through KH III, I’ve also been catching up with the series by watching the Let’s Plays of the other games done by Team Four Star. Because they didn’t play through Coded and only watched the cutscenes from 358/2 Days, that means that there’s only one game on their playlist that I haven’t played myself, that game being Dream Drop Distance. From what I can tell, its gameplay operates on a similar mechanic to Birth by Sleep, which I enjoyed quite a bit. I frankly prefer the Command Decks to what we have in the console games. DDD making levels out of some left-field choices in Disney worlds was a pleasant surprise too. For the Fantasia world alone, I’ll have to consider picking DDD up when I’m not facing a month of utter financial ruin.

And yet, between the two of them, BbS and DDD are responsible for nearly everything wrong with the story of Kingdom Hearts up to this point IMO. Coded got the ball rolling by opening back up a story that had already been satisfyingly ended in KH II, but these two titles do the bulk of the damage to a series that, up to that point, had handled its story pretty well.

Starting with BbS, I freely admit that some of my issues with it boil down to a matter of preference. Turning the Keyblade into a (once) fairly common weapon with many wielders, with a history detailing a great Keyblade War and a test for a Mark of Mastery...all of that wasn’t to my taste, but I can’t say that there’s anything in principle wrong with it. It isn’t necessarily out of place for this series, and the one major wrinkle in continuity it causes (Keyblades choosing wielders) could be squared fairly easily. A prequel focusing on hitherto unmentioned characters rather than the series protagonists isn’t an inherently wrong choice either, though I’ll have more to say about that in Part II of this rant. That I don’t find Terra, Ven, or Aqua terribly interesting as characters is mostly a matter of preference as well, though I do think Terra’s descent into the darkness relies too much on sheer idiocy, and I will admit that Aqua is possibly the most fun player character in this series with her plethora of magic spells. But where I more seriously fault BbS (and Coded, for opening this door) is in its changes to Xehanort’s plots and backstory, and in undermining one of the best thematic ideas from the original Kingdom Hearts game.

"Ansem” turning out to be the true villain of KH I after two-thirds of the gameplay pass under the assumption that it’s the confederation of Disney villains was an effective twist that let an original character, more comfortably of the Square Enix half of the crossover, shine. “Ansem” turning out to be Xehanort the renegade apprentice, with his Nobody Xemnas the leader of Organization XIII, was hardly the most organic twist in the world; I don’t think anyone would go back to KH I and say “oh, it was so obvious, how did I not see it before?” But it made for another genuinely surprising twist in KH II. A villain can only have so many twists and secret plans, however, before effective surprises become cheap gimmicks, and any ability to take their current scheme seriously evaporates.

The revelation that Xehanort is in fact a transparently evil old man who, years before any of the events that led to KH I, plotted to synthesize a X-Blade and bring about a second Keyblade War (with less than ten combatants, so it’d be more of a Keyblade Skirmish) in what basically amounts to a mad scientist’s scheme in fantasy genre clothing, was the breaking point for me. This is a common trap of both prequels and conventional sequels; trying to tie too many things into a small group of characters, or in this case, a single character. Making Xehanort into a villain that spans multiple generations, the man who set into motion everything that preceded KH I and is indirectly responsible for Sora, Kairi, and Riku becoming Keyblade Wielders, can seem like an expansion of the universe on paper, but in execution, it’s a contraction. It reduces too many events down to factors in a single character’s actions. The fact that his scheme is no more coherent than those from KH I and II doesn’t help, nor does the fact that the storyline that most directly leads into Xehanort’s role in those games - Terra’s - is so transparently ripped from Revenge of the Sith.

But Xehanort’s abrupt reentry into the story isn’t truly maddening - not in BbS, at least. For me, the worst part of the BbS story is how it retroactively changes Sora’s. I’d go so far as to say that BbS is to Sora what Dragon Ball: Minus is to Bardock and Goku.

Don’t misunderstand me on that point: BbS is nowhere near as bad a game as Dragon Ball: Minus is a comic. What I mean by that is: prior to Dragon Ball: Minus, most people took Bardock: the Father of Goku to be canon. And, in that TV special, the history given to Goku, derived from what was said in the manga at the time, was that he was of no account by the standards of Saiyan society. He was a no-account spawn of a low-class warrior, sent off to a far-flung planet to clear out its worthless inhabitants. That low-class warrior who fathered him was as ruthless and mercenary as any typical Saiyan, and while he was stronger than the average low-class fighter and was given psychic insight into the fate of his people, Bardock was ultimately just another Saiyan doomed to die and be forgotten by time. Nothing in Goku’s origins is special or fated, which makes his accidental amnesia and eventual surpassing of Vegeta, the supposed Saiyan ideal, more remarkable. By transforming Bardock into a more tamed Saiyan with a close familial bond to his mate, who sends his son to Earth for safety in a blatant rip-off of Superman’s origins, Goku and Bardock both become too special, Goku’s turning into a kind-hearted child becomes too telegraphed, and their stories become too beholden to “chosen one” cliches.

And that is what BbS does to Sora, Riku, and to a lesser extent Kairi. That all three of them just happen, in their childhoods, to have had contact with Keyblade Wielders who left a personal mark upon them - and, in Sora’s case, literally took up residence inside him - is just too pat. It makes the three of them ending up with Keyblades too easy, too predestined. This hurts all three of them, but Sora most of all. Ven looking like Roxas and Vanitas looking like Sora, is a massive headache (and yes, I’m aware that there is at least some explanation of that), but the big loss is in the thematic content of the story, and there is where the comparisons to Dragon Ball: Minus really come into play.

Like a pre-Minus Goku, pre-BbS Sora is not special, in any way, at the start of KH I. He’s an ordinary young teen, plucky and affable and just a bit lazy, with a burgeoning quasi-romantic interest in his friend Kairi and an in-all-things rivalry with his best friend Riku. Compared to Riku, Sora comes up short in pretty much every area. Riku, at first glance, is faster, stronger, smarter, more dedicated, more fearless, and more capable. If you were going to choose one of those two to be the fated hero wielding a magic blade to save the worlds from darkness, Riku’s the better candidate by every metric, on paper. And, in fact, the Keyblade does choose Riku. The whole “chosen one” cliche is subverted in KH I in a brilliant way by essentially having destiny make the wrong choice. That Sora only gets the Keyblade by accident, loses it to its intended master, but quickly reclaims it on the strength of his accomplishments and his purity - that he earns it - is one of my favorite things in this entire series, and is a wonderful thematic idea and moral. Giving Sora and Riku both a fated “touched by a master” backstory kills so much of that idea, and it’s enough to make me wish that there was no BbS, as fun as the gameplay can be.

Ironically, DDD tries to have its cake and eat it too by playing up the fact that Sora wasn’t chosen by the Keyblade, but the damage was done by that point. And DDD further undermines that initial concept in the way it writes Sora, and his relationship with Riku. For one thing, Sora in DDD seems so much dumber than he was in previous games. Up to that point, he’d been written as an upbeat young teen, possessed of a certain level of immaturity and naivete, but always determined to help save the day, and more than capable of getting serious when needed. DDD abruptly starts to portray him as more of a doofy shonen hero, without any clear motivation and to no real purpose. It also introduces the idea that the central dynamic in Sora and Riku’s friendship is that Sora lifts Riku’s spirits while Riku takes up the slack from Sora’s sloppiness and carelessness. I have a real problem with that presentation, because it just isn’t true.

If you go back and look at KH I, those early Destiny Islands scenes set Sora up as the underdog to Riku’s Big Man on Campus. Riku jokes that he’s the only one working on the raft, and Kairi remarks that “he’s changed,” but he doesn’t come off as someone needing to perk up. And with one of the first challenges of the game being Sora gathering raft supplies, it doesn’t seem that Riku needs to take up that much slack either. In any event, over the course of KH I, Riku’s the one who drops the slack and falls into darkness, with Sora literally having to stop him from doing horrible things. And it’s Sora who continues on through CoM and KH II, saving the worlds. While Riku does appear here and there to aid Sora, his aid doesn’t come in the form of “taking up slack” or cleaning up after messes Sora leaves; Sora, Donald, and Goofy are still able to save the day by their own skill in each world. This whole notion, and Sora’s more dim-witted persona, seem invented, if not from whole cloth, then from very little that was previously established.

And again, there doesn’t seem to be a clear motive, unless it’s to highlight the differences between Sora and Riku and give more justification to Riku getting the Mark of Mastery when Sora wasn’t. But the writing doesn’t give a coherent through-line to that idea, nor does it sufficiently justify Sora not becoming a Master. Had the game actively told a story of turning the tables, and made a point to stress the idea that Riku’s fully reformed and that Sora was slipping up, then I’d be more forgiving (even if I still wouldn’t like the idea), but the work just isn’t there.

I’ll admit that there’s a certain amount of bias in my assessment; I’ve never liked Riku as a character. As a teen playing KH I for the first time, I found it easy to project my dislike of certain people IRL onto him, and in the years since, I’ve continued to find that the manner of his turn to darkness in KH I makes it very hard to accept him back into the fold with Sora and the others. He’s also a lousy player character in Reverse/Rebirth and in KH III IMO. But I accept that he’s the deuteragonist, and that his story since KH I has been one of redemption. In principle, a game that builds him up as a character and lets him save the day is fine. But the manner in which it was done in DDD was all wrong. And to an extent, the changes made to his and Sora’s friendship, and to Sora’s personality, have all carried over into KH III, which is even more frustrating.

And, speaking of things carried over...DDD is where Xehanort gets completely ridiculous IMO. Having pulled a third twist that he was actually an ancient Keyblade Master seeking to provoke a war, now there’s a fourth twist where his younger self has been traveling through time (by ridiculous means) to ensure that the fifth twist - that all that business about Nobodies having no hearts was a lie, and that the real Organization XIII exists to create thirteen Horcruxes vessels for Xehanort’s heart, so that there can be thirteen darknesses to face the seven lights in the Keyblade War (which still seems short of the numbers you’d need for an actual war, but whatever). The whole business about “recompletion” allowing an original person to revive if their Heartless and Nobody are destroyed is already enough of a contrivance to bring the original Xehanort back, but time travel and heart-splitting is even more absurd. And I still haven’t been able to figure out how “Ansem” and Xemnas can be back in action, even with the time travel aspect.

Recompletion also means that DDD brings back the rest of Organization XIII. I consider nearly all of them to be glorified henchmen, possessed of a gimmick for combat and a single personality trait at best, so their revival - and their cameos in BbS - do nothing for me. A big exception to that is Axel, but if I don’t care much for Riku, I can’t stand Axel. He comes off as what an “edgy” teenage writer would come up with for a “cool” character in a bad first stab at fiction. From his character design to his abused catchphrase, everything about him pisses me off. His one saving grace in KH II was that he sacrifices himself, and nothing undermines a sacrifice like a contrived way around death. That he’s become a Keyblade Wielder, and one of the Seven Guardians of Light, is ridiculous to me, and I’m not sure if I can think of a more blatant example of a writer’s pet character being so inorganically shoved to the forefront of a story that supposedly isn’t about them.

DDD also started to open the door to the possibility of Roxas and Namine being restored. That idea is less annoying to me than any of these others, but it’s still a mistake IMO. That Roxas and Namine both ultimately elect to give up their lives as individuals to return Sora and Kairi to their full selves, accepting their fate so that others can live more fully, is a bittersweet and touching concept, and one that lets “death” have some real consequences and the happy ending of KH II come with a price. I hate seeing that undermined, and I’m frankly frustrated by how much of KH III’s front half involved chatter about Roxas.

And speaking of KH III...that’s where Part II comes in.

ADDENDUM: Another thing about DDD that I feel undermines Sora is that, while writing him dumber, the game also hypes him up more than he ever was in the past. It’s the same problem as Harry Potter; for all that series’ virtues, constantly pointing out how special Harry is can end up taking away from his character by making his unique traits too ubiquitous. Other characters constantly pointing out how kind and loving and easy to bond with Sora is undermines that trait by over-playing it and turning it into an exercise in “tell, don’t show.”