The Problem with Anti-Nihilism: You can’t build hope on negation

Disclaimer: This is a revamp to my previous rants, mostly because looking back, they don’t seem well thought out, and hopefully in this rant and in the following, this can clarify things better.

Once I was a fan of RWBY, it was a webshow about a cool magitek world filled with colorful and impressively designed characters and monsters who were allusions to fairy tales, folklore, and mythology. All of which are of my forte. In this show there was also potential romantic couples who’s stories I saw greatly contributing to what I thought would be a great narrative, couples who go through hell together and make it.

Not unlike the tales of Inuyasha and Kagome, Edward Elric and Winry, Han Solo and Leia Organa/Skywalker, I think you get the idea.

But with the dark turn in RWBY V3 with the couple Arkos being built up only to be killed off, it left me with a bitter taste in my mouth because I have seen where this song and dance has gone to in the past. I tried to like it and go on, but as my suspicions proved themselves to be correct, I decided to drop the show. 

And yes, I am aware these are based on subjective feelings and personal taste and distaste and I understand the point of dark stories like RWBY, doing the right thing no matter how dark and brutal, it’s brutal hopepunk(though I know of other hopepunk stories that are far more brutal), its kinda like The Book of Job

But that’s this is what I feel, and this is what I think.

But honestly, I don’t resent the late creator Monty Oum.

He was just doing his thing and I just disagreed with his style and choices due my own, and we have our reasons for our respective stu.

My grievance lies with a group of over corrective toadies who lurk on Tumblr, RWBY wiki, and reddit.

They don’t really care, or at least subconsciously, what these dark hopepunk epics like RWBY mean. 

They proclaim they do, and will drone on why it does in the most theatrical tone, but its not sincere.

They just want to use these claims of virtue as excuses to like tragic things happening to heroes because it feeds their little God-Complexes and their fabricated feelings superior to everyone else as well as giving them that lustrous title of being “being moral, but not expecting happiness.”

They just want to watch characters who uphold value, but don’t always expect happiness due to how unpredictable life can be, which then these sycophants then position themselves as “life” and proceed to watch tragedy, misfortune, and cruelty happen to them. Knowing these characters ultimately won’t fight back in the terms of being selfish or giving up

Like the tragic end of Arkos and what I dread Sun and Blake might end up as along with the bastardized Renora

Just to show off and say

“Look how we are upholding heroics and meaning while being aware that life is suffering and cruel! We align with Nietzsche’s Eternal Recurrence!”

and use dark epics as weapons to tear down anything they themselves don’t like and degrade and viciously mock those who’s tastes differ from their own.

Not unlike the Pharisees of Jesus’s time who took advantage of Old Testament Law and their positions to morally grandstand and inflate their ego, as well as hold power over others

And usually they have a very shallow understanding of tropes and archetypes and a total lack of self-awareness

It’s just virtue-signaling theatrically proclaimed by hackish and disingenuous ideologues and they seem to be from a trend that started 2011 or maybe even further back to 1987

You see, after 1987 the comic Watchmen had made its infamous influence on comics, and then in the 90s to mid 2000s, Kazushige Nojima, and, Gen Urobuchi, aka “The Butcher”,and Takahrio had taken video games and shonen anime by storm with Final Fantasy 7, Madoka Magica, and Akame Ga Kill!

In those days, God help you if you subjectively disliked these kinds of stories and disagreed with The Butcher’s philosophy, and subjectively didn’t like the tragic tale of Areith and Cloud and preferred stories like Sailor Moon, Inuyasha, The Dragonball series or you even liked both.

Because doing that would lead to a small but obnoxiously loud, passive-aggressive, smarmy, and overall sanctimonious minority who infiltrate these fandoms to start lecturing and chastising you, and accusing you for wanting everything to be all “Sunshine and Rainbows”

Which they mean anything thats even one shade lighter than these works they worship, saying stories with well-earned happy endings “been around so long” as if these new stories were oppressed by them before the great prophet Alan Moore came to them like Moses when the Jews were enslaved to the Egyptians.

And now with RWBY and the unfortunate death of Monty Oum, they now have someone to raise up as their respective secular Jesus Christ who’s death they elevated from a tragic death of a passionate creator to a secular Crucifixion, dying to redeem us from the original sin of Happily Ever After.

And RWBY and any similar stories are not allowed to be challenged, or even at least contrasted outside of their zones of sanctioned dissent.

But this is another topic for another day

To get back to my main point, and to make it even more pithy, they want to loop on the Star Wars Prequel Trilogy, The Empire Strikes Back, and Fate: Zero and never follow up on the Original Trilogy or Fate: Unlimited Bladeworks, because they think the latter somehow magically undoes/denies the former, ergo weakens the hope.

They want couples like Jaune and Pyrrha, and possibly Sun and Blake and the hollow husk of Ren and Nora to end tragically constantly because they think that’s what characters and ships like them are only good for in epics because otherwise is somehow inherently “detrimental” no matter how its gone about.

Or to my fellow Christians/Theists, keep repeating Good Friday and never allow Easter Sunday, because The Resurrection somehow denies the Crucifixion.

Thinking this constant stripping of heroes down to skeletons and keep going on without healing will eventually make them stronger, along making themselves into a race of supermen.

I think the pretentious former chairman of DC Dan Didio can sum it up

Heroes shouldn’t have happy personal lives. They are committed to being that person and committed to defending others at the sacrifice of their own personal interests. That’s very important and something we reinforced. People in the Bat family their personal lives basically suck.”

Which the problem with that specifically with DC is Dan had no clue how the DC universe works

But the bigger problem here is they want to pursue hope and the big picture, but they want to build it off constant negation

Negation of happy endings for couples in epics, negation of surviving heroes, and even sometimes to the point it leads to the negation of the major goals in the epic themselves.

They want hope, but they don’t want to stop the angst for longer than 2 or 5 episodes/chapters.

And when all the blood and tears are spilled, they slap on a pretty picture of a new hopeful world and just say “That’s all folks!” As if that suffices

I’m sorry, but it doesn’t work like that for most people. It’s not like a 1950’s PSA where you just force it upon a kid and the kid goes “Golly gee willikers mister! You sure taught me!”

And before you say Disney or Marvel, with the rise of indie content such as comics, it’s becoming clear Disney and Marvel ain’t cutting it for a lot of people, but once again, this is another issue to cover for another day.

You need to show good things that happen elsewhere in the absence of where it’s normally found, and the kind which we get to follow, subplots.

Let me provide an example with the story of Code Geass

Lelouch and Suzaku, the two main protagonists of this story are very flawed protagonists, one hyper-pragmatic and cynical of people outside of his sister and friends, and one too idealistic and somewhat cowardly, both characters who’s stubbornness and arrogance cause much tragedy to fall upon themselves and others in the overarching story.

They loose lovers, they loose family, their endings are rather bittersweet and warn us of our vices and what they lead to.

However

In the background we have other characters who are better people, and some become couples, some that do literally end up together or at the very least, presents them in a way that you can assume that they do.

Villetta and Oghi

Sayoko and Jeremiah

Milly and Rivalz

Kallen and Gino

And for good measure, Akito and Leila from the spin off Akito the Exiled

And they are people who we follow and get to empathize and sympathize and feel for, not just thrown up for a few episodes and we never see again 

So while there is a lot of darkness and tragedy in the over arching story Code Geass, it doesn’t become fall into black hole that is stunting and sterilizing tragedy

Hell, just to add a bit more, in spite of the tragic endings of Night Raid in Akame Ga Kill, in the Manga at least Tatsumi and Mine had managed to make it(which these ideologues seem to conveniently leave out)

And what do stories like RWBY do to compensate for the tragic endings of certain characters and ships, provide new and similar ones we get to follow?

Just throw in Blake’s parents(who somehow exist and are basically royalty in spite of the previous 3 volumes where Blake was giving poverty-stricken orphan vibes), and Jaune’s sister, wife, and kid who only see for a few episodes.

None of which are enough fill the sucking vacuum.

And often this negation brings about a growing nihilism as a nasty by-product, no matter how well intentioned the motives are.

It’s kinda like in Lord of The Rings when those with good intent tried to use Sauron’s Ring and wen’t crazy and caused needless losses, pain, and suffering around them.

Or to any hardcore Tolkien fans, how Melkor tried to “fix” things by screwing with the creations of Eru and the sub creations of his fellow Valar and created a bunch of monsters and needless tragedy.

Which then these ideologues blame everyone else for the nihilism because their stories allegedly raise their hopes in the wrong ways and made everyone subhuman and weak.

and target not well written, but still endearing stories.

They blame Sword Art Online fans

They blame Fairy Tail fans

They blame Dragon Ball Z fans

They blame Sailor Moon fans

But no blame must ever come to their way of things when they ruined things are are deemed “for us”

For an example, I made a post online how I was just tired of dark stories like RWBY and how it’s bleeding into other stories like DC comics when Dan Didio trashed Superman Lois’s marriage and aborted the marriage of Batman and Catwoman

and zealot who I mentioned earlier One RWBY Zealot after bragging about the greatness of dark stories like RWBY, sycophantically supported Dan Didio’s writing choice’s because

“Single Superman and Batman sells well”, because that’s something he would buy

It’s almost a gnostic and pretty narcissistic mentality

“Our way always makes everything better, other people don’t like it, its because everyone else is too weak and have never dealt with grief, tragedy, hardship nor powering through the bad, because if they did, they would like what *I* would like, and they would dislike what *I* would dislike, because *I* am aware of the reality of the life and still uphold heroics, and *I* and those like *me* are the ambassadors of life itself!”

And despite the cultural damage this is causing, these people seem hellbent on keeping their hold over epic fiction while blaming everyone else for everything going wrong.

A Challenge to Anti-Nihilists: It’s time for a real conversation

This is my last post of my three-part rant, the previous parts one and two and this post is a bit ripped off by The Distributist’s “Atheist Hacks” video, and this is to address how the Militant Anti-Nihilists(or I like to call “The M.A.N.”) got away with their sanctimonious and ideologically disingenuous behavior when it came to bashing anything that was even just one shade lighter than Watchmen, Madoka Magica, Akame Ga Kill, and their recent “champion” that is RWBY and banishing dissidents to the zones of sanctioned dissent often run by Corporate Overlords as well as a challenge to them.

You see, before WebToon, Tapas, Indeigogo, and Kickstarter many creative minds were ultimately bound a lot to just publishing novels, putting their work on DeviantART, or had to jump through hoops through big to apply for companies such as Disney or go write kiddie shows, romcoms, and sitcoms, both of which even then often limited a storyteller what they wanted to do due to their own brands strict guidelines

And to add to that back in the 90s and to mid 2000s there were famous shows, notably anime such as Dragon Ball Z , Pokemon, Sailor Moon, Sword Art Online, and Naruto that while popular and well received did have a lot of issues.

You could easily point out the flaws of Goku’s family and the lack of real authentic consequences of his world, or the idiocy of Ash Ketchum, the whininess of Usagi and the OP of Kirito and his family, and the stupidity of the titular orange ninja and then turn around and say

“See? Stories with well-earned happy endings that are lighthearted, have families, or anything similar is inherently incompatible outside of Disney and Marvel!” and then banish those who disagree to the aforementioned ideological ghettos

There was no real other alternative for many dissident creators, so it was safe to do that.

But it’s not like that anymore.

Now with the effective aforementioned indie platforms and even Viz itself allowing indie content, there are now intelligent and thoughtful artists who want to continue the eucatastrophic stories while also addressing the issues that had been pointed out and use that to improve the story without needing to compromise between the overcorrective anti-nihilist or the destructive nihilist.

And theatrically sneering, snarking, and sniding all over the place and banishing dissidents to these little pens isn’t gonna cut it.

If these fanatics of these dark stories and their “ultimately hopeful” morals really want to pursue truth, goodness and beauty, they’re gonna have to actually address works outside of these big brands which honestly work as their perfect little straw men.

Indie works that have more sincerity then the reanimated shambling zombie of the MCU or the easily blown down sitcoms and romcoms.

It’s time for a real discussion, a real debate, not malicious crusade against anyone who saw a dark story and thought “I disagree with the creator, I think it could have gone a different way for these characters and story” and then use that as inspiration.

Instead have an honest exchange of stories and creative concepts and see how their hopeful styles and approaches to epic fiction, characters, and worlds match up with another hopeful approach and style.

Because many of the creators and thinkers who they love to theatrically proclaim had inspired them did this frequently because they were sincerely trying to find out and express truths and create new things.

But hey, I have no authority over these guys nor should I.

They can keep pursuing their pointless conquest and like these dark stories because it just gives them that little feeling of being superior amongst the unwashed masses, which then afterwards they cry their crocodile tears over the next tragic romance and character death and then proceed to harumph to one another in congratulation for supposedly “pursuing value and meaning, but also not expecting happiness”

But when it comes to actually understanding to the values of comedy and tragedy and the thinkers and artists who they are clearly inspired by, they are but cheap parodies.

They’re suck ups, they’re sycophants, they’re toadies

and when it comes to creativity and imagination, they are only hackish, cultish, and malicious ideologues.

Toadyish Tragedy: An Audience of Narcissists

Now this is a followup to my last post, and it explains another problem within modern fiction besides Nihilism, and it delves deeper into the mindset of the zealots who seem obsessed with gatekeeping epic fiction by sucking up to big creators and companies who give them what they want(or at least enough to twist into propaganda), pressure that onto the next generation of creators, and exiling the commoners to their little zones of sanctioned dissent(Disney, Marvel, Romcoms, Sitcoms, etc.)

It’s not really the artists or thinkers who’s guilty of this(though I can think of a few people in the entertainment industry who are), the creators and thinkers are just doing their thing and following their own style, and it’s often to convey a moral message and both are genuinely interested in finding out and expressing true things.

The problem here lies in a movement sanctimonious and toadyish individuals who only praise these artists and thinkers to use their works as their own soapbox and propaganda to preach and proselytize their own tastes and morally grandstand.

They just want to use these claims of virtue as excuses to like tragic things happening to heroes because it feeds their little God/Messiah-Complexes and feeling superior to everyone else as well as giving them that lustrous title of being “being moral, but not expecting happiness.” which in this case they mean “My moral **** is bigger than everyone else’s” and will quote any thinker and artist to justify it no matter how out of context they use these quotes and ideas.

They just want to watch characters who uphold value, but don’t always expect happiness due to how unpredictable life can be, which then these sycophants then position themselves as “life” and proceed to watch tragedy, misfortune, and cruelty happen to them. Knowing these characters ultimately won’t fight back in the terms of being selfish or giving up.

Like the tragic end of Arkos and what I dread Sun and Blake might end up as along with the bastardized Renora

Just to show off their power/beliefs and say

“Look how we are upholding heroics and meaning while being aware that life is suffering and cruel! We align with Nietzsche’s Eternal Recurrence! We are the ambassadors of life itself! WE ARE BETTER THAN EVERYBODY!”

It’s just another brand of virtue-signaling theatrically proclaimed by another brand of hackish and disingenuous ideologues

Because to let even a supporting character couple that we get to follow survive would somehow magically undo or deny any of the risks, suffering, and tragedy, and pain in the past.

And not only that, they shoot down ideas and concepts that come out of disagreement with the creators they champion.

A personal example I can give is my personal disagreement with the loyalist fandom of RWBY, when I spoke of a character couple like Jaune and Pyrrha getting a happy ending, a well-earned one, they were like

“Oh yes! To show what could have been but was tragically lost due to destiny and sacrifice!”

But when I meant an actual story where characters like them could got a happy ending, and couples like Sun and Blake and Ren and Nora for that matter

And they just didn’t disagree, they sneered at the idea and replied 

“People don’t find that interesting, sorry!”

Like they didn’t want a stories like that *to* exist. Because writing an epic story like that would be committing a crime against humanity.

They didn’t ask “Well, what crosses would they bear together instead?” Or “How would you go about it, what conflicts? What sacrifices would they make together? How would you have it contribute to the story or at least not harm it?”

No debate, no discussion, they just shot it down.

It’s something I like to call “concept assassination”

And then they said it was like “90% of shonen anime” which they give no specific examples and imply those are untruths enjoyed by unwashed masses unlike the supposed enlightened 10% and therefore no more stories like that are allowed to be made.

And when they’re not doing that, they’re banishing the commoners to Disney, Marvel, Sitcoms and Romcoms where we supposedly belong.

My late grandfather had a deadbeat woman of a mom who abandoned him and it was his dad who came to his rescue, he served the Korean War, and witnessed the most horrendous crimes as a cop.

You know what got him by?

His wife, his kids(my mom and uncles), and stories with happy endings, occasionally reading a Greek and Shakespearean Tragedy here and there.

“I’ve seen enough of this sh*t in real life, I don’t need to see it in movies.”

So does that mean my grandpa was just out of his mind and deluding himself because he’s weak?

Nobody ever just sits down and just talks to someone anymore, they’re so scared of being a drone that they need to position their tastes above everyone else’s and just assume the worst of others.

They never both to try to see where they other guy is coming from, or worse, listen but then act like something is wrong with the other guy because they didn’t end up liking what they like.

“This isn’t for everyone, therefore I must be superior than everyone! Look how above I am amongst the blind herds of sheep! If anyone liked anything different to cope and move from their pain, something must be wrong with them!

I’m not saying they have to share our subjective/personal feelings and tastes, they don’t have to at all.

But would it kill these people to not look at those who differ from them as poor deluded saps or evil or insane?

And would a story inspired by disagreement from ones like RWBY and Madoka Magica be that horrible?

Makes me wonder when they say “go outside” or “your being pathetic and sad” or “cope and seethe” or make those snarky RWBY memes at dissident’s, they’re just projecting big time. 

Because they’re the ones who want everyone else to shut up and go to the little zones of sanctioned dissent and restrict their creative minds.

So that way everything’s all nice a copacetic for their own convince.

And with new effective platforms such as Indeigogo, Kickstarter, WebToon, and Tampas, they’re desperately trying to stop the swing of the pendulum.

And they will suck up to any big creator(living or dead) and company in order to do so, will allow nihilists to run rampant if it means degrading and tearing down other stories of differing tastes, and dox and harass people online relentlessly with their ruthless thought policing.

The M.A.N.(Militant. Anti-Nihilists): A Rant

I know what I am about to say is about to enrage an entire subculture, but I can’t help but say this because my concern for the future generations of storytellers and the current generation that will be there to educate them, and by “educate” I mean gatekeep and control creative minds that don’t genuflect to their opinions, subjective feelings, and personal taste.

Once I was a fan of RWBY, it was a webshow about a cool magitek world filled with colorful and impressively designed characters and monsters who were allusions to fairy tales, folklore, and mythology. All of which are of my forte. In this show there was also potential romantic couples who’s stories I saw greatly contributing to what I thought would be a great narrative, couples who go through hell together and make it.

Not unlike the tales of Inuyasha and Kagome, Edward Elric and Winry, Han Solo and Leia Organa/Skywalker, I think you get the idea.

But with the dark turn in RWBY V3 with the couple Arkos being built up only to be killed off, it left me with a bitter taste in my mouth because I have seen where this song and dance has gone to in the past. I tried to like it and go on, but as my suspicions proved themselves to be correct, I decided to drop the show. 

And yes, I am aware these are based on subjective feelings and personal taste and distaste. But that’s what I feel, and that’s what I think.

But honestly, I don’t resent the late creator Monty Oum. He just simply had his own way of doing things that I just disagree with.

My frustration lies with a group of Nietzsche-worshiping sycophants who initially scoffed at the show for being “for kids” but with the destruction of the characters Penny, Roman, and Pyrrha, came flocking to the work like a wake of vultures smelling a freshly deceased carcass and began lecturing, patronizing, and outright gaslighting anyone who felt alienated for whatever reason, and they seem to be from a trend that started 2011 or maybe even further back to 1987

By 1987 the comic Watchmen had made its infamous influence on comics, and then in 2011 Gen Urobuchi, aka “The Butcher”, had taken shounen anime by storm with Madoka Magica.

In those days, God help you if you subjectively disliked these kinds of stories and disagreed with The Butcher’s philosophy, and preferred stories like Sailor Moon, Inuyasha, The Dragonball series or you even liked both.

Because doing that would lead to a small but obnoxiously loud, passive-aggressive, smarmy, and overall sanctimonious minority who infiltrate these fandoms to start lecturing and chastising you, and accusing you for wanting everything to be all “Sunshine and Rainbows”

Which they mean anything thats even one shade lighter than these works they worship, saying stories with well-earned happy endings “been around so long” as if these new stories were oppressed by them before the great prophet Alan Moore came to them like Moses when the Jews were enslaved to the Egyptians.

Even condescendingly dismissing them as “Bullsh*t” as if its some kind of incantation that magically delegitimizes anything they don’t like.

And now with RWBY and the unfortunate death of Monty Oum, they now have someone to raise up as their respective Jesus Christ who’s death they elevated from a tragic death of a passionate creator to a secular Crucifixion, dying to redeem us from the original sin of Happily Ever After.

And RWBY and any similar stories are not allowed to be challenged, or even at least contrasted.

Say someone was unhappy with the tragic ending of Arkos, unhappy that Black Sun didn’t become canon, how the character Oscar Pine was destined to be a tragic character and unhappy with how darkness in RWBY is gone about. So they use these characters and what they like about the show as inspiration for their original characters and ships, and story only with a well-earned happy ending instead.

To these ideologues, that’s not allowed because that’s “leeching off” the original work.

Even though countless works of fiction throughout history came from “I could do something better with this”, and when you create a work of art and put it out there, it’s subject to this as well. You don’t put your art out and expect a safe-space for it.

Let me give a modern example with an indie comic, Kamen America by Timothy Lim and Mark Pellegrini of Iconic Comics

But to make a long story short, Kamen America aka Carly Vanders was inspired by Carol Danvers/Captain Marvel, in particular her early days as Warbird/Ms.Marvel and the displeasure of her current incarnation.

So the creators took what he liked about Captain Marvel and combined it with other elements such as Sailor Moon and various Tokusatsu. Which has become a huge success.

Hell, even though I’m Catholic I will play devil’s advocate and point out His Dark Materials Trilogy written by an Atheist in response to the Chronicles of Narnia series.

You could even argue Gen Urobuchi himself did the same thing with Sailor Moon when he wrote Madoka Magica, with the demonic alien Kyubei being a strong indicator of this.

This has been going on since the days of cavemen telling stories around fires.

But the RWBY Stans think RWBY, Madoka Magica, Watchmen, and stories like them are the be-all-end-all of epic storytelling and thereby exempt from these natural forces of creativity and imagination.

And not only that, be the permanent standard for all epic fiction that’s not Disney or Marvel.

Acting offended on behalf of a man who none of these ideologues had ever personally met or spoken to, nor his family, and claiming authority which they do not, nor should they possess.

They want to subvert, invert, deconstruct, contrast, and challenge whatever stories and tropes they want, while simultaneously forbidding anyone else from doing so with their cherished stories.

And they also want to say whatever they want, anywhere online and at anytime without suppression, while simultaneously demanding to be allowed to censor and control voices within their own online communities,

And these two massive hypocrisies are the reasons I’ve lost my patience with this subcultures.

One time I even read a post where characters like Pyrrha can only have tragic fates because

“That’s that kind of character she is” as if that was gospel.

And if there are still dissidents who have a problem with that, they should just go watch and work for Marvel, Disney, and Pureflix and never use RWBY for their inspiration unless the inspired characters suffer the same exact destiny.

And when their designated zones of disagreement ends up conforming to their way, these groups will be more than happy to let it happen because it means more pop-culture territory for themselves.

For an example, I made a post online how I was just tired of dark stories like RWBY and how it’s bleeding other stories like DC comics when Dan Didio trashed Superman Lois’s marriage and aborted the marriage of Batman and Catwoman

One RWBY Zealot used this to brag about the greatness of dark stories like RWBY and how liking it made him a morally superior individual and then sycophantically supported Dan Didio’s writing choice’s because

“Single Superman and Batman sells well”, because that’s something he would buy

And this is the same sanctimonious individual who dismissed epic couples who go through hell and make it as inherently “pandering” to what I assume the supposed unwashed masses of untruth.

They want to conform new creative minds, especially indie ones, to their way of thinking or else be exiled to restrictive zones where their idols cannot be challenged and then proceed to strip the dissident of any power they have left.

Thereby creating a global entertainment safe-space in which to create and enjoy their taste in stories and never have to worry about dissent.

Thats why RWBY Stans also hate RWBY AU/Reimagining fan fiction as well and haven even gone after RWBY rewrites on YouTube, because they know those could evolve into original stories that challenge or contrast RWBY, which of course makes them upset.

Because they have built their whole ego and identity off their taste to the point they see other approaches as a “kill or be killed” scenario in order to secure their own feelings of moral superiority.

They’re basically a movement of zealots waging an ideological conquest of creativity by causing chaos on online communities and forums and making deals with nihilists under the table if said nihilists go after stories and tropes that they don’t like.

Beserk Fans, Attack on Titan Fans, Fate Fans, Hellsing Fans, and even Warhammer 40k fans as far as I know, do not have the incessant organized hatred for well-earned happy endings and anything one shade lighter than grimdark, that these fanatics among the RWBY fandom have forced onto online communities in the past few years.

These guys lecture others for being in “comfort zones” for their tastes, but they’ve made these dark stories their own “comfort zones” and worse, trying to lowkey proselytize to the next generation as religious dogma.

It’s despicable when you think about it

Beat up the people who are in the same boat as you in terms of position of power, but have differing opinions, subjective feelings, and personal tastes than you do.

Don’t allow a discussion to occur.

Demonize and exile dissidents to little idealogical ghettos where they can’t challenge you

Then throw the plebeians and their beloved works to the nihilist dogs when you get the chance

And be a good little consumer to big creators and companies who give you what you want, or at least do enough for you to use as propaganda.

On YouTube I’ve seen a channel called RetroBlasting cover a similar story in their video which I was inspired by, “ReproCops: The Police State of Star Wars Toy Collecting”, that covered a group of toy collecting zealots who are trying to shut down the production of 3rd-party reproduction parts for Star Wars toys.

And their behavior sounds eerily similar to RWBY Stans.

Just as Stans attack FanFiction Writers and go outside their walls into other tags and groups on social media platforms and forums, the anti-repro groups go into other forums and groups to attack other collectors, but they go even further than that and police Indiegogo and Kickstarter and report Repro-Makers on Ebay and Etsy to hurt their businesses.

So how long until these Stans follow suit?

Because now with effective indie platforms such as WebToon, Tapas, Indiegogo and Kickstarter picking up steam, I can’t help but worry that these psycho-stormtroopers will launch an “anti-bullshit crusade” across these platforms and try shut down any indie creators who’s style they deem “sunshine and rainbows” or “leeching off RWBY”, especially if they turn out to be disappointed RWBY fans.

All in an unachievable conquest of creativity itself.

Kentaro Miura: a Eulogy

Kentaro Miura, the creator of Berserk, has passed away. Now granted, I’m not into the story. It’s just to dark and freaky for my taste. I’m just picky about darkness in general, probably acts more of a vice at times than I admit.But I still feel respect for the man, from what my friends have told me, especially one who spoke highly of him, his story is as ProfessorGeek on YouTube would call a “Cathartic Motivational” epic.

The main character Guts and his love interest Casca show you that life can be hard and dark but we can’t give into the darkness.Not this is not to say stories like Star Wars, Harry Potter, and Lord of The Rings and other epics don’t show this, of course they do, but Beserk, as I understand it, does it on a VERY extreme level, and Guts and Casca, figuratively speaking here, go through the 9 circles of Hell together. Kinda like Joseph and Mina Harker in Bram Stoker’s Dracula, if thats a good comparison, maybe it isn’t, I dunno.

But I think I still owe this man because while *I* may not be into epics like his, there are many epics I do like, which some, in anime and manga in particular, came about because their creators were inspired by Mr. Miura and if it wasn’t for him. They probably would never be inspired and I wouldn’t be able to enjoy those epics and in turn be inspired by them.

Heck, Warhammer 40k inspired my own fictional universe, PUNKS, and I have a friend who is a FERVENT 40k fan while I’m not too into it.

All art, wether it be paintings, sculptures, music, architecture, literature, plays, movies, comics all were influenced by someone. As such, that person has inspired another creator who’s work you enjoy and are even inspired by, even if you don’t like or agree with that artist’s own inspiration.

Modern Corporate Culture likes to have us think we are better than what came before us or even are some kind of correction to what came before us. But in reality that could never be further from the truth.

So I say thank you Kentaro Miura. You may not been my inspiration, but you probably were the inspiration for creators who’s work I enjoyed.

The Entitled Fan: The Frankenstein Monster of Frustration, Fandoms, and Elitism

I guess is what I consider something of a sequel of my last post “Grimmdark Cops: The OTHER Fiction Police” and its regard to another problem which is the Self-Entitled Fanboy/Fangirl

Now we all know the (Self)Entitled Fan, they think they can demand whatever they want and act nuts when they don’t get it, or at least not 100% what they had in mind. But I dare say they are somewhat better than a Stan, but thats not saying much, because they have at least a sense of autonomy and don’t just accept whatever their given, but most often like Stans they don’t have much thought put into articulating their position or want nor acknowledging the reasons why.

But speaking from my own experience as a former entitled fanboy, I don’t think the result of an entitled fan is simply lack of proper maturity.

Sometimes its rather, or perhaps also, a result of being disappointed and dissatisfied in the past with past favorite stories taking turns that they have seen done before that the individual has grown so tired and frustrated from it.

When they tried to speak their displeasure, they were often mocked, chastised, or softly lectured like a child for being unhappy because of subjective feelings and how nobody would find the stories they would like interesting, almost calling the individual a freak of sorts.

So the individual bit their tongue and continued to search for new stories that had familiar elements that the person liked, would take turns and writing choices that resonated with their taste, only to be disappointed and then lectured for openly expressing their disappointment again, and again, and again.

Finally as a result from this chronic disappointment and lack of empathy from others, and even passive aggressive pressure to change their tastes or be banished dissatisfying zones of sitcoms and kiddie shows, the individual lashes out in rage and frustration making volatile demands and threats as it seems to be the only way it to get anyone to listen to them. Which is exacerbated by apathetic loyal fans who yell and scream back while bombastically flaunting their loyalty and proclaim how they don’t let their own personal feelings get in the way, how the dissent “doesn’t get it”, and proceed to bask in self-congratulatory moral superiority.

Keep in mind, I have problems with the Joker movie in regards to its use of the Joker character, but its message isn’t wrong.

Think about that.

“Nobody thinks what it’s like to be the other guy

Nobody who seems to get their way or just accepts it as a good writing choice never bothers to think what it’s like to be the person let down and frustrated. They don’t try to see where the individual is coming from and always assumes the worst, because it’s easier to make a villain out someone who disagrees with you and look righteous than to be considerate and think before you act towards that person.

“Why don’t they used what they liked and wanted as inspiration for original material then?” You probably ask. Well as the link to my last post along with my previous points made above, there has been a growing subculture that has actively worked to discourage that. Which brings the dissident a sense of powerlessness and despair and prevent the former style and tastes from being challenged, or at the very least contrasted.

And to make it perfectly clear, I am NOT condoning the harassment or death threats of anyone, nothing is worth giving a death threat over.

I’m not saying that it should have went their way, but I am saying is if you have the patience and compassion you should understand where they are coming from rather than just dismiss their problems and acting “Ha-ha-ha! I am more mature, intelligent, and morally superior to you, uncultured subhuman swine!”, if you don’t have that grace, then maybe you should just mind your own business and go about your day

and I’m not saying the writers and companies owe the audiences everything or obligated to always do what the dislikers say. 

What I am saying is this; if these dissidents are just simply reaching out to those are also unhappy with the state of story to work out their problems and create new ideas, or just simply venting and complaining, and even making blockable tags on social media to be considerate of people who don’t like hearing it, then the only thing they are guilty of being “entitled” to is their tastes, thoughts and feelings, which they are entitled to. 

As such, the dissidents are under little to no obligation to stay silent for the convenience of those who do like the way things are, unless the latter is being insulted or personally attacked by the former. Especially when a tag is created so the loyalists don’t have to look at it.

Because the more you try to muzzle dissidents and discourage others from hearing them out, the more fuel you will add to the fire and make things worse

Telling them to shut up and telling them they are not allowed write anything that challenges them and don’t deserve to be given what they want, for almost a decade

And telling them their not allowed to express and displeasure and keep it all to themselves and not reach out to each other

Then smugly taunting them and rubbing their disappointment in their face

Do you seriously think none that could have any contribution in their emergence?

To mock people who are in anguish and frustration and tell them to shut up is no different than Murray Franklin and the rest of Gotham in the Joker Movie kicking the crap and humiliating Arthur Fleck, a mentally ill man who was going under serious personal strife and stuck with a negligent therapist who could give less a damn about him

I know we all like to think that when people lash out like this we can just put it all on the perpetrator and insist we’ve done nothing wrong and go back to our shenanigans of taunting them and say “lol haha butthurt” and “I’m loyal and righteous, they’re wrong and self-entitled, so I can act as nasty as I want to them because I have the moral high ground!”

Do I have to remind you all what happened to Murray and the rest of Gotham at the end of the Joker Movie?

*batteries not included: A flawed but delightful tale of Magic Metal Space Munchkins

During the 80s and 90s the New Hollywood Renaissance had began reaching to its height with family films, notably revolving around science fiction, families, and either aliens or robots. The most well known of these kinds of films were ET and the Short Circuit Duology. But one under-appreciated film that combines both ideas in a story takes place in New York in a run-down apartment/diner, a group of its occupants, a sinister corporation and its leg breaking toadies, and a tiny family of saucer robots who fix things and eat electricity

This is the movie *batteries not included directed by Matthew Robins, this film was his debut as a screenwriter

Taking place in East Village in New York, the owner of the apartment/diner complex, Frank Riley(played by Hume Cronyn) struggles to keep the place from being torn down by property developers whose manager Lacey(played by Michael Greene) has hired a gang a thugs led by Carlos(played by Michael Carmine) to harass and loot the place to pressure the owner and his wife Faye(played by Hume’s wife Jessica Tandy) who unfortunately suffers dementia reliving the past. Also part of the apartment is a pregnant single mother Marisa Esteval(played by Elizabeth Peña), a struggling artist Mason Baylor(played by Dennis Boutsikaris) and quiet former boxing champion Harry Noble(played by Frank McRae). After Carlos tears up the diner and chases Franks friends out and the police are unable to act without Frank risking retribution, Frank quietly begs for someone to come and help them or face the possibility of him and Faye retreating to a retirement home.

The old couple are very sympathetic, especially Frank. He actually reminds me so much of my late grandfather on my Mother’s side. Frustrated and rightfully so with the despicable behavior of young people and the callous nature of those in charge while trying to make the best with his wife’s condition. As someone who has a grandmother on his father’s side suffering from mental deterioration, this hit me deep. Faye while suffering natural mental illness, she manages to retain cognitive thought to some degree, and her sympathy and never-ending compassion for her husband, the other occupants, and the Fix-Its. By being stuck in the past, she seems to produce some timeless wisdom that isn’t seen in this day and age.

Later that night, that plea Frank made was answered

Two small saucer-bots, who are later dubbed “The Fix-Its” fly into the home and the feminine one, exhausted and low on energy, plugs herself into the kitchen to recharge. Afterwards, they find one of the broken frames from the diner and fix it and find and fix the diner as well. Faye wakes up and is greeted by them, and she allows them to make a nest in the shack on the top of the building, which Frank and the others meet the morning after.

Mr. and Mrs. Fix-it are very cute, they seem to have a somewhat animal-like behavior, something I would compare to birds. They speak through whirring servos and bizarre sounds of beeps and various pitches of what sound like power-drills and buzzsaws

Later on its revealed that Mrs. Fix-It is “pregnant” as she is having cravings. So the folks of the apartment start feeding her all sorts of metal objects and a steady flow of electricity which results in her birthing three “baby” robots. Jetsom, Flotsom, and Wheems, the last seemingly stillborn, only to be resuscitated by Harry using parts of his TV set. The robot family helps fix the apartment and in turn the occupants provide them shelter and babysit the little ones which is provided by Mason, Marisa, and Harry.

The children are even cuter than their parents, and like they’re parents they have behavior akin to birds, chicks to be specific. They don’t do too much like their parents, but they don’t need to. The babies, Wheems to be precise, have a role to play later on. As Carlos damages the father and scares away the children and burns the apartment down, the former seemly drives the family away when they are reunited, but later revealed that Wheems returns to try to fix the apartment by himself, only to be joined by his family who were actually getting help as they return with an entire fleet of their kind to rebuild the ruins. The Development company concedes defeat and merely builds around the apartment

Now the plot, there isn’t much but it mostly revolves around the humans. It’s revealed later in the story that Faye and Frank’s son had died in a car crash some time ago and Frank had some very rough words with their son before. Faye seems to mistake Carlos for his son, but it’s never clear if this denial is deliberate or not, but I assume it partially to cling on to what cognitive function she has left and even by the end of the film we don’t know if there’s some resolution.

But I can’t help but feel the real issue I have with this story is Mason as his personality is rather inconsistent when interacting with the Fix-Its. At one point he is completely flabbergasted by their ability to reproduce, then he’s quick to dismiss a tragic stillbirth from the same little robots, and soon enough he’s the babysitter of the little tykes. I just cannot help but feel Mason’s character development wasn’t thought out in terms of chronological order. Meanwhile his love story with Marisa and his search of artistic inspiration while not bad in concept, doesn’t show too much in development, it just goes along a bit too quickly.

Speaking of Marisa, the biological father of her children happens to be a musician who’s part of something I would call a modern caravan, but sadly her story in regards of her pregnancy or her quasi-deadbeat boyfriend even gets less attention than Mason and Mr. and Mrs. Riley

Carols seems like a stereotypical hooligan, but it seems more like he’s a desperate man trying to get his own decent lifestyle as he lives in the Ghettos of New York, unfortunately they only explore this once with his interaction with Faye but once again the audience seems to be left guessing on what exactly his deal is, but we at least see he has regrets as he desperately tries to save Faye from the fire that engulfs the complex.

The whole film seems enjoyable in terms of the major overarching plot and the moments with the Fix-It family, but sadly the subplots seem to me a bit sub-par. I believe the reason this is due to the overarching plot taking up too much space for the sub-plots to have the proper pacing they need.

The Fix-It family was designed by Star Wars designer Ralph Mcquarrie and The legendary Industrial Light and Magic

The Music composed by James Horner

Would I recommend this film, yes. I really do love this movie in regards to overarching plot and the adorable robots, but I would request that you don’t put too much thought into the sub-plots. For me at least they don’t seem to do get much developed and left either resolved too quickly, or left with a rather nebulous conclusion.

I give *batteries not included Seven Comedy Masks out of Ten