I watched it with two casual viewers and they simply went ‘Leia can use the Force, cool’.

And I liked that the poor and the downtrodden helped the Resistance, while Leia’s call didn’t get any answer. That’s how they rebuild their Rebellion - by fucking up the rich.

It did come to two things - failure is the greatest teacher and dead heroes are kinda useless, which were the two main ideas alongside Yoda’s ‘we are what they grow beyond’. They’re not particularly Star Wars-y ideas, maybe, but they’re coherent with what the movie had been building up to. Poe’s plan and Rey’s plan…

Yeah, Finn’s plot could have been tighter, but it makes a lot of thematic sense and adds a lot of new interesting wrinkles to the Star Wars mythos with the ‘grey area’ and the idea that the Rebellion/Resistance isn’t just a symbol of hope because they blow up the Empire/the FO.

And unlike Kylo, he actually manages to straight up murder his past. Which is why I don’t think they wasted Phasma - her role was always to represent the FO in Finn’s eyes.

I think that his corporate speak means that they can develop a brand for Marvel R-rated projects (a ‘Marvel-R brand’) for projects like Deadpool which clearly separates it from the family-oriented fare of the MCU. Doing exactly what you’re saying - having non-family-oriented fare be released outside the Disney…

And the themes it was playing with - empathy, identity and how choice interacts with those two things - enhanced the gameplay and viceverse. The more you played and made decisions, the clearer the picture of who your Morgan was became.

It sells an entire alternate history on art design alone. It’s amazing.

... Yes? That was kind of my point? That they don’t care if dark and edgy things are produced under their brands if they make money?

I think the main issue here is Disney’s ever-growing monopoly, not any artistic considerations whatsoever.

I haven’t played much of this year’s games (just Persona 5, Prey and ME:A; I might be able to play NieR and Night in the Woods before the year is done), but Prey is my favourite, no doubt about it.

I’ve been away working for most of November (between October 27th and November 22th I had exactly ONE day-off and I also spent most of that time literally living with my co-workers and working 16 hours days with the occassional kid jumping off a second story window - don’t worry, he’s okay because Peronist miracles!),…

It’s a general Latin American tradition, actually. One I despair about, because I’m not that crazy about lechón and my family raises pigs, so it’s what we get for eveeery special occassion.

I did! So did the perennial complainers in the LATAM PS+ Blog, suddenly very satisfied.

That’s because CKII makes losing very, very fun and very narratively satisfying. My Emperor dying at the walls of Jerusalem just before conquering it and then his son doing the same - fucking typhus! - was... well, it fit the story I was telling.

The West isn’t just the US, though. And the US tastes =/= the West’s tastes in anime, because it’s a relatively new market compared to Europe or Latin America, where anime was a TV mainstay since the 80s.

Yeah, this. Even the tropes mentioned - the fanservice, etc. - leave the other side of tropey anime (ie., ridiculous shoujo anime!). Like, nobody here would have thought to reccommend something like... idk, Honey and Clover.

But the rest of them aren´t!

Hm, for me Luke needs somebody to push him, basically? That’s why I think they work.

Eh, it makes sense that you’d choose family over a fling. And Jason wasn’t... Stars Hollow, in the way Luke was. Most of her love interests were love interests for the woman Lorelai had been or would have been, if her life had been different. Luke was the only one that was a match for the woman Lorelai had become.