Many Metroid fans who have since long become accustomed to the isolation and alien environs of the past era are, in recent days, feeling very, very displaced.
And that's why sometimes I wish a franchise die out, like my all-time favorite Splinter Cell franchise, they will never make it for the modern audience like it was for me back in the day, it can only get worst, and it will be branded as rubbish
I still haven't been able to play it myself, but the most consistent and significant criticism I've come across (because there are press outlets and content creators who act like they just invented fire) is about the NPCs and the absurdity of having a companion constantly guiding you and saying stupid things. This mechanic became popular earlier, but I really noticed it starting with God of War. And while there are games where this makes sense, in these cases it doesn't help at all—it's unnecessary and annoying.
However, the criticism he makes goes beyond just video games. People's entertainment has become a sacred cow; it's their new object of worship, and they behave like extremist fanatics if you dare question it. The same happens in cinema and Japanese animation too. The latter is especially hard to deal with because many have taken refuge there due to the poor quality of Western productions.
In the end, people have been stripped of their gods and have transferred that role elsewhere—part of it to the State, and another part to their products.
Hello, if you're talking about fans of Japanese animation — that is, the ones known as weebs — it really depends on the person. A lot of the time they simply don’t accept any criticism that goes beyond animation errors or voice-acting choices.
But there are topics that are almost impossible to approach with them. For example, there are anime/manga products that perfectly fit the “woke” checklist — not because the Japanese authors personally believe in that ideology (you can tell they handle it in a much less aggressive, more reluctant way), but because they think, following directives from their executives, that “this is trendy in the West right now” or because the financier or co-producer demands it (not to mention those who want to be eligible for certain awards or get into the Academy).
The thing is, when you point this out, the fans will either tell you “that’s not true because Japan is immune to this stuff” or “this is real inclusion, not forced inclusion” — which is ridiculous. All inclusion done for ideological or quota reasons is forced; otherwise we’d just call it casting or creative choice. If a character only exists to tick a diversity box, then they have no deeper reason to be there other than being a decorative vase so the production gets approved, and that lowers the quality of the work (In this, I exclude authors who directly believe in the message, in which case it is taken differently.).
Years ago, changes like these could still be honestly attributed to creative freedom (and there were legitimate examples). But after 2014 and with Netflix’s track record, it’s naive to pretend that every single one of those changes was made for any reason other than corporate-mandated divisive propaganda.
Getting back to the point: yes, there are Japanese products that were deliberately built to order for that modern Western audience. They’re not as numerous, don’t have the same volume or cultural weight, but they do in the West, but they exist. In fact, the branch of the fandom they’re aimed at is proud of it — although they also get angry when something isn’t aimed at them, assume it is, and then suddenly shift the narrative when it isn’t.
A clear example is the One Piece live-action on Netflix: it has the entire classic Netflix checklist. If you question any of it, you get labeled every -ist and -phobe in the book. They defend the changes by saying the author (who has basically become their messianic figure) suddenly “remembered” today that certain characters were always meant to look like that — even though it never fit his original designs, of course. And since Oda says it’s fine, everything’s perfect; the production company had nothing to do with it, and neither did the obvious award-bait directives the author is clearly chasing. Let’s remember that authors are human and fallible; we have plenty of examples: J.K. Rowling, Neil Gaiman, the Wachowskis, etc.
Another topic that makes them absolutely furious is bringing up authors who draw or write shotacon and lolicon. Touch that and you’ll get called “woke” yourself before long. To be fair, there is a valid historical defense: original “loli” and “shota” designs came from fantasy and were deliberately made as unrealistic as possible — exaggerated features, adult-like traits, etc., precisely to avoid looking like real children. But over time we’ve seen abuse of the trope, designs and implications that go in a very different direction, and authors who have done genuinely questionable things in real life. It’s a topic that deserves discussion, but from their side the debate is usually shut down immediately.
In short: Japan is not the impregnable bastion many fans believe it is, and it’s not immune to any of this. In the end, it will depend on its own people and whether its government avoids falling into the same mistake that happened in America.
I appreciate the detailed post. It's quite informative.
Yeah, I absolutely agree with you that Japan isn't the unbreakable fortress that many fans like to think it is. It's a lot more woke and SJW than most fans will admit. Oftentimes, many will conveniently try to ignore it or explain it away as being a part of the culture.
On a similar topic, what do you think about the current state of anime and manga? I think a lot of them are way too similar to each other and often undistinguishable. I always thought anime and manga were at its best when it was either taking inspirations from classic Western media or a historical piece. I don't really see that a lot nowadays as they seem more content with imitating other anime.
You are so on point as pointing out the counterfeit religion and faith and 'cult of Nintendo'. I used to be annoyed having to forgo video games Sunday morning in order to attend mass, but I am so grateful for that upbringing so I don't have to defend something that doesn't appeal to me. I can be fair and impartial when judging media by its merits. What a concept!
I feel so indifferent to Metroid Prime 4. Perhaps a touch of melancholy. Metroid Prime: Remastered was very well received and I somehow lucked out at launch and got a physical copy before it sold out for a few weeks. The game still holds up, and I was hoping for remasters of Metroid Prime 2 and Metroid Prime 3.
I watched my friend play the game and the first AI companion is so bland and annoyingly trying to be helpful to be able to ignore him. The game looked fine, but then I heard about the motorcycle, and I am like "Wut?" That's not Metroid AT all, what's next!? An on rails shooter on the Gunship during the escape sequence? I should stop before giving Nintendo and Retro Studios any bright ideas. Maybe they should just make more Donkey Kong Country remakes.
The odd thing, the farcical twist is that seeking larger market, current market need not be betrayal of tradition. Indeed all things need be brought anew before the future, those who follow after us. Folk and fairytale endure not only because of the good work of recording, but because they are told and given to the generations as they come.
It need not be betrayal...
Need not, but is.
For to bring forward the old, committing it properly to the new requires a love and respect for both the thing itself and the audience.
Some have said that the masses love this or that, that they want above all else a casual experience, but...
Popularity, if one looks at it, is not solely determined by these phantasms that people assign to the masses' will.
There are games even today that succeed abundantly that do not fit the mold that suits believe mass market must love.
Further though, to erode the unique essence of a game, a story or indeed anything is to eat the seed corn.
It may satisfy for a season, but in time the company will find the harvest lacking.
Well, in time people return to the old stories and old games, and do make mirrors in love of what they saw.
So even if a name will mould and rot in hands of corporate...
The passing of the torch will continue, with or without them, because the iconic and ideal, the myth...
They cannot be chained by human law.
Treasures misspent merely end in the hands of others, even if the names change.
This article perfectly explains nonsense like the recent Starbucks Bear Cup lunacy. Loyalty to buying something that the corporation pumps out - not to share that joy with others, but to gloat that "I got mines!!"
The main companion of Metroid prime 4 is a (and I quote from the game itself) “golem repairman,” the one played by mr david goldstein whom everyone is harping on.
He repairs and upgrades your suit throughout the game as it is no longer done automatically.
you are the literal golem by this game’s lore.
he dies at the end in a human sacrifice so that samus can bring back “the ancient race with ancient knowledge” (the one with the kabbalic vagina and clitoris imagery plastered over every inch of the game) by planting their “tree of life” seasoned with human blood.
In fact samus lets all of her companions die (the jewish man, the black man who had an affair with the white woman, and the ai robot) to hold back the last boss in “the spirit realm”: the white man sylux. all so that the “ancient knowledge” that can revive the “ancient race” through their “tree of life” is called “green energy.”
Yes, the mechanism by which the “ancient race” (who look like starfish creatures on top of an axolytl) will “revive” themselves through human sacrifice is called “green energy”… from their “tree of life.”
you’re barking up the wrong tree. there’s more afoot.
And that's why sometimes I wish a franchise die out, like my all-time favorite Splinter Cell franchise, they will never make it for the modern audience like it was for me back in the day, it can only get worst, and it will be branded as rubbish
Yeah. I'm not looking forward to that Splinter Cell Remake. Same reason why I wasn't excited for that Thief VR game either.
I still haven't been able to play it myself, but the most consistent and significant criticism I've come across (because there are press outlets and content creators who act like they just invented fire) is about the NPCs and the absurdity of having a companion constantly guiding you and saying stupid things. This mechanic became popular earlier, but I really noticed it starting with God of War. And while there are games where this makes sense, in these cases it doesn't help at all—it's unnecessary and annoying.
However, the criticism he makes goes beyond just video games. People's entertainment has become a sacred cow; it's their new object of worship, and they behave like extremist fanatics if you dare question it. The same happens in cinema and Japanese animation too. The latter is especially hard to deal with because many have taken refuge there due to the poor quality of Western productions.
In the end, people have been stripped of their gods and have transferred that role elsewhere—part of it to the State, and another part to their products.
From your experience, what are some topics that got you in hot water with the weebs?
Hello, if you're talking about fans of Japanese animation — that is, the ones known as weebs — it really depends on the person. A lot of the time they simply don’t accept any criticism that goes beyond animation errors or voice-acting choices.
But there are topics that are almost impossible to approach with them. For example, there are anime/manga products that perfectly fit the “woke” checklist — not because the Japanese authors personally believe in that ideology (you can tell they handle it in a much less aggressive, more reluctant way), but because they think, following directives from their executives, that “this is trendy in the West right now” or because the financier or co-producer demands it (not to mention those who want to be eligible for certain awards or get into the Academy).
The thing is, when you point this out, the fans will either tell you “that’s not true because Japan is immune to this stuff” or “this is real inclusion, not forced inclusion” — which is ridiculous. All inclusion done for ideological or quota reasons is forced; otherwise we’d just call it casting or creative choice. If a character only exists to tick a diversity box, then they have no deeper reason to be there other than being a decorative vase so the production gets approved, and that lowers the quality of the work (In this, I exclude authors who directly believe in the message, in which case it is taken differently.).
Years ago, changes like these could still be honestly attributed to creative freedom (and there were legitimate examples). But after 2014 and with Netflix’s track record, it’s naive to pretend that every single one of those changes was made for any reason other than corporate-mandated divisive propaganda.
Getting back to the point: yes, there are Japanese products that were deliberately built to order for that modern Western audience. They’re not as numerous, don’t have the same volume or cultural weight, but they do in the West, but they exist. In fact, the branch of the fandom they’re aimed at is proud of it — although they also get angry when something isn’t aimed at them, assume it is, and then suddenly shift the narrative when it isn’t.
A clear example is the One Piece live-action on Netflix: it has the entire classic Netflix checklist. If you question any of it, you get labeled every -ist and -phobe in the book. They defend the changes by saying the author (who has basically become their messianic figure) suddenly “remembered” today that certain characters were always meant to look like that — even though it never fit his original designs, of course. And since Oda says it’s fine, everything’s perfect; the production company had nothing to do with it, and neither did the obvious award-bait directives the author is clearly chasing. Let’s remember that authors are human and fallible; we have plenty of examples: J.K. Rowling, Neil Gaiman, the Wachowskis, etc.
Another topic that makes them absolutely furious is bringing up authors who draw or write shotacon and lolicon. Touch that and you’ll get called “woke” yourself before long. To be fair, there is a valid historical defense: original “loli” and “shota” designs came from fantasy and were deliberately made as unrealistic as possible — exaggerated features, adult-like traits, etc., precisely to avoid looking like real children. But over time we’ve seen abuse of the trope, designs and implications that go in a very different direction, and authors who have done genuinely questionable things in real life. It’s a topic that deserves discussion, but from their side the debate is usually shut down immediately.
In short: Japan is not the impregnable bastion many fans believe it is, and it’s not immune to any of this. In the end, it will depend on its own people and whether its government avoids falling into the same mistake that happened in America.
I appreciate the detailed post. It's quite informative.
Yeah, I absolutely agree with you that Japan isn't the unbreakable fortress that many fans like to think it is. It's a lot more woke and SJW than most fans will admit. Oftentimes, many will conveniently try to ignore it or explain it away as being a part of the culture.
On a similar topic, what do you think about the current state of anime and manga? I think a lot of them are way too similar to each other and often undistinguishable. I always thought anime and manga were at its best when it was either taking inspirations from classic Western media or a historical piece. I don't really see that a lot nowadays as they seem more content with imitating other anime.
Let’s not forget, if you look at the clips of Metroid Prime 4, it just comes off more like the MCU, post-Endgame.
I can't think of a reason to make something for the established audience...at least, not if I viewed them as pay pigs.
You are so on point as pointing out the counterfeit religion and faith and 'cult of Nintendo'. I used to be annoyed having to forgo video games Sunday morning in order to attend mass, but I am so grateful for that upbringing so I don't have to defend something that doesn't appeal to me. I can be fair and impartial when judging media by its merits. What a concept!
I feel so indifferent to Metroid Prime 4. Perhaps a touch of melancholy. Metroid Prime: Remastered was very well received and I somehow lucked out at launch and got a physical copy before it sold out for a few weeks. The game still holds up, and I was hoping for remasters of Metroid Prime 2 and Metroid Prime 3.
I watched my friend play the game and the first AI companion is so bland and annoyingly trying to be helpful to be able to ignore him. The game looked fine, but then I heard about the motorcycle, and I am like "Wut?" That's not Metroid AT all, what's next!? An on rails shooter on the Gunship during the escape sequence? I should stop before giving Nintendo and Retro Studios any bright ideas. Maybe they should just make more Donkey Kong Country remakes.
The odd thing, the farcical twist is that seeking larger market, current market need not be betrayal of tradition. Indeed all things need be brought anew before the future, those who follow after us. Folk and fairytale endure not only because of the good work of recording, but because they are told and given to the generations as they come.
It need not be betrayal...
Need not, but is.
For to bring forward the old, committing it properly to the new requires a love and respect for both the thing itself and the audience.
Some have said that the masses love this or that, that they want above all else a casual experience, but...
Popularity, if one looks at it, is not solely determined by these phantasms that people assign to the masses' will.
There are games even today that succeed abundantly that do not fit the mold that suits believe mass market must love.
Further though, to erode the unique essence of a game, a story or indeed anything is to eat the seed corn.
It may satisfy for a season, but in time the company will find the harvest lacking.
Well, in time people return to the old stories and old games, and do make mirrors in love of what they saw.
So even if a name will mould and rot in hands of corporate...
The passing of the torch will continue, with or without them, because the iconic and ideal, the myth...
They cannot be chained by human law.
Treasures misspent merely end in the hands of others, even if the names change.
This article perfectly explains nonsense like the recent Starbucks Bear Cup lunacy. Loyalty to buying something that the corporation pumps out - not to share that joy with others, but to gloat that "I got mines!!"
I watched my friend stream it. Hes enjoying so far. It reminds him of metroid prime 1-3 with extra sauce. I haven't played it though.
The main companion of Metroid prime 4 is a (and I quote from the game itself) “golem repairman,” the one played by mr david goldstein whom everyone is harping on.
He repairs and upgrades your suit throughout the game as it is no longer done automatically.
you are the literal golem by this game’s lore.
he dies at the end in a human sacrifice so that samus can bring back “the ancient race with ancient knowledge” (the one with the kabbalic vagina and clitoris imagery plastered over every inch of the game) by planting their “tree of life” seasoned with human blood.
In fact samus lets all of her companions die (the jewish man, the black man who had an affair with the white woman, and the ai robot) to hold back the last boss in “the spirit realm”: the white man sylux. all so that the “ancient knowledge” that can revive the “ancient race” through their “tree of life” is called “green energy.”
Yes, the mechanism by which the “ancient race” (who look like starfish creatures on top of an axolytl) will “revive” themselves through human sacrifice is called “green energy”… from their “tree of life.”
you’re barking up the wrong tree. there’s more afoot.
Hey, where did you discover this much knowledge about the kabbalic symbolisms? Any suggestions to help learning and noticing it better?