Limit ≠ “minimum.”
Damn, some people are fucking awful.
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God that’s fucking horrific.
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I can fully understand why so many folks who share my privileges really really don’t want to have to think about or deal with the traumas inflicted on minority communities. Because once you open yourself up to it, it hurts. The thing is, for the affected communities, it is not a choice, it is life. On a daily basis. 24/7/365. I hurt for you and all the others in the affected communities. God damn it, why do we have to be such assholes? I have to hope that change is coming, but it will be too late for far too many of our brothers and sisters. Long distance love and support just does not seem to be enough. Hell, does not seem to be anything. And I am so sorry.
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The Last of Us 2
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I really feel like a lot of game devs and writers learned the wrong lesson from Spec Ops: The Line. In Spec Ops, the entire point was to point out how you as a player were culpable in committing a big ol’ heap of war crimes by doing whatever the video game tells you to do, essentially flipping the standard military FPS script on its head in a critique of its frequently racist and bigoted narratives and gameplay that violates pretty much every article of the Geneva convention. It asked you to do bad and terrible things, but only revealed to you just how bad and terrible they were after you’d committed them.
What everyone seems to have learned from it is “players like having their noses rubbed in being forced to do and see bad things”, which is an extremely mindless and cruel take. It feels like video gaming is having its version of the mid-2000s torture porn phase in cinema, just portraying tons of suffering for absolutely zero reason beyond a desire to be as grim and hopeless as possible.
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I came to this thread to share my anger about what I’ve read of the spoilers of The Last Of Us II and am really glad to see that it’s being discussed here. One important thing to note from Kazuma’s thread is that a lot of reviews seem like they couldn’t have even shared warnings about it:
Another person posits that this might be what reviewers meant by the game not “earning its violence”:
Basically, what seems to happen in the game overall is Content Warning all the black characters die, the trans character’s story is entirely about his transness and suffering because of it, and the lesbian protagonist suffers homophobia, turns into a murderous psycho, and ends up alone, mutilated and having lost everyone she cares about.
I read that the Hays Code from the 1930s prevented gay people in movies from being depicted as anything positive. So they were portrayed as the villains, tortured, killed, got an unhappy ending, or otherwise were condemned by the narrative. It was enforced for ages and even though the rules were slowly loosened or abandoned, the Hays Code is heavily responsible for many of the garbage-ass tropes that LGBTQ+ people in media are subjected to even to this day, including what looks like The Last Of Us II.
Heather Alexandra wrote this article about two years ago, “Let Queer Characters Be Happy”. It’s a very good read that managed to hit the nail on the head in such a precise and astounding way, both about The Last Of Us and about media in general.
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Well. That just nixed my desire to buy that game.
Thank you for sharing.
ETA: and thanks to @Crowley
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Someone needs to remind folks that Rowling is famous for writing fiction.
That essay ain’t anymore true than avracadavra.
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That sounds like a word to reanimate the dead.
Shame it won’t work on her career…
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It may be a genuine question yet 3000 responses later and a few more questions from him it’s a mess attracting the transphobes like shit attracts flies.
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Dear John. Stop blaming age.
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Ahem. There were several trans women who worked at the BBC as well- one I remember winning many awards for her scores back in the day? Name escapes me.
But for John Cleese to say he was ignorant of the Goon Show strains credulity.
The Goon Show, first on radio in the 1950s and then on television in the 1960s was very influential on young persons then growing up, and also on the later British comedy shows such as Monty Python.
It was also of interest in having two transsexual persons in the crew. 
The musical director was Wally Stott, who in the mid 1970s would become Angela Morley.
The puppets for the Telegoons were designed by Eric Rutherford who became Erica about the same time.
——///////—-/
Anyone on Twitter interested in posting this article above to him and reporting back if he responds?
Quite a career!
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Well, unfuck John Cleese too, then.
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At best, JAQing.
Gilliam’s already shown himself as an asshole, this isn’t really a surprise from the pompous Python.
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He resigned because he could not tolerate being subjected to harassment? Seriously? That is some serious privilege blindness there!
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