Chapter One of Dreamfall Chapters was first released in 2014. Development of the game officially began in 2013, after the developer’s Kickstarter was fully funded, and the story was based on ideas that were first kicking around since the original Dreamfall: The Longest Journey’s 2007 release, or maybe even 1999 when the first game in the series, titled simply The Longest Journey, was first published. And yet, as I replayed the game earlier this month, the game felt very specifically about another year entirely: this one, 2016. While I can say with a fairly high level of confidence that Ragnar Tørnquist and the other fine people at Red Thread Games were not in possession of a time window into this year, and that they were not attempting to write specifically about the latest U.S. presidential election, the game, mixing together cyberpunk (via the future Earth called Stark) and fantasy (in the magical world of Arcadia) invokes the past and future to say a whole lot about now.
Dreamfall Chapters mainly follows two characters, Zoë Castillo and Kian Alvane, who are both on journeys that began during the first Dreamfall. Zoë, from Stark, is a college dropout who is now attempting to put her life back together after she spent a week successfully stopping a corporate conspiracy and getting a year-long coma and amnesia for her trouble. Kian Alvane, from Arcadia, is a former Apostle (read: faith-based assassin) for the Azadi Empire, until a chance encounter led him to doubt his faith and mission, eventually resulting in him defying his masters’ orders and getting branded a traitor and arrested. Also, he is gay, which I mention because it is awesome.
It is through Kian and Zoë’s eyes that we experience two very personal stories about, faith, renewal, acceptance, denial, and talking birds. It is also a story about change, and how it can come about in very sudden, scary—but not necessarily unpredictable or surprising—ways.
Note: Spoilers Below
Dreamfall Chapters is huge. Too huge, really: it’s the finale to a story to a game released ten years ago, dealing with plot points and characters from a game released in 1999, featuring three worlds (or more, depending on how you count), two cities, four protagonists, and the answers (or simply answers) to a million different mysteries. It’s a story about life, death, rebirth, dreams, identity, depression, growing up, relationships, addiction, conquest, colonialism, politics, passion, genocide, racism, complacency, sisterhood, guilt, redemption and whatever other theme you’d care to find. That developer Red Thread’s scant resources are just about enough to give us the stage play version of events, and to do so fairly well, speaks highly of their commitment and passion. And yet, it’s still the stage play version of events: think the original Star Wars, with the camera never leaving the Death Star. While its world is technically larger than its predecessors’ it feels like it should be larger still, and that it isn’t is behind many of its issues.
Because the one thing you must absolutely do immediately after saving the world is to take pictures of your accomplishment. I’ve already defeated Omega, so now it’s time to see if my plucky band of girls (plus the token boy) can’t also defeat Shinryuu.
My third Four Job Fiesta, and my second victory. This time, I attempted a Random Run–you’re given jobs taken from a pool of all job choices, instead of just newly-available jobs–and while I enjoyed last year’s team more, this particular combination made the end game far less painful.
The stars aligned in 2002, and production began on a second Teenage Mutant Ninja Turtles animated series. Two things stood about about this effort at the time: 1) it would actually come to fruition, and 2) unlike the first cartoon, it planned to take many of its characters and storytelling beats directly from the Mirage comic books.
If there ever was an opportunity for April to appear with something resembling the look she sported through most of Mirage Volume 1–or as a Woman of Color, period–this was it. While the producers seemed to feel no particular need to adhere to characters’ comic book looks–as best seen in the Shredder, who now sports a full suit of armor–they also seemed to feel a certain commitment to racial diversity in the show, if the reversal of Baxter Stockman’s whitewashing and the various original characters of color introduced in that first season are any indication. If, like other people in the past, the showrunners saw Mirage April as a woman of color, it seems it seems reasonable to surmise that they would have at least been amenable to at least discussing the idea of depicting their version of our favorite gal-pal in a similar manner. The fact that the primary audience for this show would likely not be familiar with April from the original cartoon meant they could have done so with a minimum of uproar.
And yet, this didn’t happen, and there are several possible reasons why. It may be that, like many people, the producers at 4Kids never interpreted April as being anything other than a white woman. It might be that Peter Laird, who definitively sees April as a white woman, and who had something akin to a veto power when it came to the show, stepped in and insisted that the TV version follow suit–which frankly, I’m kind of okay with, being as he helped create her and all. It might be that the decision was made by people outside the creative circle. Or, in what seems to me the most unlikely possibility, given the show’s output, they might have interpreted Mirage April as a woman of color and consciously decided to whitewash her without requiring any additional input. I’ve asked Laird for context, but, unfortunately, he turned out to be less than forthcoming. Still, no matter the details, in the end, another generation grew up knowing that April O’Neil is white, making future interpretations where she isn’t even less likely.
Buoyed by the new interest in the turtles brought about by the cartoon and its merchandising tie-ins, Mirage decided to publish a second iteration of Tales of the TMNT as a companion to the Laird / Lawson TMNT Vol. 4. The second book, an anthology title featuring the work of several creators, hearkened back to the guest creator era, as various people put their stamp on the turtles, including some new faces like Tristan Huw Jones, who attempted to weave together several disparate plot strands into his own mini-universe within the universe. It was also the first time since 1992 that we’d see how Mirage April looked under different artists.
Hollywood loves a remake, and eventually a fourth TMNT film, titled simply TMNT and serving as a pseudo-sequel to the first three, was produced and released. Done entirely in CGI, it featured an April that was less Lois Lane and more Lara Croft, and was voiced by Sarah Michelle Gellar. While a success in some respects, it was not successful enough to merit follow-ups. It did, however, influence the larger turtles-verse, as various other incarnations would begin to draw from its visuals.
In 2009, Peter Laird, by then sole owner of the franchise, decided to sell the turtles to Viacom, and specifically, Nickelodeon. A new era was set to begin.
Publisher: Archie Comics
Script: Ian Flynn
Pencils: Jonathan Hill
Inks: Gary Martin
Colors: Matt Herms
Recommended Audiences: People who like the Young Justice cartoon and wish it looked more like Astro Boy.
Wherein Ian Delves Into Sexism in Media, OR Why the Pilot Episode of TMNT (2012) is Highly Problematic
(Content Note: Objectification of women. Abstract descriptions of racism, fat hatred, dehumanization. Words…so many words.)
So I wrote about my thoughts on the first two issues of Nickelodeon’s new Teenage Mutant Ninja Turtles show. Then I went to The Technodrome.com, home of the largest TMNT fan community on the web, and shared my opinions in their forums there, particularly those on how disappointed I was at what I considered their treatment of April O’Neil sexist.
The comments were not particularly well received. This was not particularly surprising.
As someone who’s been part of the board for years, my impression of the TMNT fandom as represented by the board—and people there can correct me if I’m wrong–is that when it comes to gender, a vocal plurality of the believes that the status quo is acceptable, that a work is not sexist if there’s at least one woman in it who is not “useless” and/or can kick ass in some way, and that it’s a subject that never needs to be brought up ever, lest Venus de Milo be suddenly legitimized as a character. Or something.
As a feminist, I disagree. As both a fan of the TMNT and someone who believes that sexism helps makes works worse than they would otherwise be, I have an interest in doing what I can to help make it not be that way anymore.
Fans of Konami’s Castlevania series know him as the series’ big bad, the man they must kill every hundred or so years lest he bring untold darkness upon the Transylvanian landscape. And yet, a look at the videogame franchise’s history will show that for an undead, soul-sucking monster, Mathias Cronqvist (a.k.a. Vlad Tepes, or most famously Dracula) might as well be a Flea Man for all the actual damage he does. If he wants to truly be something to be feared, he could stand to get some tips from some real world people…say, current Republican presidential candidate Mitt Romney.
Okay, so Romney wouldn’t suck the blood of innocents or personally kill anyone, nor would he mind-control people from beyond the grave in order to assure his resurrection. Still, given his history, character, and claims, it’s fair to say that were he to become president, he would cause a level of suffering ol’ Vlad could only dream of.