a spoiler warning!

Question Extravaganza Blog #2

Hi there! Remember, back in December, when we had an “End-of-the-year Question Extravaganza Blog”? And how there was going to be a second part? Well, FINALLY, here it is! Round two of our answers to the questions that you sent to us via Twitter, so long ago.

Who’s playing this time:

Tom – Localization Producer

Brittany – Localization Producer

Junpei – Assistant Product Manager/XSEED’s Garbage Disposal

Ryan – Localization Lead

Nick – Localization Editor

Alyssa – Product Associate

Liz – QA Tester

Danielle – QA Tester

WARNING: Spoiler alert, just in case! And maybe some language.


Question: which character from Senran Kagura New Wave would you most like to see become playable in a future game


There are so many! Kasumi, Kumi, Fuga, and Bashou
    Kasumi - shy girl that can code her way into your heart? aw yuss.
    Kumi - ngl I like foxes. I’m also hella curious what her animations would look like…
    Fuga - dude it’s fireworks coming from a shamisen who doesn’t wanna SEE THAT. AND THOSE PLATFORMS. DAMN.
    Bashou - paintbrushes: creation, destruction, or the beauty that comes from their combination? tune in next time on quiet girls that can artfully kill you


Fuga. I’ve loved her design ever since I first saw it and I’ve actually begged Takaki-san in person to put her in one of the core games.


Picking just one is hard, so these are the ones are the top of my list:

Meimei – She fights by throwing bombs shaped like steam buns. Just. Yes.

Ukyou – For some reason, I really like the idea of a machine gun shaped like a bass guitar. She’s also a cutie, I like her design.

Seimei – I like the fact that she rocks pajamas. I wish I could wear pajamas all the time…

Question: What is your most favorite game that you have localized And why?


Trails of Cold Steel II. I cried so much while working on it, haha. It was the game that made me feel like I was really growing up as a writer, and I was so proud of the effort I put into that during every step of the process. Everyone knows I love the series, but for now, that game has a particularly strong place in my heart because I feel like I grew as a person together with those in Class VII (is this too cheesy? lol).


Definitely the EDF series. I’ve been a big fan of the series since the first EDF came out in Japan, but also I learned a lot from the producer and the dev team. It was a very exciting to work on, and luckily, EDF2: Invaders from Planet Space was selected as a D.I.C.E  Award nominee.

Also, Touhou: Scarlet Curiosity was a favorite, too. The game is very fun and pretty. I didn’t really know about the Touhou series at first, but this was a good title for Touhou beginners like me to learn what Touhou is. The dev team is very passionate and professional. I was always impressed by them while working on this.


I have a few personal favorites: Estival Versus because I love the character banter, Deep Crimson for the same reason, and Suikoden V because it was my first real localization project and I still have a soft spot for it.


I have a soft spot for Ys: Memories of Celceta. It was published before I started working here, but was the first XSEED game that I played.

Even though we didn’t really localize it (just published it physically), I’m a big fan of Shantae: Half-Genie Hero. Working with WayForward was an absolute treat and I’m so glad that we have a chance to do something with them.


I think anyone who knows me knows my answer to this, but in case you don’t: RETURN TO POPOLOCROIS, BABY!! ;) The very first game script I ever translated was part of the script to PopoloCrois Story II on the PS1, which I translated in play-script format and uploaded to GameFAQs as a translation guide. After that, the very next thing I translated was all 51 episodes of the two existing PopoloCrois anime. I am a PopoloCrois super-fan, and when the opportunity came along to work on a PopoloCrois game, to say I was ecstatic would be an understatement. Getting to officially write English dialogue for Prince Pietro Pakapuka, Narcia the forest witch, the White Knight, and the GamiGami Devil was an absolutely amazing experience, and getting to sit in on voiceover sessions and help shape the way they sounded in English was the icing on the cake.

Corpse Party is a close second, though, because I was able to get much more graphic than I’m used to, and it was a bizarre amount of fun describing some of the most horrible acts of mutilation and torture imaginable. It was weird working on Corpse Party and Fishing Resort at the same time, as I had to keep stopping myself from inserting extremely graphic language into the Fishing Resort script.

And Akiba’s Trip: Undead & Undressed gets an honorable mention, as the three weeks spent in voice-recording for that game may be the most fun I’ve had in my seven years at XSEED.

Question: Where do you face the most unexpected challenges during the localization process?


The thing about unexpected challenges is that they’re…well, unexpected. The things we run into the most frequently are things we know to be watchful for based on past experience (which is why we usually catch the major stuff). A good example of an “unexpected challenge” would be realizing partway in that we don’t actually have all the text files for the game, even though the developer said they gave us everything. Working on games that are still in production also has the tendency to turn up a lot of unexpected issues, particularly when the developers change things and neglect to mention that they were changed. If you learn that a localization was being worked on while a game was still in development, know that it was probably a huge headache for the translators and editors compared to working on something that has been finished and more or less finalized.

Sometimes it’s because there’s an honest mix-up and they thought they’d given us everything. Other times there’s a breakdown in communication along the way, as can occur when information has to pass through too many hands. So…ultimately, miscommunication is where we stand to face the most unexpected challenges. It varies from project to project, and we know to be mindful of it, but we can never fully predict when this sort of issue will pop up.

Originally posted by geekylaugifs

Question: Where do you try to draw the line between remaining loyal to the original and changing to fit the region you are localizing for?


Every editor will give you a different answer for this, so I can only speak personally, but here’s where I stand on this issue. When I localize a game, I absolutely want the intent of the original to come through. That’s what people are coming to the work for - what they want to experience. However, sometimes, truly conveying the spirit of the original work necessitates departing from the exact language of the original.

If one facet of my job is about accurately conveying information and character relationships, another facet is to ensure people who buy our games are entertained and engaged. That happens best with a script that feels fairly natural in its English phrasing. A quick example is how, if you listen to people converse, most people make frequent use of contractions. They’re a natural linguistic shorthand for English, so it feels natural to make broad use of them in character dialogue. But I often see dialogue written without them (like, where it doesn’t strike me as an intentional editorial choice). Without contractions, at the most basic level, you’ll get dialogue that sounds wooden and has less flow to it (Tom and I often compare it to the speaking style of Data, from Star Trek: TNG), but in some cases, using or not using contractions can subtly alter the way we perceive a line, especially if there’s no voice-over to clue us in. “I cannot believe he said that about me” carries a bit more of a testy tone than “I can’t believe he said that about me.”

There are also cultural differences that, when translated over on a 1:1 basis, won’t elicit the same response from an international audience, so some tweaking is necessary to make sure Western players of a game experience enjoyment similar to what Japanese players would’ve felt. This is admittedly a touchy issue, since a lot of this involves getting a good feel for the characters’ personalities, and so is inevitably colored by an editor’s own interpretations of them. In a blog I wrote before the first Trails of Cold Steel was released, I laid out some cases where I basically felt that the characterizations provided in some places by the original script were lacking, so Kris and I embarked on a mission to strengthen characterization not through any sweeping gestures, but just by bringing certain traits more clearly to the fore in scenes specific characters were in. It’s something you might notice if you had the Japanese and English scripts side by side, but it never stood out to most players, and from anecdotal accounts I’ve read many places online, I think this initiative of ours was very successful. Certainly, I think it brought a lot to Rean’s character in particular.

Ultimately, I want a localization to keep all the information the original script gave, but sometimes I re-frame how that information is conveyed because I value entertaining/engaging writing and want our games to feel, as much as possible, like the English scripts could just as well have been the original scripts.

“So, where do I draw the line? As someone who always wants to push for better writing, I generally won’t make an edit - even if it would sound great - that would result in dropping factual information conveyed by the original. Not necessarily on a line-by-line basis, but definitely on a scene-by-scene basis. Ultimately, I want a localization to keep all the information the original script gave, but sometimes I re-frame how that information is conveyed because I value entertaining/engaging writing and want our games to feel, as much as possible, like the English scripts could just as well have been the original scripts.”


This question is too broad and no one should have one answer for it. It depends on the game itself, the context, the importance of the topic in question in the scope of the story, the emotional impact it’s supposed to make. The most generic answer I can give is that we should always remain loyal to the spirit/intent of the original game, and if anything comes under question, we should consult the dev team and get their perspective on it.

I guess an example that’s happened a few times throughout Trails is one where Japanese honorifics are dropped as people become closer. A big deal is made out of it, but that sort of thing doesn’t exist in English. At the same time, there’s no reason to force it in the English version because the name-dropping isn’t necessarily the focus–it’s the result of characters becoming closer. The intent is the bond, and as long as you write the scene so that English players understand these characters have become closer thanks to what’s going on, then I believe we’re still loyal to the Japanese while still properly localizing the scene.

Question: outside of trails in the sky sc what was the hardest game to work on you’ve released?


It’s a toss-up between Unchained Blades and Rune Factory 4. RF4 was a joy to work on because I’m a big fan of the series, but it also contains so many complex algorithms that even the Japanese version of the game occasionally had random bugs that just couldn’t be reproduced. Those were everywhere during QA, and then we also had had all that text that needed to be checked for context…

Unchained Blades is far shorter with less text, but it was plagued with bugs during QA to the point where I once ran to the bathroom to cry from losing my save data for the umpteenth time. We had no debug mode for that one, either, so anything I had to test, it had to be done by playing through like a normal player. Hopefully the effort was worth it. I don’t think I’ve ever heard of players experiencing the issues on that game that I had!


Probably Fate/EXTELLA, which had a lengthy, lore-heavy script with a long history behind it, plus a writing style that was both abstractly poetic and strictly technical.


I would say the Story of Seasons series, mostly because of the sheer volume of text and variables to test.

Question: which sort of cultural references do you try to keep rather than rewriting for localization?


Generally, all of them. It’s always better to keep a reference, and just maybe insert a brief explanation, than to get rid of it. People who play our games know that they’re playing Japanese games, so I figure, why try to disguise the Japaneseness of them? Better to celebrate it.


Depends on the medium and context. Fate, in general, is known in part for drawing lore from all over the world, so we did our best to keep its references to world history and literature intact. Akiba’s Trip was chock full of Japanese-language anime references, some of which had only unofficial translations, so we did our best to cobble together appropriate translations from Japanese and English fan sites. SENRAN KAGURA drops references to well-known anime now and again, well-known enough that we can keep them intact, with an English take on their wordplay (such as when Katsuragi’s play on “a great era of sexual harassment,” referring to the “great era of piracy” from One Piece, became “a great invasion of privacy.”) Occasionally, we’ll run across Japanese proverbs that don’t have direct translations, so we’ll do our best to find English proverbs or wordplay that match the general sentiment of the original.

Question: What was the situation in a game that gave you trouble? Joke? A conversation? Interactions? Items? Names? Tell us the worse!


Shiawase no Sachiko, in Corpse Party. To this day, I’m still not 100% satisfied with my translation there.

See, in the Japanese, there’s supposed to be a distinction between 幸せのサチコ (“Shiawase no Sachiko”), which roughly translates to “Happy Sachiko,” and 死合わせのサチコ (a different way of writing “Shiawase no Sachiko”), which roughly translates to “Sachiko Aligned with Death.”

The English I came up with for this is “Sachiko Ever After” vs. “Sachiko in the Everafter.” And even that vaguely acceptable solution took far, FAR too long to come up with.

Sometimes, Japanese linguistic references are just really tough to work with!


The first example that comes to mind is a certain “My Room” conversation from Fate/EXTELLA, where Nero and the Master have a back-and-forth conversation about different kinds of bathing. The original Japanese script had an entire conversation tree about misreadings of kanji, which had no direct translation. This is one of those rare times where we were tempted to, as we sometimes call it, “Go full Samurai Pizza Cats,” after the old anime dub where the American dub team never received the original script and had to make up a whole new one, but we stuck with it, and eventually came up with some reasonably close wordplay in English.

Question: Do you have friends in other localization teams/companies? What could you learn from them? Do you reach out to them?


I’d love to hang out with some of the localization people I’ve interacted with via Twitter, because I’m actually pretty ignorant of what goes on in other companies. I’m pretty much XSEED only, but I’d love to learn the process in other places or just bond with others who do the same work that I do.


Absolutely! Other companies are “competition” to an extent, but they’re also colleagues, and we’ve met with people from numerous other nearby companies for lunch, karaoke, etc. many times since I’ve been working here at XSEED. I don’t know that we really learn much from them, nor they from us, but we always “talk shop” when we meet up, discussing localization challenges we’ve faced, fun stuff we’ve done recently, etc. It’s just good to sometimes talk with other people who fully understand what we do.


We’re good friends with the Aksys team down the street, a lot of our staff have Atlus experience, and most of the original senior staff came from Square-Enix. For Fate/EXTELLA, the Aksys guys were kind enough to share their notes and script from Fate/EXTRA as references. One of the best bits of advice I can give people looking for work in the industry is “Make friends wherever you go,” and that’s as true once you’re in as it is when you’re getting started.

anonymous asked:

in which they are greek gods?

So I’m guessing we’re doing this American Gods style, where the characters ARE gods but… kind of like just local variations of a god. (So like… and insert spoiler warning here… Mr. Wednesday IS Odin, but Odin isn’t Mr. Wednesday.)

  • Knowing the circumstances and the limits that presenting as a woman would have placed on her, it’s understandable why Nemesis, goddess of retribution chose a male body. As a police officer she’s free to rain down her rigid idea of justice on humanity.
  • Rhea, titaness of motherhood, fertility and the wilderness is feeling weaker and sicker by the day. Not only do people not believe in her anymore, they are taming and destroying her lands quicker and quicker. She’s now confined to the body of a sickly factory worker. 
  • Cosette is a nymph. This whole rapidly accelerating industrialisation business doesn’t sit well with her at all, but she’s determined to make the most of the XIXth century and enjoy herself as much as she can. She finds refuge in cultivating her little garden and taking long walks in parks.
  • Apollon of course has to be the Prettiest, so he adapts to the beauty ideal of the day, which entails perfect, dark curls and uh… passionate nostrils? Mortals are weird. People invoke him enough times in art and poetry for him to get by, but it’s nowhere near his former popularity. This has been a huge blow on his confidence, he has become positively shy. He’s not very good at playing a collage student, as he’d rather spend his time playing his lyre and sighing at the clouds. One thing that didn’t change since the olden days though, is that he’s still a jealous lover.
  • Teutates has no idea why Dionysos latched himself on to him and his band of Gaulish gods. Belenos (a god of healing) suggests that he may have initially mistaken him - Teutates that is - for Apollon, thanks to the body he chose this time… which still doesn’t explain why he stuck around after realising this. Ah well. The others get along with Dionysos well enough and Teutates has more important things on his mind. He has a tribe - a county - to look out for.
Titus Drautos (1/3)

Let’s tackle the captain of the Kingsglaive, Titus Drautos! (This is the last character I want to analyse, just letting you know.)
This character will be picked apart in three parts (just like Lib): First impression of the character, Glauca’s appearance and the final reveal.


Just saying.

“As captain of the Kingsglaive, Drautos holds his soldiers to the same unforgiving high standards to which he holds himself and trained Nyx in the art of combat. His respect can only be earned with blood, sweat and tears.”

Keep reading


Hello guys, and today I’m here with a Theory, that might blow your mind. Info-chan (Yandere Simulator) has been 707 (Mystic Messenger) all. along. Don’t believe me? Here’s proof! 

1. So, i bet alots of people will think “but Seven is a boy???” well my dear friend, according to THIS picture, it seems like 707 has been crossdressing, so it IS possible for him to be info-chan.

Still don’t believe me? Dun worry, there’s alots of more!!!

2. OK BUT- just look at them! ThEY LoOK ExACtlY The SAme!!!  They both have red hair, and glasses!! Just look at them and tell me this isn’t the same person!



3. Now, if this isn’t the most obvious thing- they’re both into hacking and stuff!!! I don’t think i need to explain why I think so, I’m sure everyone who has played Yandere Sim and MM would have pointed it out… not to forget that ACCORDING TO THIS PICTURE info-chan is obsessed WITH MEMES JUST LIKE SEVEN:

(picture belongs to @ask-yanderesim , check them out, they have some really cool stuff!)

Welp, I hope you’re convinced.

Be sure to keep up with my blog, for my next Theory- GRELL SUTCLIFF IS SEVENS FATHER


Hermione Granger x Pansy Parkinson
Warnings:  HP spoilers

Pansy Parkinson felt lonely.
And she never thought she actually would be.


After the war, there was a small percentage of students returning to Hogwarts to finish their schooling. Pansy Parkinson, Draco Malfoy, and The Golden Trio were some of them.

It was mid-September when Pansy realized Draco wanted absolutely nothing to do with her. She had tried, for days, weeks. Poured her effort into a friendship that had developed into being tragically one-sided. A relationship that was probably damned from the start.

And when Draco began dating Harry Potter, it was if Pansy has never even existed to him at all.

That’s when the loneliness began to settle in her chest - like a helpless man trapped in quicksand.


By the end of September, the staff at Hogwarts decided that because of the underwhelming number of students attending school this year, all four houses would be bunking together, additionally to provide a sense of closeness and house unity.

Pansy considered it a bad omen when she was placed in a dorm with Hermione Granger - and only Hermione Granger. 

The two girls completely ignored each other for five days.


The thing that had finally caused a conversation between Pansy and Hermione had been, interestingly enough, literature.

Pansy had been sprawled across her bed, laying on her stomach, quill scratching against parchment for a Transfiguration essay with an approaching deadline.

The Great Gatsby?” Hermione suddenly blurted out from her side of the dormitory, causing Pansy’s head to snap up, her short hair brushing alongside her neck.

“What?” she said, peering at the bushy-haired girl across the room.

“You’ve read The Great Gatsby?” Hermione reiterated, bobbing her head toward the old paperback resting on Pansy’s bedside table.

“Oh,” Pansy said, glancing at the book before turning back to Hermione. “Yeah. I think it’s the best book ever written - that I’ve yet to read.”

“Really?” Pansy found Hermione’s surprise a bit amusing. The dark-skinned Gryffindor pushed herself up on her own bed and folded her legs underneath herself. “I wouldn’t say it’s the best, but easily in my top fifteen.”

Pansy couldn’t stop the smile from creeping onto her lips. “Top fifteen? You’re insane, Granger.” She sat up and pushed her essay aside.

“I’m not insane, I just like books,” Hermione said, pushing a strand of brown hair out of her face. “And apparently you do too.”

Then they talked about books, amongst other things, into the night.

That’s how the two formerly opposing roommates became an unlikely pair of friends.


Pansy eventually opened up to Hermione about all her regrets. How she felt it wasn’t fair - it wasn’t fair that Draco had seemed to be completely forgiven by almost everyone - and she had received the short end of the stick.

It had always been hard for Pansy to communicate her true thoughts and feelings - but Hermione had managed to draw it all out of her.

And Pansy was trying to convince herself that she wasn’t developing feelings for her.

But it was so damn hard - Pansy was enthralled by so many aspects of Hermione Granger. 

The way she would gently bite her lip as she diligently completed her homework. The way her bushy hair would bounce as she walked across the room. Her utter fascination with books, and her constant push for Pansy to read all of her favorites. The way she would pour her heart into things she felt passionate about.

The way she had forgiven Pansy for who she used to be.


Pansy decided to do it one cold winter afternoon.

She was going to kiss her.

She didn’t know how; she didn’t know when. But she wanted, no, needed to do it.

And it was rushed and sloppy, the way that it happened.

Hermione was slightly bent over Pansy’s sharp shoulder as she explained a potion they had to make for class. Pansy’s pale fingers clutched the duvet of her bed as she watched Hermione’s lips move, bend, curve, press -

She leaned over suddenly and kissed Hermione hard on the mouth.

And she felt the other girl’s surprise, and worried for a moment that she had made a huge mistake. Ready to apologize, Pansy started to pull away -

But Hermione grabbed both sides of her face and kissed her back, even harder. Pansy grinned against Hermione’s silky lips.

After all, Slytherins have always had a knack for getting what they want.


After speaking to Hermione in depth about it all over several weeks, Pansy was finally convinced to do the thing she had been itching to do every since they all returned to Hogwarts.

It was a Wednesday, and Pansy had approached Draco and Harry at their spot in the Great Hall, an encouraging Hermione watching from not too far away.

“Hey,” she said hesitantly, glancing between the two boys. “Can I talk to you for a minute?”

Draco blinked at her, and then cleared his throat and abruptly stood up. “Yeah, sure. I -”

“Sorry, not you,” Pansy blurted, not actually meaning to sound so rude. “I meant Harry.”

Harry looked surprised as he stared at her, but nevertheless obliged right away. “Alright,” he said, placing his left hand on Draco’s shoulder as he stood up. The blonde boy sat down slowly, all whilst looking at Pansy as if she had sprouted an extra head.

Harry followed Pansy around the corner and out of the Great Hall, and she could feel Draco’s eyes digging into her back like sharpened daggers.

“What’s up, Parkinson?” Harry asked, crossing his arms over his chest and peering at her with his emerald green eyes.

“I just wanted to say-” she began, before realizing how difficult it was to actually say the words. “Erm, I, um…”

Harry Potter grinned at her, and she couldn’t help but envy his easiness around everyone, even her. His smile did seem to put her a bit more at ease - maybe it was contagious.

Pansy pressed her lips together and returned the grin. “I wanted to apologize. For everything I did, how I acted before the war. I just feel horrible about who I was. And, um-”

She began to get flustered, so naturally her fingers brushed through her thick hair. She just had the words a moment ago, but they had managed to fall into some abyss, unreachable.

Harry sensed it. “It’s okay, Pansy.” That stupid, effortless grin was still strewn across his face, but this time Pansy could tell it was wider.

“But it’s not,” she said. I almost turned you over to…”

She couldn’t finish the sentence.

“Really, it’s fine,” Harry reiterated, uncrossing his arms. “I forgive you.”

She had never heard those words before. They echoed in her ears for a moment, and she felt like a weight had lifted off of her shoulders. Her slightly chapped lips cracked into a smile as she replied, “Thank you. That means a lot.”

“Of course,” Harry said. “And, if it means anything, I’m really glad you’re with Hermione.”

Pansy’s grin grew for miles.


They were intertwined.

Figuratively, and, quite literally, as Hermione’s head rested comfortably on Pansy’s chest, their ankle bones clashing as their feet twisted together underneath the cotton sheets of Pansy’s bed. A low-hummed song was pouring from Hermione’s lips, and Pansy was inhaling the sweet scent of her hair.

Pansy’s fingers trailed lightly up and down Hermione’s arm, and she could feel the goosebumps protruding from her skin.

Even Pansy wasn’t expecting the words to fall off her lips.

“I think I’m in love with you.”

A stifling silence filled the room then, as Hermione abruptly stopped humming. Pansy’s fingers lingered over one section of Hermione’s arm as she realized what she just said out loud.

“Really?” Hermione whispered, barely audible.

Pansy swallowed. “Yeah. I, uh, I didn’t mean to say it right then and there, but… I meant it.”

Hermione turned her head to look at her then, and Pansy’s chest filled with relief as she saw the enormous smile on her love’s face.

“You’re a dork,” Hermione said, smile not fading in the slightest.

Pansy knew that was just as good as I love you too.

starrypawz replied to your photoset: Action couple, striking a pose.

i won’t be able to play me: andromeda for ages so can you tell me stuff about vetra’s romance?

Sure! It’s actually quite a slow burn compared to, as far as I can tell, literally every other romance. So I haven’t technically started the romance yet. Just lots of flirting so far. Once I get through the whole thing, I’ll be sure to write up a proper post (including appropriate spoiler warnings and such).

mrinsanity25  asked:

Hello, sorry to bother you but I feel like if anyone would know, you might. Also, I'm assuming you beat ToB, so spoilers if you didn't. Do you know if Eleanor could still fight daemons after the end of Berseria? From what I could tell, she could still see daemons and malakhim afterward, but I don't know if she could fight daemons since she would need a pact with a malak and I assume her pact with Laphicet broke after he became Maotelus. Thank you for taking the time to read this.

honestly someone please correct me if im wrong because as much as i love berseria its lore is still tied to zestiria’s and zestiria’s lore is inherently a mess

also berseria spoilers warning

i absolutely believe that eleanor would continue to fight after the game. she has the resonance that so few people have anymore now that the four elementals are awake, and she would want to make use of it to help people in every way she could. actually, my own personal headcanon is that eventually, she becomes known as the second shepherd after artorius. (note how eleanor’s glove is its own unique style, which is THE EXACT SAME STYLE OF SOREY’S SHEPHERD GLOVE 1000 YEARS LATER. she totally passes her gloves down and they become symbolic of the title in the future dont @ me.)

point taken about how laphicet becoming maotelus probably means eleanor’s an empty vessel immediately postgame, but honestly, she could probably just find new malakhim. im sure there are some who would be willing to help her, especially since she knows better than to treat them as objects now, and she very clearly has a goal and the determination to see it through. having once been vessel to the new fifth empyrean probably helps her rap sheet too.

hell, if nothing else, bienfu and magilou could introduce her to a normin pal or two.

rogue one did a lot of things i never thought they’d let a star wars movie do, in terms of: being a movie about Sacrifice and what that means and also

letting people into the club. 

like, rogue one opens star wars to people in a way i wasn’t expecting. american voices and american accents are not nearly so prominent in this movie in way i’ve never seen before in a work of science fiction– diego luna and donnie yen and jiang wen all speak english and they also speak it with their accents and there’s something to that, that opens ownership and possession and interaction with this movie to people who don’t speak english natively.  

and so much of the plot, the thrust, of this movie focuses on 

fathers and daughters in a way that left me just breathless. motherhood is still essentially absent in this movie, but

opening star wars to women who feel themselves as daughters feels so big to me, as someone who loved and loves star wars with her dad, this was so validating

and also: rogue one gives a view into the rebellion as a military network; cassian andor is a soldier and a spy and he knows soldiers and spies and he does things, terrible things, in the name of the rebellion, because war makes you do terrible, ugly, violent things in the name of things you believe in. there’s a very real weight to the violence that happens in rogue one that meant So much to me. living your politics means sacrifice in such a big way in rogue one, and it opens the narrative of loss in force awakens so much more clearly. leia and han falling apart makes so much more sense now

but just also

rogue one is a movie about hope. and i mean that, not in some corny cheesey way but in a Real! Tangible! way. and because rogue one is a movie about hope, it’s a movie about sacrifice. 


it is an audacious, beautiful thing and 

it is a thing about hope.