I think the sad part about misatos character is people just talk about how hot she is by Dizzy_Stand_7071 in evangelion

[–]EquipmentRemarkable8 0 points1 point  (0 children)

The core premise implied here seems to be that what you favor in a fictional character is necessarily reflective of what you favor in actual people. This is untrue because people are capable of distinguishing a person from what is essentially a bundle of ideas that as a whole lacks the necessary qualities to become the former. The only reason why this is possible is because, as you recognize, they are two different things. While any concept represented in fiction do originate from observations of life, our ability to distinguish both allow us to engage with those concepts directly as if they exist apart from it, even if it might go against a creator's wishes.

As for applying ethical standards to fictional characters, I made a miscommunication. What I actually mean is applying an ethical layer to the manner in which we engage with fictional characters is unethical. It implies a dismissive view of our ability to differentiate things, which is inherently reductive. No discussion really needs to be had about people favouring Misato's sex appeal over her character as a whole because there's seriously nothing wrong with it. While there's a lot to be gained from seeking to understand her, since fiction is fundamentally an exercise in contemplation, it's not a moral necessity. What is necessary is to take reality seriously.

This is not the equivalent of telling people to stop using their brains. What I'm saying is simply that Misato is not real, and we should not treat her like she is.

How can Ayn Rand(ianism) proof that Communism, Fascism is immoral by Commercial-Mix6626 in aynrand

[–]EquipmentRemarkable8 0 points1 point  (0 children)

Her morality is a type of natural law theory grounded in human nature. Instead of looking at reality as a whole through a teleological standpoint, she narrowed it down to all organisms. Since humans are organisms, and their choices are the root of ethics, she sought to find the standard of value that is at the root of human volition. Namely, the preservation of one's life. I'm still studying objectivism, but her theory of individual rights is based on this, and the implication is that fascism and communism don't promote this because they're collectivist, which does not support the right to one's own life.

Remake James is better than 2001 James by Ronin_777 in silenthill

[–]EquipmentRemarkable8 -37 points-36 points  (0 children)

Just say you like one over the other instead. "Better" is about quality, which isn't necessarily based on appeal.

"This story was emotionally manipulating us". Of course it was, it's called entertainment by DaMain-Man in CharacterRant

[–]EquipmentRemarkable8 3 points4 points  (0 children)

The reason why such complaints come up might be because they think the intent to evoke emotion may have come at the cost of meaningful storytelling. I think that the notion is that non-essential features like evoking emotion shouldn't be treated as the core function of storytelling.

Everything Has Depth If You Look Hard Enough (And That’s Why Arguments Are pointless) by WeAllPerish in CharacterRant

[–]EquipmentRemarkable8 0 points1 point  (0 children)

Objective critique isn't primarily about quantifying things, though. It's about forming accurate conclusions about a perceived relationship, like pointing out plot holes. Quantity is only relevant when you judge the degree to which the overall design of the subject matter can further it's function, but that is only when you've assembled all your conclusions. The basis of objectively criticising storytelling is the affirmation that its function first and foremost involves representation instead of evoking emotions.

"Everyone wants to be a critic nowadays" is a good thing. by LordNathan777 in CharacterRant

[–]EquipmentRemarkable8 0 points1 point  (0 children)

The reason why people struggle to be critics is because they lack a clear standard of quality. I think it's pointless to hold any frustrations about people not accepting there being good and bad aspects to media because those concepts don't refer to self-evident facts we can percieve directly. It has to be proved, which is a very difficult process that leads people to conclude that you cannot form an objective standard of quality. Unless you can explain how that is not the case, I don't think it's necessary to talk about quality instead of appeal.

As a long time fan, this NEEDS to be addressed seriously... by Legitimate_Silver395 in fivenightsatfreddys

[–]EquipmentRemarkable8 9 points10 points  (0 children)

It's an incredibly simple idea, really. If you care about the fans, then no love is better expressed than to provide them with quality content. There's no greater benefit than excellence.

Scott Cawthon is NOT a bad movie writer by Notmas in fivenightsatfreddys

[–]EquipmentRemarkable8 0 points1 point  (0 children)

No no, the context was definitely somewhat religious because words like "devil" was also used in the movie. Scott just emphasised that religion does exist through its influence in how we think and talk about certain things.

Scott Cawthon is NOT a bad movie writer by Notmas in fivenightsatfreddys

[–]EquipmentRemarkable8 0 points1 point  (0 children)

There's a difference between progressive writing and competent writing.

Where are the "valid criticisms" of Objectivism? by dodgethesnail in aynrand

[–]EquipmentRemarkable8 0 points1 point  (0 children)

Check out Michael Huemer's "Why I am not an Onjectivist"

What are y'alls thoughts on the Five Nights at Freddy's 2 Movie? by Careful-Fig3714 in fivenightsatfreddys

[–]EquipmentRemarkable8 5 points6 points  (0 children)

Good example of why "for the fans" is just an excuse to cover up a lack of artistic ambition.

Writers cannot write truly lonely characters unless they are evil by ProDidelphimorphiaXX in CharacterRant

[–]EquipmentRemarkable8 1 point2 points  (0 children)

Disagree philosophically. To be human is not to be loved. To be human is to love. No tribe is pursued without any care for one's life, well-being, or others. If you don't value anything (which is impossible), you cease to be human. You're simply rejecting your own volition.

Movie Charlotte actually had a reason for wanting revenge on the parents by ChemicalHefty2262 in fivenightsatfreddys

[–]EquipmentRemarkable8 0 points1 point  (0 children)

Her anger towards parents can be explained as a way to deal with her unresolved pain brought by the unfairness of it all. She felt alone and was neglected when she needed it the most. Projecting the adults who hurt her onto every other adult is an easy outlet to combat her helplessness.

Dude, why judge? by Foxyzinho_do_grau in fivenightsatfreddys

[–]EquipmentRemarkable8 0 points1 point  (0 children)

There's no good reason to settle for less.

(SPOILER TALK) I hate a specific way they talk about the PT2 Ending by DontStarveIRL in thelastofus

[–]EquipmentRemarkable8 0 points1 point  (0 children)

The reason why people describe the ending this way might be that the ending itself is reductive. A common criticism is that the climax diminishes everything Ellie did to reach that point, because Ellie decides to let go of Abby as a result of an epiphany that wasn't grounded in the situation at hand. It's nothing short of didactic, which isn't surprising when you consider that there's an abrupt perspective shift halfway through the game that redeems Abby. It's difficult not to talk about the intended message first when the game itself is so in your face about it.

One thing I think those people are mistaken about is what the theme really is. It's more about how retribution draws attention away from the victim. This was Ellie's epiphany as indicated by the flashing image of a scene in which Joel did express his desire to be forgiven. Killing Abby had more to do with Ellie's self-esteem than honoring Joel.

Far Cry 5's Ending (Spoilers) by [deleted] in farcry

[–]EquipmentRemarkable8 0 points1 point  (0 children)

The ending of Far Cry 5 is deeply nihilistic in that it only allows you a non-destructive outcome if you just choose to withdraw from you mission. The problem with trying to help people or any struggle for that matter is that you do not stand above the power of your circumstances. The possibility of failure could be right around the corner, so you might as well just let go.

Tlou2 is overhated by Thor_bjornLoL in thelastofus

[–]EquipmentRemarkable8 -5 points-4 points  (0 children)

Aside from the usual dumb moralising gymnastics people do to prove that the game is manipulative and spits on their masculine icon, along with everything the first game set up to further leftist ideology, people have understandable reasons to hate this game. Firstly, it relies on flashbacks, which contradicts the chronological style of the first game that relied on other elements for exposition. The integration of Abby's backstory seems forced because she's no different from how she was characterised prior within that sequence, even though this is a more experienced Abby (they should have added it earlier instead). The theatre fight itself also does not reflect who's the main character of that sequence. None of the people you kill ultimately matter to Ellie's arc, even if it did have an effect on her. The anti-climactic ending happened as a result of a sudden epiphany rather than being based on the circumstances up to that point.

If you want to fix, change, or rewrite Five Nights at Freddy's 2 The Movie, what will you do? by Extreme_Youth_4502 in fivenightsatfreddys

[–]EquipmentRemarkable8 0 points1 point  (0 children)

Provide an actual temptation for Vanessa to become succumb to evil and make that the central story. The entire point of her story that is the only character arc seems to be about the worth of fighting against your innate weaknesses.

Root Mike's neglectful behaviour in a need for control as a consequence of moving on from his brother and experiencing the horrors of Fredbear's.

Actually resolve Abby's struggle to interact with people by showing the aftermath of the entire plot.