I'd hazard a guess, this is exactly what Our Artist really subtly hints us not to do - we shouldn't try to piece Miho together, He doesn't want the story to collapse under the weight of our expectations...


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I'd hazard a guess, this is exactly what Our Artist really subtly hints us not to do - we shouldn't try to piece Miho together, He doesn't want the story to collapse under the weight of our expectations...
Well sure, I certainly didn't intend to imply that Fred was being rambly / incoherent there.
How could we as audience ever be able beforehand to discern what things are going to end up like, what in story is there that lets us tell. (The meta, reading the author's mind a prior, is another matter, but seems always a losing game.) My belief has usually been that whatever answers we come up with should derive from story materials only, that if it isn't in story comic somewhere, it doesn't count. (Although not that everything in story comic has meaning and importance.) The only way to really know is for story to tell us via words or images. If it hasn't, in some way, there effectively is no answer yet. Until it's in a finalized/posted story comic, it isn't there; ideas and plans can and do change even during creation, certainly before.
That supposedly Miho is one and that it involves creating stories and emotions for audiences. Such as what happened with Erika's fans, and a number of times earlier on Miho apparently has emotions revitalize her, and the way people seem to be drawn into whatever sort of fictional orbits she creates here and there, Piro, Ping, Largo, Ed, etc.Again, after reading 1240 and its neighbors, what exactly do we know about "analogues" (actual concrete stuff, not fluff like "her character became far more real than she ever was")?
It didn't appear all that tipsy and rambling. Even if so, it seems all we can do is add anything in story that tends to support Miho as some sort of source of stories and the things that go along with stories. To look for things in story that tend to disprove that notion, and try and come up with another tentative explanation or definition when needed. Some answer anywhere from a force of nature that creates plots and characters and situations, or some female with a few powers, some illusions, and delusions of grandeur.Can we actually add anything specific to the lists of things "analogues" are or aren't, or can or can't do? Anything to distinguish what he's saying from tipsy rambling?
He's been staying on the outside of the more aggressive methods and goals of Sony and Sega, and he does appear (and maybe has mentioned) he's not so much a field operative as much as an executive or something, because, Nintendo. I think also Ed and/or Dom say they scared him out of play. Which I suppose then Miho's stories brought him back out, due to high stakes and that sort of thing. That's all a kind of personification of what the games are and that the people in the companies are like that too, so it's a pretty meta sort of thing, more playing with the tropes. (Like a lot of things, maybe not to take too seriously; Meimi and her striped bowl, origami-folded too-low bail, Largo attacking ravers or having his shoes blown off.)I don't know what exactly he's been doing in the "industry" these past few decades, but based on this bit (EDIT again I mean 1240 and friends) I'm leaning a lot more toward "ad copy" than "user manuals".
Yeah, except we have behind the scenes information, and have seen a number of other MT people's viewpoints and actions, and don't have access to pictures/chats on the laptop or all of the material Junko had Ping post. We're partial insiders.
Oh I'm not demanding let alone claiming ability to predict future developments; but as you read you build up a general impression of the character / plot device. My general impression of Ibara so far is that I'm not going to attach too much weight to what he says (especially about evidently key components like "analogues") until I get some kind of further confirmation in the strip (e.g. either someone else higher up on the "reliable observer" scale saying similar or at least non-contradictory things, or else Ibara doing something to suggest he's not as big a flake as I've so far thought him to be).
Hmm, if I am the only one seeing it that way I guess I better expand a little. (Alternatively if anyone got a coherent, lucid, operational understanding of "analogues" from Ibara in that scene I would be very interested in hearing about it.)It didn't appear all that tipsy and rambling.
Ok. Cool. Source of a story type. So, the source of a bunch of stories. Which is usually either another story, or else based in some (near or distant) way on folks/events that actually happened (strongly implied in the later pirate story with Kimiko that Tohya's situation is the latter). So this happens all the time (things being "sources of stories"), do they all get to be analogues? What makes analogues special if not? A "kid dying too young" is like literally 90% of human history, a guy gets married, she has a bunch of children, a bunch of them die, she dies in childbirth, his next wife has a bunch more kids a bunch of which die, then she dies in childbirth, rinse lather repeat. It was the rule not the exception, not even noteworthy until say Dickens' time let alone "potent and enduring", so what made Tohya special?Tohya is... the source of a... story type.
Sure, lots of people say that, we all love our stories; oh wait, you mean literally alive? First question, "WTF? HOW???" I mean Gandalf is totally awesome but my thinking that doesn't make him pop up on Michigan avenue; you don't see Han and Luke zipping across the skies of the Midwest no matter how big an "emotive response" (read nerdgasm) that might generate in the population. But Ibara sails right past, the question isn't important or doesn't even exist to him. He's not trying to explain anything, just going through what I called the "ad copy", the brochure you hand the rookies who won't be working anywhere near the "analogues", not so they'll actually understand anything but just to keep them from wasting their bosses' time with stupid questions.her story... grew a life of its own.
Yeah, that's all good stories. Plenty of not-so-good ones for that matter. Not all stories sure, but a heck of a lot. Why do some get to become "analogues"? Why Tohya in particular? Ibara's definitely going somewhere with this, right?The more people it touched, the more her story grew.
Again, where the heck is my Gandalf? Heck, if we are talking about more, how to phrase this politely, "potent" emotional responses, where the heck is my Samantha Carter?...her character became far more real than she ever was.
...people want to experience... what her story makes them feel.
Okay, yes, we don't actually know that he doesn't have a clue, I am not seriously making that positive claim. I'm just saying the in-comic evidence doesn't incline me to believe I've learned anything useful from him; maybe all this actually means something, I just find it more likely that the actual deal with analogues is either above his pay grade, or (perhaps) not stuff he's actually willing to share with Junko (he's only giving her the fluff for now).James Edwards in MiB wrote:Your boy Captain Hits-up-his-Daughter-for-Booze-Money here... a heh... "A potent and enduring story type!" ... Heh heh... "More real!"... He's, y'know, he's really excited, and he has No Fscking Clue what an "analogue" is.
Y'all... y'all ain't laughin' though...
That probably wasn't specifically directed at me but for the record oh HECK no.
It would seem quite reasonable that if both Sony and Sega were muscling you (especially with those two) the sensible thing for Nintendo would be to bide your time and do it elsewhere (especially for how he seems to be personally). Personal doesn't establish professional, and while there is more of the first (and negative) and less of the second (an unclear), he certainly seemed at least focused and with a goal at the CoE . (Which of course we could blame Junko herself for that, having Ping release the Miho material, but perhaps her father had started plotting even earlier, when he saw out Ping was there out in the wild.) Yet it wasn't really about what he was trying to do (it seems it would have been, and was, a large failure) or why he was trying do to it. It was about if he knows anything valid about Miho or what she might be. Knows it from his capacity as an insider or as somebody that works for Nintendo and what they might use her powers for, whatever his information sources are. Although it seems we are unable to judge the information sources anyone has, since we don't know what they are. Other than some data somewhere some people have access to. Apparently.darrin wrote: ↑Wed Jan 17, 2018 7:20 pmBut talking specifically about reliability I would say it is a difference in kind not degree. Okay, I do consider Ibara's reliability as not-well-established in the comic, primarily because I don't see much evidence of his competence (the evidence seems to point against competence in family matters; in work matters, there is not much to go on, unless one is willing to read between the lines and assume the "new opportunity" he talks about is actually a demotion, being made to do the job for which he was supposed to hire someone else and manage them).
Ah, before Miho impacted, Ed and Dom had goals. Most of which wasn't palling around with Largo and Piro, or trying to kill Miho, or being reconstituted, or having Miho and Erika and Junpei and Yuki breaking and stealing their vehicles or weapons.cidjen wrote: ↑Thu Jan 18, 2018 6:11 amHow roles change, see... Dom and Ed used to be 'friends' or at least more friendly with Largo and Piro. Now Dom & Ed went all corporate and have interest in persons and characters which Piro and Largo play their roles too, and they stop at nothing (Ed killballs Miho, and (so far) fails to kill Ping, Dom harasses (or tries to, but fails so far) Erika and Kimiko)... subtle hint at what corporations do to you
Are you talking about 1260? In that one he was aiming for Ed, but managed to clock poor Mugi.
I know, that's what I said above, Erika hits Ed.
Ibara does a lot more to poor Mugi than just elbow past her.but Mugi's face is on the same side as Kimiko just as Kenji is.[...]
The man with the Wiimote only elbowed his way past Mugi and Kenji.
I'm far from the only one, but ya. I said a while ago I was looking to move elsewhere but have just not had the time these past few months. (I note with amusement that photobucket has since backed down from $400/year to "only" $200 for "non-commercial" users; not that I will be sticking with them long-term no matter how "low" the price goes, but I am looking forward to seeing how many factors of 2 they drop in price before they finally stop circling the drain so to speak.)SpaceCobraJoe wrote: ↑Sat Jan 27, 2018 3:32 amShouldn't that be "Avatar is Broken".
http://archive.forums.megatokyo.com/ind ... try4469725
On (un)related note, I can see/read your rescripts directly on photobucket (hillarious!) but when I copy/paste the url of your avatar to new tab, it still comes up with the paywall image...darrin wrote: ↑Mon Jan 29, 2018 4:54 pmI'm far from the only one, but ya. I said a while ago I was looking to move elsewhere but have just not had the time these past few months. (I note with amusement that photobucket has since backed down from $400/year to "only" $200 for "non-commercial" users; not that I will be sticking with them long-term no matter how "low" the price goes, but I am looking forward to seeing how many factors of 2 they drop in price before they finally stop circling the drain so to speak.)SpaceCobraJoe wrote: ↑Sat Jan 27, 2018 3:32 amShouldn't that be "Avatar is Broken".
http://archive.forums.megatokyo.com/ind ... try4469725
Thanks! TILSpaceCobraJoe wrote: ↑Sat Feb 03, 2018 5:23 pmThat is normal behavior for sites using HTTP-REFERER; pictures embedded in HTML on the photobucket site are shown. Pictures embedded off-site (forums.megatokyo.com) do not show up.
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