"We're back. And I think we're in Itsuki's house. What bothers me though is that Mikuru, who's been carried here by Itsuki, looks like she's just gotten out of the bath. Maybe we're supposed to think that she was given a bath by Itsuki while she was unconscious? You've got to be kidding me! Then this would be the point where anyone's doubt turns into a white hot rage, building into a desire to kill. But for now, I will not give it much thought, doing away with all the emotions that might be bubbling up. We are, after all, just watching a movie with actors playing characters. This isn't reality, right?"
"'Oh, by the way,' he said, 'what do you call yourselves?' Well, we looked at him and Mister Stephen J. Butts here looked at Kenny Greengrass from New York City when asked 'what do you call yourselves' and said:
The Clan — Kenny turned absolutely white. And Butts said:
'With a C. With a C!'"
— Steve Trott of The Highwaymen
"I'm amazed sometimes at the subtext that writers don't spot in their own work."
"Our fox and hound find their long friendship thoroughly obliterated and end up trying to kill each other. Only after the member of the pursued and persecuted race does a favor for his oppressor (when the hunted saves the hunter's life) does the hound grant the fox permission to continue living.
But not as equals; the hound returns to his home with the humans and the fox returns to the wild.
That is how we will heal our racial and socioeconomic differences: by separating ourselves. If only we could institute some kind of 'segregation' where all of us could be with our own kind, none of this unpleasantness would happen.
Thanks for showing us the way, Mr. Disney!"
Chris: Meet Uncle Joe, as played by the star of Shaft, Richard Roundtree. In a beret. For reasons I do not quite comprehend.
David: Uncle Joe actually lives in what I can only describe as a Fallout 3 trading outpost.
Chris: As much as I love to see Richard Roundtree getting work, there’s no getting around it: the old junk-man who can produce anything you need because it “fell off the back of a truck” has got to be the most uncomfortable cliché in the entire film.
"In 1966, when most black people in the U.S. couldn’t even be assured of their voting rights because the Civil Rights war was still being fought, a New York Jew was writing about a brilliant black biochemist hanging out with the Avengers.
So let’s jump ahead forty goddamn years. What do the heirs and stewards of Stan’s many creations decide to do with a groundbreaking character like Bill Foster, in their story about the ever-present tension between freedom and security?
Why, a lily-white evil Norse uebermenschen blows his heart out with a bolt of lightning!"
—Topless Robot, "The 10 People Who Have Stayed Dead in Comics"
"There’s also a truckload of unfortunate gender issues and semi-Freudian father-son stuff going on that would require a whole other, longer essay to enumerate. Just to preview quickly: all the characters are explicitly labeled via caption. The one character labeled 'wife' is raped and murdered. Two out of three of the characters labeled 'father' kill each other after reuniting with their estranged sons. And the one woman labeled 'divorcee' is revealed to be a violent psychopath. Whenever she engages in or discusses this violent psychopathic behavior, the comic always shows us a close-up of a magazine cover picturing her, with the words 'On Divorce' printed big. There’s oh so much more."
"...But let's close this review with a revisit of that lovely matter of racism that's been hanging around like a bad smell. RE5 actually does a lot to defer that accusation: your partner is black (a bit), quite a few whiteys are scattered throughout the early hordes, and real effort has been made into a somewhat realistic and sympathetic depiction of modern Africa.
Halfway through the game, we suddenly find ourselves in a succession of mud hut villages, fighting crowds of jabbering black people in loincloths and war paint chucking spears. Oh dears. Talk about sidestepping a pothole only to fall off a bridge.
But one really shouldn't worry about this sort of thing unless there's genuine hatred behind it, and I don't get that impression. Capcom aren't bad people. They're just IDIOTS."
"One thing I noticed as I systematically eliminated women from the Old West was that no one really cared. In Red Dead, if you shoot a woman in front of witnesses, you only get a $5 bounty on your head and I think $4.79 of that is from noise complaints. Women are such third class citizens that you'll get more of a hassle out of someone if you kill his chicken than if you kill his wife... Keep in mind that Red Dead doesn't take place in some lawless land. They come after you for everything in this game. I've had the sheriff open fire on me after a pedestrian wandered into my horse. The U.S. Marshals started hunting me for driving one simple wagon of dynamite into a friendly conversation. So the fact that traffic accidents carry the death penalty yet you can legally blow holes in prostitutes means that some woman-hating programmer took a lot of time to make sure it worked that way."
"The Doctor attempts to choke his heavily sexualized female companion. He physically and violently assaults her in a manner that is chillingly familiar as a real-world phenomenon that happens to women at the hands of their male partners. Then he drags her against her will to what he says could be an entire life in which 'it shall be your humble privilege to minister unto my needs.' She readily forgives him and grins stupidly at his charms. It’s not Nicola Bryant’s fault — she plays the material as well as it can be played. Nor is it (Colin) Baker’s fault. They try to make the scenes watchable, but nobody could possibly make this work. Peri is violently assaulted by a man who overtly sees her only purpose as being to serve him, and chooses happily to stay with him. The show treats this man as its hero and expects the audience to tune in nine months later to watch his continuing adventures."
"All those who feel that stereotypes aren't an issue when creating fictional groups for game purposes are free to take part in playtests for my new game Sambo: The RPG of Stealing Chickens and Eating Watermelons.''"
JellyRoll Baker, on the subject of why one needs to be careful when dealing with Fantasy Counterpart Cultures.
"I think I get the message of the story. Christianity is good, and most, if not all, women are evil skanks who should die. And so do anyone else who celebrate any other religion. And bands that are supposedly "evil". And women in power, gays, and those who have disabilities.
"That is one fucked-up message."
"It dehumanizes men by portraying them as immature schlubs whose biology renders them incapable of any form of emotional connection. It dehumanizes women by putting them on a pedestal, holding them to impossible standards and then accusing them of having special advantages that they actually don't. It trivializes male-to-female transsexualism by turning it into escapism for men who want to have pillow fights, and erases female-to-male transsexualism because it's not fun. Most ironically, by adhering so rigidly to sexist stereotypes, it just perpetuates the same men-who-like-knitting-are-pathetic-fags attitude that inspired the whole thing to begin with. Just to rub it in, it later turns out that feminists are evil.
Basically, no matter what your gender or your sexuality, this comic treats you like shit."