"Weggplant"

"Weggplant"

Scrumptious addition!

WOW. OK. I just finished the S3 Ep2 of Moral Orel, “Innocence” and it suddenly clicked for me.

People were making the observations about how Orel seemingly just goes out of his way to interpret all of the lessons he’s given in the least charitable and most nonsensical way. And for the first good part of the show you think this is just the function of an over the top comedic bit for the formula of each episode. It’s so easy to ask how on earth a seemingly kind hearted, well meaning kid like this can be THAT devoid of the basic logical implications of what he hears, or any common moral intuition that virtually everyone has, right?

Orel’s not a stupid kid. But the entire problem with him up to the point thus far is that he legit DOES NOT in fact have that intuition we expect most people, even children to have. That knee-jerk repulsion to obviously harmful actions. That really vital sense of conscience. No, I don’t mean he’s some kind of psychopath, I mean that Orel has never had a functioning moral compass modeled to him to begin with. His ethical axioms are ALL rooted in divine command theory. To put it simply, he doesn’t believe “god is good”, he believes “good is only what god says is good”. Most Christians, hell, most religious people generally do not literally, consciously operate in this way, and usually even the ones that do are (mostly) still functionally average people, because usually they were at least consistently conditioned to believe that axioms like human well-being are what God commands. To at least a fortunate degree, human empathy and socialization usually is allowed to and even encouraged to develop under mainstream religious upbringings.

You notice the glaring difference though when you see what happens to people who are molded entirely by Divine Command Theory and then become convinced that their God’s divine command is something that doesn’t happen to line up with conventionally good ideals, like those given earlier. This is what destructive cults do. This is what makes crusades. This is what causes anti-sodomy laws and stoning people to death for eating the wrong kind of fish or not wearing the right clothes to happen.

Understand that this is the hinge that Orel’s whole sense of right and wrong up to this point swings on. What it means is that this little boy can, and will, justify or excuse any and all directions given to him so long as he trusts the adult talking to him as someone who speaks for God. This combined with his craving for approval, plus the fact that he’s also had it drilled in his head to never question or doubt his elders’ wisdom makes for a child zealot that is dangerously easy to manipulate to do ANYTHING and with fanatical determination. It is less than no additional help that the Puppingtons (and the majority of the townsfolk) have never been golden examples for healthy social modeling, as well. Like, sure, he’s getting glimmers of actual goodness in there such as the Jesus loves you so love yourself and help thy neighbors messaging, but it’s being inconsistently contradicted by and juggled alongside at same hierarchical importance as “lessons” like beat the shit out of people who make fists, kick out the brown people, and you should be terrified of the same authority you expect safety and comfort from. Why on earth is it shocking that Orel seemingly has no sense of scale or priority when it comes to the rules? The rules he’s given are subject to constant and chaotic updates and are all treated the same gravity. Follow X and you will be promised infinite reward. Disobey X and you will be met with infinite retribution. Not just even in a spiritual heaven and hell sense, but here in life too. Clay delivers the same punishment for getting hooked on crack or becoming a serial rapist that he does for the “sin” of using slang vernacular and meditating to relieve stress.

Everything that defines his life and virtues is a matter of constant anxiety and eagerness in order to appease a patriarchal tyrant that is portrayed as both ultimately benevolent and wise,

yet incredibly vindictive, sadistic, irrational, and petty.

And I don’t think it’s a coincidence that this description can equally apply to Moralton’s perception of God and a certain alcoholic father.

No kidding when I say that Orel has so little consistent  input to actually steer him in the right direction that it’s incredibly sad, to the point where he’s extremely fortunate to actually have such an optimistic and compassionate inclination at all. It only seems ridiculous how he can’t see obvious suffering and even personal detriment as any red flags to hesitate or question an action, until you remember that he’s so been domestically broken by Clay and his church that his Pavlovian response to pain is either gratitude, mild inconvenience, or fucking masochistic euphoria.

Nonetheless, all of this only backfires on every adult in Moralton because the one thing they can’t control or account for 24/7 is exactly how he interprets what they say, even when he’s trying his best to follow their command. It’s like a twisted Amelia Bedelia situation with him that no one actually wants to deal with, even though they all (except probably Stephanie) collectively played a part in creating this monster.

Censordoll was the first one who was smart and ambitious enough to see the potential for Orel’s blind subservience to be weaponized, and of freaking course she was.

Thing is, you bet the ONLY reason she stopped was because she also lost control of him, and we all know what the consequence of that was. He unintentionally yet absolutely destroyed her in the only weak point she has, yet exactly like Clay did during the “turn the other cheek” incident, she trapped herself in a situation where she couldn’t swallow her own pride in the name of reversing the damage.

What I guess I’m explaining here is that Orel’s collection of constant shenanigans, unknowingly, yet effectively, is literally a manifestation of the community’s own complete moral bankruptcy biting them back in the ass, and possibly even a divine punishment for it, depending on how you interpret the writing. Which is a HELL of a phenomenal, subtle twist to his whole premise that doesn’t abandon the original joke/satire, but instead builds upon it and adds a chasm of depth and intention.

Hot DOG~!

Footnote: recognize this? Or feel like more? This is my new blog! Due to some technical issues with the old one, I will be rblging the original MMM and CFF posts on this account, as well as continuing the future rambles therein!

Media Marvel Monday, #1:

The Bittersweetness of Tri-arachnid

What can I say, I grew up practically obsessed with short, “artsy” games during the haydays of flash media. Didn’t really matter the website, but I found myself on Newgrounds for an almost embarrassing amount of my terminally online youth. Now, it made a great hub for unique pools or art and animation in general, but the games are what really drew me in, and I’ve considered Edmund McMillen to be something of a core-memory dispensing legend since I was roughly 8 or 9 years old. Ages before something like the Basement Collection would have been conceived, I had already played through a decent amount of the titles that would composite it together, back when they were just random titles you’d stumble across in a sea of indie nuggets.

What I’m trying to say is the dude’s work left a really big impact on me from a young age, and there are two particular works of his I always keep coming back to. The first is Coil, and the second is the topic of this specific post, originally released in 2006.

Even Tri-Arachnid’s title is something to be endeared. It’s to the point and accurate. You play as an actual, tripod arachnid, one of a species of adorable tripods, and perhaps, maybe even one of the last of a special kind.

At face value it’s a fairly challenging, but not very frustrating game, with some very hands on controls. The spider-like in question is moved through levels by manually guiding the legs, one at a time, to walk along, up, down, and around the map and its obstacles, grabbing and manipulating objects as needed to solve puzzles. You can additionally use the keyboard to adjust the arachnid’s balance and spin your own all-purpose silk ropes, which can be swung from, hold your things, or even be used to trap enemies within. The three-legs model and straightforward control scheme honestly makes it play pretty damn smoothly for its age by intentionally aiming for something other manual-physics-sim type of games aren’t really known for: simplicity. It’s actually a pretty fun and unique design for a playable creature, and I still don’t mind replaying the game through even for the one or two rockier levels. The concept design is also just what it needs to be, not too much, and certainly more than enough to get me invested into a other one of McMillen’s curious fictional ecosystems.

The particular Tri-arachnid we play as begins his story as one half of a mated pair of parents, each playing a part in watching their literal bundle of pride and joy, by which I mean their silk bound egg sac. Everything’s going great for the happy fella until some jerk bigger monster comes along with the audacity of needing to eat to survive, and picking the arachnid’s mate for its next meal. And the rest of the game thereafter follows our endangered tri-arachnid on the quest to reunite with his egg sac and to trek across a dangerous rockface, dive through caves, and even plunge through the belly of the beast itself in search for a better home, and therefore, a safer future for the dwindling species. Oh, and I can’t forget to mention the whole thing is set to some amazingly memorable works from Tin Hat Trio.

You’d probably guess from an opening like that it’s… kind of a sad little game? And it is. The Tri-arachnid really can’t catch a break even after he’s recovered his young the first time. Yeah, first. You do become separated again, and have to deal with many manners of dangers and challenges. There’s even plenty of “stray” or orphaned little tri-arachnid larva scattered throughout the playable levels. Mechanically, they’re collectibles you can find to unlock sections out of the game’s bestiary and other bonus features. Story-wise, though, it’s pretty clear they’re yet another sign of the dire situation your kind has fallen into, and left to their own devices, probably don’t have a kind fate in store for them.

All that said, the central theme of this tale is not actually the bleakness of a dying species. It’s filled with hope and determination to salvage what remains. It’s about this funky little three-legged critter and what a massive and courageous heart he has, not just to find a haven for his own young, but to carry along all of the other little tripod grubs(?) he comes across without a moment’s hesitation. Its about how he expresses a whole swath of emotions we want to empathize with without a single word of dialogue. It’s about moving on from the tragedies behind him and his will to keep crawling, one leg over another, to reach a a brighter place. For all his hard work, I think the tri-arachnids may just be alright, in the end. At the very least, he’s fought hard to give them a beautiful opportunity. He succeeded, and I gotta be happy for him, even granting his uncertain path ahead.

Note: This trope also goes from alright to fucking fantastic when the accurately described dog claps back, too.

When the unerringly loyal right-hand men are referred to as dogs in the canon text

Screen caps like that first one remind me that the other kids are not at all that out of line to see Dib the way they do lmfao

Think about it if they were to look over his shoulder at that on his desk then what they’re gonna see and think is that this dude is just impromptu drawing one of his classmates being gruesomely mutilated/tortured (specifically the “weird” kid he’s constantly stalking and harassing)

why does he keep drawing Zim in his disguise specifically? He knows what he actually looks like in both of these eps what is his fucking problem????

"I can fix him" not in a "I can make him into a better person" way but in a "if he was my character I would've handled his story better" way