your local cringy person :33

on survival

It’s pleasantly surprising not only for plot but for characterization because that means then we’re exploring the darker sides of these character’s personalities —more accurately—the specific ways in which humans can act so utterly inhumane for love to the point where they evolve into something monstrous (hence the zombies).

If alien stage is about how there is inherent qualities of goodness, redemption, and above all, love, even in an environment which was deprived of all moral standing to create it, then zombie stage is the opposite.

It’s going to explore exactly what mizi said in the end: that humans cannot love without exploiting.

Humans in a modern setting, with raised in a “regular” world environment, and thus have a better standing of what is right and wrong. That is until, they are placed within a survival circumstance which thus causes them to completely and entirely disregard that.

And this only then makes me wonder, what will the paralleled endings look like if that be the case? That these characters might do the exact opposite of their moral standings in alstg?

I’m excited

#/im so sorry if this makes no sense or it’s just so painfully painfully obvious im so sleep deprived im moving countries rn please dont judge me I just think its cool n i

I keep seeing people say how crazy Mizi is and how innocent Sua was in comparison, but that’s just not true. I adore both Mizi and Sua, by the way. This isn’t criticism of either of them. But you can’t ignore what Sua does here if you want an accurate portrayal of their relationship in this world.

When Mizi becomes an idol, she’s manufactured into a sex symbol, crafted into something that can appeal to the male gaze despite how we KNOW she’s a lesbian. Specifically, we can see how Mizi’s breasts are often framed promiscuously to further her objectification:

So this shot where Sua finds Mizi, tied up and helpless, incoherent, and the first thing she does is frame an unaware Mizi’s breasts as if in a photoshoot—bitterly, ironically, before relief takes over—it goes to show something major about Mizisua’s relationship in both the ALNST and ZOMST verse.

In ALNST, Sua enables Mizi’s infantilization (something often levied against women in a misogynistic context) of herself by keeping Mizi “in the dark” (although Mizi is more aware than either of them want to acknowledge). People rightfully criticize Till for his innocent vision of Mizi to comfort himself with, but Sua has a version of Mizi in her head that she uses to comfort herself, too. She and Till aren’t incredibly different in this regard.

In ZOMST, this translates not to infantilization, but to objectification. Sua is bitter over Mizi’s decision to let the industry use her in this way, she’s disgusted by it, but then she wields it herself when Mizi is finally helpless and incapable of pushing Sua away again by miming taking a photo of Mizi’s breasts.