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The Drinker, the Trickster, and the Corpse of a Culture
YouTuber the Critical Drinker recently released a video essay revisiting Joss Whedon's sci fi almost-was Firefly. A lot of people look back at that show, along with Whedon's breakout series Buffy the Vampire Slayer, with nostalgic admiration, especially compared to the sorry state of popular entertainment today.
“They just don’t make ’em like they used to,” they’ll say—and on some level, they’re right. But it’s worth asking why those older stories felt better, and whether it’s because the creators were less ideological. or just more skilled at sneaking in their ideology without setting off alarms.
Whedon's output isn't an exception to that kind of sly propaganda; it epitomizes it. His worldview was baked into his work from the beginning. What changed was the culture around him—and the audience’s willingness to overlook what he was really up to.
Understanding Joss Whedon’s role in pop culture means starting with his ideological foundation. Whedon has never made a secret of his feminist allegiance; not just in the bumper sticker sense, but in a way that shaped the themes and structure of his stories. He once wrote that he was raised by a “radical feminist” mother who taught him to question traditional gender roles. That upbringing became central to his creative output.
Take the 2012 interview with IGN in which Whedon confessed (emphasis mine):
It's not that I took [feminism] for a minor, it's just like I pursued it in everything I did. It's always what interested me. But, when you're dealing with feminism you're dealing with a lot of people who understand feminism better than they understand film, and again you pose something and that doesn't just go ... the point is, you can have an agenda as long as you let the film come to you and take that out of you.
What made Whedon effective early on wasn’t that he was hiding his agenda, but that he was subtle about how he delivered it. He didn’t preach; he reframed. His characters were often cast against type: fragile men, supernaturally powerful women, emotionally aloof protagonists who didn’t fit the old-school hero mold. The surface appeal was familiar genre fiction, but the substance was revisionist. He didn’t "subvert expectations" to challenge lazy storytelling. He subverted to rewire the audience’s moral framework.
That propagandizing wasn’t obvious at the time. Buffy and Firefly were praised for their wit, colorful ensemble casts, and unusual takes on familiar tropes. But the more you step back, the clearer the pattern becomes: The men are often weak or compromised, the women carry the emotional weight, and traditional institutions like family, church, and nation are mostly absent or mocked. When these cultural cornerstones do appear, they’re either corrupt, inept, or outright evil.
This framing wasn’t accidental. It reflected a deliberate effort to reshape how viewers think about power, morality, and responsibility. In Whedon’s stories, the individual triumphs not by embracing tradition or duty, but by asserting personal identity against inherited norms. That’s the core message of his work, and it aligns with the priorities of post-1997 pop culture.
There's that year again. As regular readers know, 1997 marked Cultural Ground Zero: the moment when the balance tipped from creating new and fresh pop culture to self-cannibalization. Ground Zero marked the watershed of endless reboots, reimaginings, and brand mining. Studios stopped investing in original storytelling and shifted to IP exploitation. At the same time, cultural messaging in film and TV became more overt, and ideological conformity started to outright replace storytelling.
Whedon didn’t get caught in the blast. He helped light the fuse. His career wasn’t about resisting the decline; it was an early example of how Hollywood storytelling would be retooled to push a worldview that's antagonistic to its traditional audience.
The mistake people make is thinking Whedon was corrupted by the system. In reality, he helped shape it. His work fit seamlessly into the post-Ground Zero framework of nostalgic aesthetics combined with ideological messaging. He didn’t invent it, but he was one of the first to make it commercially successful.
Recognizing that fact is crucial. If you're wondering why modern entertainment feels hollow or disjointed, start by looking at the assumptions driving it: assumptions Whedon helped normalize through clever writing, familiar tropes, and well-executed misdirection. He wasn't a Cultural Ground Zero casualty; he was one of its chief architects.
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If you've followed the posts in this feed, you're familiar with my penchant for retro gaming. That hobby got a shot in the arm when I got my old Sega Saturn up and running recently. Diving back into the Saturn's vast and woefully underappreciated library reacquainted me with a game that may in fact be all things to all men. A chimerical mix of old and new, 2D and 3D, action platformer and RPG - the retro title under review today is Toru Hagihara's 1997 masterpiece Castlevania: Symphony of the Night.
Symphony of the Night is not only noteworthy for blending game genres. It's legendary for its heady mix of atmospheric design, challenging gameplay, and hauntingly beautiful music. This game is hailed as a significant departure from the traditional linear structure of the Castlevania series.
That much-vaunted rep isn't entirely deserved, though. Because the exploration/RPG format that won SotN accolades first appeared way back in Castlevania 2: Simon's Quest. It's one of the gaming scene's chief ironies that the actual pioneer gets unjustly maligned while the successor that carries much of its sire's DNA takes all the glory.
You may be thinking Wait. Wasn't Symphony of the Night a PS1 release? And if we're talking North America, you'd be right. But Japan got it on the Saturn. For my money, it's the superior version, featuring two additional castle areas and two bonus characters who are playable from the beginning. And following the general rule, the Saturn runs 2D games better than the Play Station. The full experience was denied Western gamers who didn't have an imported or modded Saturn, but now we have our ways.
Speaking of 2D games, a standout feature of this one is its stunning sprite animation. The game's gothic aesthetic, coupled with intricate level design, immerses the player in a setting that's equal parts Hammer horror film, High 90s vampire anime, and classic Konami platformer. Each area within Dracula's castle is meticulously crafted, offering a wide range of settings-as-characters that seamlessly transition from eerie catacombs to opulent ballrooms.
The gameplay mechanics, centered around main protagonist Alucard, are fluid and responsive. Our half-vampire hero's arsenal of weapons and magical abilities adds variety and flexibility to combat, offering players multiple custom strategies for confronting the motley horde of enemies lurking in the castle's shadows. The incorporation of RPG elements like leveling up and acquiring new equipment, offers satisfying dopamine hits on a variable progression schedule.
And Symphony of the Night manages the impressive feat of amping up the challenge without falling back on cheap NES-era platforming tricks. Thanks in large part to its RPG elements, the difficulty curve keeps players engaged without frustrating them. The bosses are memorable and pose formidable adversaries, requiring strategic thinking to overcome
The game's soundtrack, composed by Michiru Yamane, is nothing short of ingenious. The haunting melodies and orchestral arrangements perfectly complement the game's pseudo-gothic atmosphere. And I'll take SotN's choral starting screen music over Halo's any day of the week.
Castlevania: Symphony of the Night remains a masterwork of game design, captivating players with its trademark atmospheric world, challenging but fun gameplay, and immortal soundtrack. Its status as a series-redefining entry and a must-play for horror and adventure game fans is more than deserved.
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