Bestial Nostalgia: How Disney cannibalizes "Beauty and the Beast"

Since the first movie I saw was Disney's 1991 Beauty and the Beast, I knew it would be unfair to expect much from the 2017 live-action remake. When the new opening sequence wasn't as stirring for me as the stained glass images in the original animated film, I was patient. I still had hope for the misbegotten chimera when I heard the first of two new Alan Menken songs, a somber melody Belle hears emanating from her father's workshop. She enters the cottage to find him softly singing "How Does a Moment Last Forever" (the answer, of course, is love), and tinkering with a beautiful music box. It is a moving miniature model of the tiny windmill attic the family once occupied in Paris, depicting a scene of her father painting his wife and newborn child. I saw this and thought maybe the workings of the narrative could yet be as meticulous as the motif cradled so delicately in Kevin Kline's hands. Unfortunately no movie, no matter how efficient, has time to be two movies at once.

Of Disney's new live-action remakes I've seen, I was most invested in this one, but it's barely coherent. It suffers from the increasingly familiar tension between capitalizing on nostalgia and finding a legitimate reason to exist; it hits all the essential old beats and adds just enough twist to appear inspired. There are awkward appendages of new vision here. I did appreciate that Belle and the Beast find they have a mutual love of literature, and it was particularly gratifying to see Emma Watson squeal over the castle library. More notably, Gaston's close-admirer LeFou (Josh Gad) is infinitely more entertaining in this version than in the original, but his new subplot steals focus in an already unfocused film. There's a feeble attempt to add familial trauma to motivate the Prince's curse rather than simple selfishness, poured into a single line of exposition by Mrs. Potts. There's potential for Belle and the Beast to bond over the early loss of their mothers, but the two never share their feelings on the subject so it seems like an insignificant coincidence. The Beast does randomly take Belle through a magical plot device that happens to help her learn the truth about how her mother died, so she can finally reconcile with her father who never told her...not that the mystery seemed to strain their relationship at all. What was the point of showing Belle's mom dying of plague?

It would be one thing if this film adequately re-captured the magic of the original, but it's too busy showing off how hard it is to make computers do exclusively what mostly hand-drawn animation did satisfactorily 26 years ago. Of course the Gothic opulence of the castle is fully realized by the elaborate detail the new effects can accomplish, the impact of the curse on the wacky servants made more grim by their increasingly objectified bodies. But the film easily sacrifices storytelling for CGI splendor. The camera lingers on set-pieces rather than characters. We are repeatedly asked to be impressed by the sweeping scale of a crumbling castle we can often barely see. The editing is so restless that it cuts away from the climax, the Beast's transformation into the Prince, to an exterior shot looking in through a window. I would rather see Belle's reaction to what's happening than squint like a random voyeur just dropping in on the story, but I guess Disney desires that my vision be as insular as theirs is here.    

Despite all the talent involved, the passion of actors, designers and imagineers, this is not a re-telling. This is an update, one that breaks more than it fixes. To her credit Emma Watson's Belle seems less captive and more proactive than her animated predecessor, it's just a shame the film itself is slavishly procedural. The closing credits clearly state this film is based on Disney's 1991 animated film as opposed to the original source material, then have the gall to include a subtitle in the original French. The storytelling suffers because there is no new take on the story to breathe life into it, just an obligation to reproduce past success. And no, adding a happy ending for a gay side-character isn't a good enough reason for this to exist. You're not earning those kudos until Elsa comes all the way out of the closet, Disney.

Trevor Flynn is a contributing member to The Movie Gang Podcast and Animania. To hear more from Trevor about Beauty and the Beast Check out the Movie Gang Podcast for our full review. 

A Lesbian's Lament for Lexa

All 173 Dead Lesbian and Bisexual Characters On TV, And How They Died”, and “All 29 Lesbian and Bisexual TV Characters Who Got Happy Endings”.  These are the titles of two Autostraddle articles (not written by me) which are pretty indicative of how women who love women (or “wlw’s") are represented in television media. Both of these articles were posted in March of 2016 in response to a particular television event – the death of the character Lexa on the CW series The 100.  

The relationship between Lexa and Clarke, the show’s protagonist, was praised by fans not only for allowing a series on a major television network to represent the LGBT community, but also for presenting that relationship as believable and emotionally meaningful.  That is, until in Episode 7 of Season 3 (“Thirteen”), when Lexa is shot and killed by a stray bullet meant for Clarke.  For many LGBT viewers, insult was added to injury by the fact that her death occurred in the same episode in which she and Clarke consummate their relationship for the first and only time.  Let me break it down for you:  from the moment the scene fades from in their bed to Clarke going into the next room, one minute and five seconds pass before Lexa is shot.  She is dead just under five minutes later.  That’s roughly six minutes between bed and death.

This upset me on a personal level because the character Lexa was a 5’7”-tall lesbian with brown hair and green eyes, and as a 5’7”-tall lesbian with brown hair and green eyes it felt like I was watching myself die on television.  And since I live in an open-carry state, you bet your ass I still get really nervous the moment I see anybody with a gun.  But of course, Lexa’s death mattered to many more people than just myself, and had implications for the LGBT community at large. 

Charles W. Socarides, an American psychiatrist known for his research regarding and attempts to revert homosexuality, is recorded saying the following in Mike Wallace’s 1967 CBS Report titled The Homosexuals:  “The fact that somebody’s homosexual – a true, obligatory homosexual – automatically rules out the possibility that he will remain happy for long…The whole idea of saying ‘the happy homosexual’ is to create a mythology about the nature of homosexuality.” While it is true that the position of the LGBT community has improved dramatically in the last fifty years, television of the last decade continues to reinforce the idea that homosexuals can’t, or even shouldn’t, be happy.  To repeatedly couple an expression of love with a character death is to remind us of our history, that to show our feelings and to be queer is a death sentence. 

We want more representation of ourselves on the screens where we have watched straight couples achieve happy endings throughout the history of cinema, but some of us grow apprehensive as we see a greater percentage of our characters killed off than we see make it to riding off into the rainbow.  When straight people see straight characters die on television or in film, they have a plethora of other shows they can jump to for representation.  We don’t; we have a small selection of niche shows that don’t always appeal to everyone, and so we have to take what we can get. 

Mercifully, our people know how to fight and some good has come from this unfortunate writing choice.  Over $120,000 was raised in Lexa’s name for The Trevor Project, an organization which provides crisis intervention and suicide prevention for LGBT youth.  The “Bury Your Gays” media trope, which has been in film and television for decades and despite changing moral attitudes seems to be in full force, was brought to light in earnest (prompting the first article I mentioned above).  In response to this, some television showrunners signed what is being called “The Lexa Pledge” in which they promise to not kill off LGBT characters simply to further the plot of a show, that if they die it is for a significant and meaningful purpose to the story, and that fans of the show will not be misled about its course through social media (something of which several The 100 writers are INCREDIBLY guilty, but I don’t have room for that in this blog post). 

While many would probably correctly say this pledge goes too far, that writers should have the creative freedom to take storylines and character arcs where they feel they need to go, I can see the sense in such a document until the climate of LGBT representation changes.  Maybe when writers show that they care about and listen to their audiences, we can start to relinquish that canary-like narrative death sense some of us wlw’s are starting to develop. 

Sarah Becker is a contributing member to The Movie Gang PodcastAnimania, ang Geek Space 9 to hear more from her head to Itunes/ Stitcher/ or Google Play and download the Tuscan Shed Media network Catalog

Geek Space 9 Season 3 Launch!

I’m extremely excited we get to post the first episode of Season 3 for Geek Space Nine. Watching this show with Sarah and Peter has been a delight and I’m so happy we decided to record our discussions for posterity. I’ve been deeply impressed by the level of depth and intelligence that Deep Space Nine has brought to a franchise I already treasure. Season 3 is where Deep Space Nine really came into its own and I think the same can be said for our show. Now is the perfect time to check out Geek Space Nine, whether you are new to the show or seen it dozens of times!

Pokemon Uranium: Joyous Abomination

Pokémon Uranium, from Involuntary Twitch and JV, projects the very real dilemma of nuclear power into the fantastic Pokémon universe. This unlicensed fan-game is unique among many such offerings because nine years went into its development and it was released with a completed story. On August 13th, after a week of explosive website traffic and 1.5 million downloads, Nintendo issued a DMCA notice of copyright infringement, despite the creators' disclaimers that Uranium is a non-profit homage to the Pokémon franchise. Shortly thereafter the Pokémon Uranium Team shut down all official support of the game, only for an "Unofficial" server to continue support on Reddit. The takedown of Uranium is one of the latest in a trend regarding such fan-made works, but not all such projects have fared as well. Nintendo in particular has had a tenuous relationship with its fan-base as of late, often failing to satisfy demand for creative use of its adored intellectual properties while quashing the efforts of independent developers to do so. But Uranium is more than a good Pokémon game, it makes a political statement the likes of which Nintendo could never allow to sully its brand.

Like any great fan-project, Uranium needs to be understood in the context of the larger Pokémon universe. The catchy brand name is a portmanteau of the words "pocket monster" referring to a wide variety of creatures one can capture, collect, and train, mainly to use in battle against other trainers. It has become popular to suggest this premise amounts to glorified cock-fighting, and official games have made attempts to address this, but the ambiguous relationship between humans and Pokémon has always been the crux of the franchise. It is a metaphor for environmental balance. The weakness and resistance mechanic of the games associates Pokémon with natural forces and the villains of the franchise often seek to subdue "legendary" Pokémon akin to animistic deities that control climate, plate tectonics, or even space-time. Pokémon are one of Japan's many pop-culture products derived from the spirits of its ancient natural religion, the commoditization of which symbolizes the country's Western industrial transformation. But in the twenty years since Team Rocket vowed simply to harness the power of Pokémon to rule the world, no official version of the games has made use of this paradigm quite as incisively as Pokémon Uranium Version.

Spoilers Ahead!

The protagonist is the child of a family broken by nuclear disaster, a nuclear physicist mother lost in the unexplained explosion of a power plant, and a workaholic father distanced by his resulting grief. The antagonist of Uranium is actually a Pokémon, Urayne, and its mysterious masked partner known as Curie. As Curie and Urayne begin sabotaging nuclear plants throughout the region, the fallout from the meltdowns causes the evacuation of Vinoville, the most rural city of the region, and contaminates wild Pokémon, causing them to attack people in rabid hordes. The game's message is not so simplistic as to outright condemn nuclear energy as being too risky, (though a citizen or two of Vinoville says exactly that), but the need for caution and accountability is abundantly clear. It is revealed that Urayne was created as an organic reactor core, a laboratory-engineered Godzilla, threatened with extinction as soon as it achieved the undesirable outcome of consciousness. Urayne's rampage is merely the result of fearful self-preservation and its unsustainable subsistence on pure uranium fuel. Its tragic insatiable hunger is the embodiment of the arrogance that led to its creation.  

 It is historically ironic, or perhaps appropriate, that this is an unlicensed American-made game using Japanese intellectual property to make a statement about nuclear power. Japan is still the only nation to have experienced the horror of nuclear weapons with the U.S. bombings of Hiroshima and Nagasaki in 1945. The fear of nuclear destruction still looms large in the nation's collective consciousness, but that hasn't stopped Japan from investing heavily in nuclear energy. In fact, Japan's nuclear industry was relatively un-phased by the implications of the Three Mile-Island crisis (1979) in the U.S. and the Chernobyl disaster (1986) in Soviet Ukraine. While there was no shortage of opposition from Japanese citizens similar to that of environmentalists in the U.S., a combination of economics and politics made their protest less effective on the continued government approval of proposals for new plants. It may seem hypocritical to suggest that Pokémon Uranium's message applies particularly well to Japan, considering that the U.S. is the world's largest supplier of commercial nuclear power and that U.S. companies sold Japan its first light water reactors. However, what makes nuclear power in Japan especially troubling is the questionable resilience of such volatile reactors on a seismically active island riddled with fault lines.

On March 11th, 2011, the most powerful earthquake known to ever hit Japan caused a tsunami that crippled the Fukushima Daiichi nuclear plant, disabling its cooling systems and resulting in meltdowns and explosions. The fallout caused over 100,000 people to be evacuated from their homes, most of whom still cannot return. The catastrophe re-ignited the anti-nuclear movement worldwide. In Japan the disaster confirmed the public's long-held skepticism of government safety standards. In 2012 The Chairman of the Japanese Nuclear Safety Commission admitted the organization had "…succumbed to a blind belief in the country’s technical prowess and failed to thoroughly assess the risks of building nuclear reactors in an earthquake-prone country". 

Anti-Nuclear protests in Tokyo  April 16, 2011       

Anti-Nuclear protests in Tokyo  April 16, 2011       

Despite protests, in 2012 Prime Minister Shinzo Abe began the process of restarting Japan's nuclear reactors shut down after the Fukushima incident. In 2015 the Abe administration pledged to the UN to reduce Japan's greenhouse gas emissions by bringing nuclear energy to account for 20% of its overall energy production (as compared with 30% pre-Fukushima) and bring renewable sources to account for 22% or more. Nuclear energy remains an arguable stop-gap measure to combat climate change until renewable energy can be fully implemented. To its credit Japan is one of the leaders of the world in solar energy production. Pokémon Uranium contains a definite promotion of solar power with the prominent feature of Gellin, a photosynthesizing single-celled Pokémon that resembles a walking solar panel.

Of course the nuclear issue of the game need not refer specifically to Japan, as the Tandor region encompasses a wide array of cultural allusions. The eclectic gym leaders have actual personalities and this combined with the compelling story makes for a great experience. The player's relationships with other characters feel slightly more nuanced than those of the typical Pokémon game if the same can't always be said of the characters themselves. The original designs of cleverly named Pokémon seem organic and inspired, though the dated battle animations leave more to the imagination. If Uranium version contains some of the flaws present in other Pokémon games, it makes up for it with the genuine affection it shows for those games and the impact they had on the developers' childhoods. In houses across the region you will encounter children spellbound by the original Red and Blue versions, as well as their suspicious parents. You will recognize familiar music expertly utilized. You will also meet a self-proclaimed "tinkerer" who speaks with contempt of the infamous Hidden Machine mechanic not altogether eliminated here. One welcome change is the raised difficulty throughout the game, along with designated spots to grind for experience. The scarcity of Pokémon that are not dual-type is strategically daunting but rewards the use of nuclear-type Pokémon that are both super effective against and vulnerable to most other types. Like nuclear energy itself, nuclear Pokémon are highly reactive, at once extremely problematic and immensely powerful. 

The appeal of Pokémon Uranium perfectly matches its subject matter. It is a welcome mutation in the Pokémon franchise, a freak of nature that could never be approved by the powers that be. For me it succeeds as an homage to the adventurous joy of Pokémon rpg's while adding a bit of real drama. It combines my fascination with Godzilla with my love of Pokémon, and continues a legacy of incredible cultural exchange between the U.S. and Japan.

Check out Save Point Episode 8: Fan Made Games and Pokemon Uranium for full discussion. 


East meets West in "Kubo of the Two Strings": Seeing is Remembering

(We may spoil anything and everything, so you've been warned.)

I was excited to see "Kubo" because it looked very Japanese, but I would never have guessed just how earnest its cultural appropriation would be. I expected a typical adventure story with some Eastern-inspired elements. What I saw was a beautifully realized myth about dealing with loss, seamlessly weaving together Western religious themes with probably the principal occupation of Japanese religion: the spirits of the dead.

Religion might seem like a controversial topic especially in a film targeted toward children, but Japanese religion itself is almost a misnomer, as its rituals today are more akin to traditions than affirmations of belief in the supernatural. The obon festival that frames Kubo's journey honors and celebrates deceased family members and ancestors by cleaning and placing offerings at gravesites, but it also includes trappings as secular as Christmas gifts; it is one of Japan's largest festivals, when transit is crowded with travelling relatives. Yet when Kubo, unsatisfied by his mother's failing memory of his deceased father, hopes to connect with him by joining in the ritual of the obon festival, he is disappointed when no spiritual sign of his father appears to him. Rather, Kubo's expectations of the ritual oddly align with our own. Why shouldn't Kubo have a vision as in "Lion King" where Simba speaks to his father's spirit in the heavens? Because in "Kubo" the real magic is the art of storytelling, and the heavens are home to beings who are ruthless and cold.

Kubo's story is a tragic one. He is the progeny of one of the Moon King's fiercely powerful daughters and the mighty warrior she was sent to kill. The Moon King destroyed Kubo's family as punishment for his mother's rebellion, and took one of his eyes. When Kubo's vengeful aunts come to take his remaining eye to blind him to humanity, his mother sends him on a quest to find his father's magical armor. Kubo then comes to see himself less as the village storyteller he is and more as a warrior driven by loss to seek revenge, much like his father before him, much like the heroes of many classical Japanese tales.

But the Moon King, so he claims, only wants to take Kubo's eyes so that he can take his rightful place among the omniscient stars, so that he can become cold, immortal, and perfect. Human eyes, it seems, are more preoccupied with beauty than with truth. Kubo's mother describes falling in love with his father as an act of "seeing" and her story of heavenly descent and its consequences calls to mind the Western fall of man more than any Eastern myth. In challenging the Moon King's order Kubo is a Miltonian hero akin to Mal in Joss Whedon's "Serenity" or Lyra in Phillip Pullman's "His Dark Materials." For there to be stories in the world, Kubo realizes, there must also be endings. There must also be death.  

At the critical moment, Kubo lays aside his father's armor for the ancient Japanese instrument of storytelling, his magic samisen, to save the day with the power of the memories it can summon. He asserts that humans can transcend death through the passing on of their stories into memory, and decides to end his story by simultaneously choosing death over immortality and forgiveness over revenge. Kubo transforms the Moon King into a human with no memories, so the inventive villagers bestow him with the notion that he is a good person, and he becomes one. The film's message is a profound one: It is our flawed nature, our ability to choose what we remember, that allows us to continually remake the truth and create beauty in the world; we are all storytellers. It is with this understanding that Kubo finally succeeds in literally animating the spirits of the dead.

For all the Japanese culture that this American production appropriates, it is incredibly competent in its usage and understanding of those elements, (except perhaps for one moment soup-slurping). For the best example, the Japanese word kami can refer to gods, paper, and hair, implying that the latter have some sacred attributes; the film uses this association to imply that memories and stories are sacred. Kubo's magic origami plays a vital role in his storytelling as well as his quest, and the titular two strings include a strand of his mother's hair Kubo strings onto his samisen to empower it with her memory. In addition to all it takes on, the film has the confidence to contribute Western elements and find where the two cultures meet. Laika has created something truly original, rendered in beautiful animation that affirms the film's message. Should you choose to see it, it is unlikely you will forget it.

For a full review of "Kubo" check out The Movie Gang Podcast from Tuscan Shed Media.


What the gang has been watching on Netflix

The Tuscan Shed gang spends a lot of time watching movies, playing video games and checking out the newest anime. But we also watch a lot of television. Have you ever wondered what the gang watches in their free time? Cast member Bobbye Pyke tells us what her top four shows are to check out on Netflix this fall.

Summer is most definitely coming to a close. The signs are everywhere. School is starting back up, my allergy to Ragweed has left me in a permanent scratchy-throat state and up in Wisconsin, the telltale signs of an impending winter are everywhere.

For me, this means an intense need for binge-able television since there is no way I will be leaving my comforts of my house during the coming winter months. So here is the list of shows that I am most excited about on Netflix right now.

4. BoJack Horseman

This dark, animated comedy is another fantastic addition to the Netflix original series powerhouse. It follows the story of a humanoid horse named BoJack who was once, long ago, the star of a daytime television series. The show follows BoJack’s struggle with his own relevance as well as who he is in the world. Is he the hero or the villain?

This show is witty and dark. It utilizes human and animal characters and certainly enjoys a good pun. The show is told through a rotating cast of characters who are all deeply flawed. The show seems to encourage each character to “do better.” Some succeed and others, well, you doubt they ever will.

Season Three released this summer and I personally think it is the best of the bunch. While Season One BoJack is just kind of a bumbling asshole, Season Three BoJack is vulnerable. The show shines a bright light on mental health issues while still maintaining its satirical edge. It explores, through a non-human character, what it means to be human.

This is not to say that the show is not laugh-out-loud funny, because it is. The switch between humor, absurdity and downright depression is subtle. The writers know how to take the audience on a rollercoaster of emotions and their commitment to continuity adds to the hidden humor of the show.

Give this show a chance. The first season will introduce you to all the characters and give you a taste of what is to come. The second season helped the show gallop into one of my favorite shows of all time and the third season reminded me of why it belonged there. Seriously, check it out.

3. The Seven Deadly Sins

I’ll be honest, when this show popped up as one of the most highly rated Netflix shows available, I still didn’t want to watch it. I can admit that I have never really watched anime. But let me tell you, this show has opened up a whole new genre of television for me.

The Seven Deadly Sins was originally a Japanese manga, written and illustrated by Nakaba Suzuki. The manga began in 2012 and to date has sold more than 10 million copies. It was adapted into a 24-episode anime that aired from 2014-2015.

Netflix acquired the exclusive English streaming rights for the anime series and I am so glad they did because otherwise, I never would have found this show.

The show is set in the region of Britannia and focuses on a once active group of knights called the Seven Deadly Sins. Each member of the group is branded with a tattoo of the sin they represent.

The Seven Deadly Sins were disbanded after they allegedly attempted to overthrow the Kingdom of Liones, even going so far as to brutally murder the Holy Knight Grand Master, the leader of the Holy Knights, a group of soldiers with magical abilities, sworn to protect the Kingdom. The Seven Deadly Sins were supposedly defeated by the Holy Knights, but rumors of their survival were heard throughout the kingdom.

Years later, the Holy Knights have staged a coup d’état and captured the King of Liones, becoming the new, tyrannical rulers of the kingdom. The show opens with the third princess of the kingdom, Elizabeth, searching to find the Seven Deadly Sins so she can enlist their help in taking back the kingdom.

As a non-anime watcher, this show roped me in by about the fourth episode. I did want to know what was going to happen next. I wanted to find all of the Sins, learn who they were and see what abilities they possessed.

The story builds in a wonderful way. We learn more about each character’s back-story and with it, we learn of past betrayals, former partnerships and even previously undiscovered magical abilities.

Look, I can’t tell you whether or not this is one of the best anime out there, because I have only seen this one. I can say, however, that if you have never given this genre a try, this seems like a damn good place to start.

2. Stranger Things

If the Internet has not already convinced you to jump on the Stranger Things bandwagon, then there is not much else I can say to convince you. But I’ll try anyway. I will also attempt to write a totally spoiler-free review of this show so non-watchers, read on.

This show is a standout. It is special. And you should watch it. It is like a combination of E.T., The Goonies and the X-Files and is shot like a good quality 1980s Sci-Fi film.

The show steps back in time from the very onset. The intro music sounds vaguely like the old X-Files theme and the bright red lettering for the show title should give you an inclination from the beginning that the show will step back in time.

The show begins with a disappearance, a mystery that must be unraveled to save a life. Over eight episodes, the show strategically involves a number of characters who all know a piece of information key to solving the mystery, but these characters do not share information until the final episodes. It is suspenseful. It is masterfully crafted.

All of the acting in the show is phenomenal. The child actors are perfectly casted plus Winona Ryder is an absolute dream in this show.

The show has both humor and horror. It is perfectly binge-able and will keep you on the edge of your seat throughout. Let the story build and I promise, you will not be disappointed.

A second season has already been confirmed so jump on the bandwagon early. This show really is as good as the hype will lead you to believe.

1. Narcos

Season two of this amazing show will be released on Sept. 1. I have seriously high hopes for this second season after how impressed I was with the first.

Narcos covers a topic that made headlines for decades, the rise and fall of one of Columbia’s most notorious criminals, the kingpin of the Medellin cartel, Pablo Escobar.

The show is told from dual perspectives: both that of Escobar and from a DEA agent cultivating a case against him. The performance of the actors is outstanding with Wagner Moura playing Escobar and Boyd Holbrook playing DEA agent Steve Murphy.

This show falls in the middle of The Sopranos and The Wire. The Sopranos delves into individual relationships and explores their hidden psychological drives; The Wire focuses more broadly on characters as a part of a larger dysfunctional system.

Narcos falls in the middle. Over ten episodes we learn how Escobar came to power and how the DEA sought to bring him down. The show explores the history of drug laws, the sometimes questionable methods used by law enforcement, gang welfare, bloodbaths and unbelievable smuggling successes.

The show doesn’t dive into Escobar’s motives, making him a terrifying villain and one that you want to learn more about. It is incredibly entertaining and I can’t wait to see where the second season takes us.

Save Point Gamecast- Episode 4: No Man’s Sky and the Price of Gaming


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Topic of the show- A look at no mans sky and how expensive should games really be. 

News -Final Fantasy 15 Delayed/ 2020 Tokyo Olympics announced by Japanese prime minister in Mario costume/ Metal Gear Survive announced at Gamescon

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