its hilarious actually. hating women is a time honoured tradition that goes hand in hand with loving them. we're just doing the oldest dance in the book.

i think good genre writing comes from basically every source possible because hot women with guns are cool and will sell, and the form determination doesn't really happen by funding source but cultural logic that it must respond to and incorporate. in the gacha that is endless content, recombinable flexibility and a woman-slot machine, in webnovels that is the serial format and the capacity of an fickle and time poor audience, in anime that is the flexible world with big bold refined characters and a deeply charismatic way of representing both character and violence enabled by genre convention. they are pretty much anathema, but just share a capacity for long extended narratives through which big action can happen slowly. the more interesting question is which forms and cultural logic disallow girls having big emotions and doing violence, and they are any in which history is not allowed to move. serial tv (esp professional procedurals) and movie franchises seem like the obvious target. there is no way to make the war epic that actually matters in those formats, not now. it just isn't intelligible. similarly the aaa video game needs to hold its narrative close to its chest and meticulously crafted 3d environment far too closely, and it needs to be far too generous to the player to actually employ the kind of scale and heft you'd need to the machinery going on Elsewhere all the time. there is no call of duty game which is a war epic. it's just not possible. every big shiny game i can remember that isn't a gacha or at least jrpg where you try and change the world, where you Do History, is deeply compromised by its love of the player's point of view. they aren't historical narratives in any meaningful sense, they can't replicate the historical novel at least. games where you can feel the weight of other agents are rare in design and form are rare and cool, even more so when that is the weight of history: im thinking about heaven's vault, pentiment. some do it with lots of historically sensitive writing, some with specific mechanics, some just by making a formally conventional game with the lesson of historical materialism weighing on the back of their minds. i know there are others with their own way of doing it. the thing to counterpose it too is the rival strategy of making narrative into a museum. every game about an abandoned home or space station freezes history so we're not forced to reckon with too much of it at once, it can still be on side, but it is formally constrained in its ability to show history acting versus imply its effects, potentials or dissolution in the frozen moment of the now. i havent played umurangi generation but given its a photography game im assuming it lines up here too. compare to the zone of interest maybe: in this moment we would struggle to represent the historical activity of genocide itself so we have to make our walking simulator version of a film to think it.

also to be clear hot women with cool weapons are really cool and fuckin rule.