This show provides examples of: Adaptational Villainy: Zangief, who is among M. Bison’s lackeys. Adaptation Personality Change: Just like the movie, Ken acts like a colossal douchebag. Special mention goes to the first episode, “The Adventure Begins”, where he wanted to swipe a bunch of ancient treasure from Blanka’s friends. Adapted Out: Guile’s family and Eliza (Ken’s fianc Aesop Amnesia: Even after being called out for being an irresponsible Jerkass, Ken still acts like one. An especially notable example is “The World’s Greatest Warrior”. Ken receives the more character development in the series when he successfully defeats Akuma. However, the following episode is “So, You Want to be in Pictures”, in which Ken’s jerkiness shines through. Animated Adaptation: The American series is the source of many YouTube Poops. YES! YES! Animesque: Obvious at times due to the fact that the series was animated in Japan. This is especially noticeable whenever Sunrise animated an episode. It’s jarring when compared to the more American looking, error prone style episodes Madhouse did during Season 1. Arc Words: “Discipline, justice, commitment!” is used on a fairly regular basis, not just in the intro either. Artifact of Doom: The Kali statue, which Bison uses to heal himself in Season 2. It eventually brainwashes him into wanting to destroy the world instead of take it over. Artistic License Physics: The series has far too many examples of this to list here, so let’s just have a quote from Dhalsim sum it up:Dhalsim: “Not if I were bound by your immutable laws of physics. Fortunately, I have advanced beyond such simple minded perceptions and embraced the limitless enlightenment of metaphysics.”

This narrative was not challenged strongly enough by the Yes campaign. Much of this can be attributed to the way in which the postal survey was rolled out. With only 6 8 weeks to campaign for an optional vote, the Yes Campaign’s strategy was centred on ensuring Yes inclined individuals actually voted. However, another part can be attributed to a long term structural issue that LGBTQ+ activism has: that the narratives, stories, spaces and messaging tends to be incredibly white. For example, the main messaging used “Love Is Love” is actually incredibly difficult to translate for non native English speakers. Its meaning that queer love is equal to heterosexual love and therefore one should vote yes for the postal survey comes from understanding our political context. Directly translated without context, the meaning was lost on many of the migrants I engaged with.

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