#( I think its just the pacing of this scene to include the other shots that makes it seem like Simcoe was kinda being a coward )

[cabbxges-and-kings]

( ooc ): When writing Abe, I usually look over what canon scenes I can find on YouTube just for his voice and mannerisms and I got onto this Mercy Murder Moment Measure video, Simcoe literally wasted a perfect second to shoot Abe when Richard showed up and Abe was literally egging him on to do so.

[dayscapism]

My Thoughts on the Percy Jackson TV Show (was not a fan):

Months have passed but, I guess I like to throw wood to embers to make fires again. Honestly, I would have abandoned it after episode 3 if it weren't one of my favourite book series ever and I wanted so bad to be hopeful and pleasantly surprised.

I don't think it's a terrible adaptation, but I think it's boring, badly edited, with character inconsistencies, has first-draft-level writing and just missed potential. I'm happy it's been working for so many others, but I've also seen a lot of people being so reluctant to negatively criticise anything about it. Which is weird, it makes me feel like we're watching two different shows and I'm the problem (am I the drama? perhaps. I don't care.)

It's not been an easy time to watch for me; it's a sustained, painful, physical effort to pay attention to this show, especially during dialogue scenes. Like how do you make a show about a bunch of ADHD kids and make it so NOT ADHD-friendly to watch?? (The writers and editors should watch EEAAO, that's how an ADHD brain approaches visual media). The pacing, the terrible exposition, it's the static and uninteresting camera work, the lack of a campy hyping music/soundtrack, the lack of stylization, the lazy editing, the actors stopping to chat in a static shot every other minute, no running during urgent situations, etc. Nothing is engaging! It's such a boring show! There's always exactly 1 thing happening on screen and nothing else around it, no hidden meanings, no mystery, nothing that could be layered storytelling, which is such an important thing in a TV show where you only have 8 episodes to tell your story! Spekaing of, ADHD and dyslexia don't seem to be shown or discussed again after it's mentioned that Percy has has it in episodes 1-2. I was hoping for bolder representation with that. (Why didn't they include the little dialogue where neither Percy of Annabeth can't figure out the sign at the emporium because of dyslexia, and Grover has to tell them! These little moments count so much for representation of this kind.)

The dialogue paired with the pacing/humour is not landing. It truly feels unpolished, like a first draft. Like technically it serves its purpose, but it's an ineffective, unengaging manner to write a tv script. They should have done more flashbacks too, to give context and exposition. But instead, everything is given to us like you would in a book. (And this is coming from someone who read the books years ago so I NEED this exposition because I don't remember a lot of details, but the exposition isn't even helpful and the writing doesn't keep me engaged enough for me to even pay attention to the exposition!) The actors are doing the best with the material they have, they're all really precious, but this writing and directing is hurting their acting so bad. The dialogue and scenes are so awkward, which hurts the chemistry between the characters too (I expand on my issues with the characters later).

A lot of the tone and pacing issues could just be a book-to-tv adaptation thing because we're no longer in Percy's head with his funny sarcastic remarks and long paragraphs that can give us context. But then why didn't they include narration? Why didn't they keep it up after the intro in episode 1?? Why did they even include that bit if they weren't going to keep it up?? We have 4th-wall narration in lots of things these days (from the top of my head, Fleabag and Deadpool), usually done for comedic and style effect. This would help so much with the pacing and tone! the lost potential is so frustrating. Many movies/shows don't need narration; this one could have benefitted so much from it.

The show is not funny whatsoever when the books are hilarious. At no point did I laugh out loud here. Such a crime. I hate to be one of THOSE but the movies at least got the unserious and funny beats right. Like why is the music in this show just an epic forgettable MCU-like soundtrack but with a serious tone? Why didn't they include modern or campy songs? They should have taken clues from the Umbrella Academy's first seasons. And they could have included Greek music in it too! How could would that have been? It's not a bad soundtrack by any means, but if nothing else is used in a very strange manner in some scenes because it sometimes cuts the action or doesn't match the energy or vibe of the scenes. The visuals and settings are pretty good, I admit, but these are underserviced by the entire production's lack of style and music and tone are a big part of that.

Some people have said the action scenes are bad, but I feel the problem is there's no sense of urgency, of danger (no layered storytelling here either). The fights with the monsters are okay, great even, the problem is this lack of excitement. The problem is the setups to the action: the lack of tension and then rushed resolutions. For example, they dragged the scenes with Medusa and Equidna talking that it lost all suspense. Equidna literally says instead of just jumping to it, showing what she would do to them kids. (Ok the chimera is cool tho, looks really cool. I want it as a pet 😊 And the editing when Percy falls from the arch is pretty cool too, rare exception.)

But most feels so underwhelming. These kids should also be running everywhere, not calmy walking (bad directing!) This makes the monsters not feel as menacing, because they always have time for a calm exposition break long conversations in the middle of what are supposed to be life-or-death encounters with ancient Greek monsters. And mind you, these pauses for conversation aren't even layered, they're often shot with a static camera, with dull dialogue no 12 yo would speak. They could be having these conversations while running, while hiding, while doing something else! Mix dialogue and action! Layered storytelling, it's about themes and characters but also about how you present the scenes themselves.

An adjacent problem is also the actualization of the myths for a modern audience is a bit surface-level (like with Medusa). They could have done so much more here.

Now, issues with characterization:

Characters can really make or break a story. Here we have a lot of character inconsistencies, or rather, a lack of definition of the characters. It's not about the show being exactly accurate to the book here, it's the show wasting perfectly good character and plot moments from the show, while not being true to tone and to the core of the characters. Change in adaptations can be good, to consolidate or make things clearer and work for the new medium, but they character work here was very ineffective and inefficient.

Percy is supposed to be cunning, smart but not knowledgeable about the Greek world. The show has this being reversed many times. Grover is perceptive and has more life experience but he is reduced to nothing. Like I'm wondering why is he even here? Also, Annabeth and Percy get sincere with each other really quickly after like 1 day of knowing each other, no layered storytelling or emotional reactions to them baring their deepest fears and darkest backstories either. (Poor kids are doing their best with mediocre adaptation, though Walker is carrying the show at this point, tbh.)

And Annabeth... Oh. Annabeth is a hard character to portray and write, tbh, it's easy to make her unlikable and straightforward, can very easily come off as annoying, pedantic perhaps, though I am all for unlikeable female heroines. But this is such a baffling iteration of her character. She comes off as a stalker in the first episodes, then she's bossy yet she doesn't seem to actually plan or have good strategies (all is deferred to Percy really), then she sort of uses "the power of friendship" to resolve things but never her growing wisdom in too. Yes, she could be weird and caring and smart but they didn't nailed any of those traits. But my biggest gripe is that they didn't make Annabeth nerdy enough! Annabeth recalls a lot of facts during the show to look smart I suppose, but she rarely gets to problem solve or truly nerd out neurodivergent kid style, which I think is a huge missed opportunity.

An example, which might be very niche but it shows mu issue with her characterization and I have to talk about it cause I'm a physics nerd (literally, it's my major), the part in the ST Louis Arch in episode 4 where she tells Percy and Grover stuff about the construction is so... basic. Like she just read it out of a tourist pamphlet or something. She just says how tall and wide the arch is and that it's symmetrical. That's it. Right...

Why didn't she mention what type of arch it is?? (A catenary arch, more specifically one that follows a weighted catenary curve. It isn't just held by "symmetry" it's tension! It's cool math!) Maybe she even mentions that it's a hyperbolic function and Percy and Grover can be like omg what are you even talking about, and she keeps going on and on about calculus and architecture, like a neurodivergent kid would about their interests. I mean, sure she's like 12, but she's supposed to be like a gifted kid, daughter of Athena, right? She probably knows some of the science and engineering behind the arch. Missed opportunity. Or maybe it's just that I see so much of myself in Annabeth and it hits too close when they can't make her justice. Idk. Like having a true nerdy, brilliant, neurodivergent, bossy but caring, black Annabeth would have been amazing. I guess the world wasn't ready for that.

This was episode 4 and the episodes are getting better...

Annabeth and Luke's relationship also suffers a lot from telling and no showing. Why don't we have flashbacks?? Such a missed opportunity for a show. As a rule, showing isn't superior to telling, but these two techniques need to be balanced in the writing, they can be combined too to serve the story during a specific scene or passage. In this case, telling was the wrong way.

For Luke, if they want his arc to have the emotional hit it has in the book, they really needed to build his character more and give him more screen time! Which could have been done with flashbacks. Because with Annabeth's stoic acting, too, we don't really get the emotional reactions appropriate to the events she recounts. So how are we going to feel with the betrayal since the relationship hasn't been built strongly so far? Nothing. We'll feel nothing.

Annabeth's actress is doing her best with what she's given she portrays her like she's in a Disney Channel kids sitcom from the 90s, deadpan but snarky, which is not a flavour of acting that helps this adaptation. This might be a larger directing issue, though, because Percy barely reacts when he sees his mother "die" in front of him.

Anyway, Flashbacks and narration could have saved this series alone, tbh. We don't even know how Thalia looks like! How are we gonna know it's her at the end of the book with the fleece reveal??

Ok, disclaimer, I didn't finish the show. I got distracted and bored and couldn't be bothered. I think I stopped after the Underworld episode (episode 7 I think.) I couldn't be bothered to watch the finale even with Toby Stephens in it. That's how enthusiastic I am about this.

Also a bit of a nitpick but why isn't it explained why are Percy and Sally are stuck with Gabe in the first place? About his scent? Why is the abuse so... sanitized too? Like yeah, we could have a more psychological and verbal form of abuse situation, of course, but we also didn't get that? Gabe was just unpleasant and a bit of a jerk, pathetic, but that was basically all. Also, no explanation for the blue food?? When it's such insight into Percy's relationship with his mom?? So much EXPOSITION in this series yet they missed many of the important parts!

Disney watered down Sally too. They really did. Her makeup is nice though.

So... yeah, they could be doing so much more with all the characters.

Concluding thoughts:

I don't hate the show (the visuals are great and Walker Scobell's acting is amazing, such a young talent!), but every time I finish watching an episode, I'm just bored and underwhelmed and wished I had done something else with my time.

I know it's frustrating that in previous decades usually had 20+ episodes, plus season 1 and 2 being shot side by side so we didn't even have to wait and fear of cancellation after so little; shows really don't have to be perfect from season 1, they need room to grow, but they have to have SOMETHING to pull the viewer in from the beginning, to make them stay. Anything! This show is giving me nothing to work with. I do hope the show gets better in season 2, and I understand that the 8-episode-season model is a constraint for writers, but I still think it could have done much better with the resources it did have.

For example, Black Sails had an infamous first season, but then it grew to be what imo is the best show ever put to TV. And yes, it took a while for it to find its perfect footing, but it was like a delicious cake that maybe has some bad frosting but the foundation is there, it just needs polishing and a few changes. But this PJO show doesn't live up to its potential and it's just so frustrating because I wanted to love this show so much but I'm finding it difficult to think of anything that I truly loved about it other than Walker Scobell's acting and course Toby Stephens (but I already love him from his previous work so it hardly counts).

Honestly, I'm a little bit tired of discourse going around saying that critiquing a show from season 1 is not acceptable because the show hasn't finished growing and we want a second season, we don't want the criticism to affect a season 2. But this is irrelevant and that's not how media criticism works. People can get very on board with good shoes from 1 season alone. That's no excuse. There are genuinely good book adaptations out there that make changes for the better and get a good foothold from the get-go! Look at Lockwood & Co, OPLA or Anne with an E. It can totally be done. The criticisms we have are precisely because we love the books, because we wanted this adaptation to succeed, because we wanted to love it, but it disappointed us. And we are allowed to voice that, as long as is done in good faith.

I'm happy this show got renewed because of the fans who enjoyed it, love the Percy Jackson series, it is truly dear to my heart, but would I be sad if the show was cancelled? Honestly, no. I couldn't care less what happens to this show at this point. Why should I? I was given no reason to care, aside from my already existing love for the books. I'm not intrigued about how they're going to adapt book 2, I didn't connect with the characters, I wasn't having fun. Nothing. And sure, I want young kids to be introduced to Percy Jackson, great if it's through this show, I want younger generations to love this series too, but I don't know any gen alpha who would enjoy such a show. (Hell, I really wanted my audience-age-appropriate niece to love it, but she couldn't care less about it and jeez, I wonder why...) Kids deserve better shows than this.

Will I watch season 2? Idk. Maybe? I can put it in the background while doing something else perhaps. I do hope they improve stuff but I don't have my hopes up. Will I watch episode 8? No. Life's too short. I already read the books so why bother (hehe)

[deedeethewriter]

Law and order VS Monsters. Why L&O worked by monsters didn’t

Introduction:

After rewatches, brainstorming, and discussions with others, I have finally decided what is truly the biggest issue with Monsters: The Erik and Lyle Menendez story. No, it’s not the inaccuracies or the incest undertones (although both are a real problem). However, multiple factors hinder this show’s potential as a fresh and unique telling of the Menendez Brothers case. To exhibit this, I will be comparing this show to the much more accurate and much better-written Menendez brothers dramatization, and that is Law and Order True Crime: The Menendez Murders, a Law and Order spin-off that premiered in 2017. It’s far from perfect, has its fair share of inaccuracies, and suffers from pacing issues. But it’s still far better executed than Monsters and the best out of the five Menendez dramatizations. 

This will not be a usual review. Instead, I will compare and contrast the two shows and explain why Law and Order worked and Monsters did not from a pure storytelling perspective. I will break down this comparison into several sections, including plot, subplots, characterization, character development, structure, conflict, abuse allegations, sexual topics, purpose, and overall storytelling.

Just a heads up, I will not compare the characters to their real-life counterparts unless relevant (for example, I address how Monsters wrote Erik’s sexuality and compare it to the actual Erik’s sexuality). In addition, I will not fact-check the inaccuracies in either show; I will look at each show as just that: two series inspired by the same case.

Plot:

(I will keep this brief since this is just a synopsis of both shows)

Both shows take inspiration from the real-life Menendez murders. On August 20th, 1989, Jose and Kitty Menendez were shot dead in their Beverly Hills home. Their two sons, Erik, 18, and Lyle, 21, Menendez, at first deny having anything to do with their parent's murders; however, eventually, the investigation leads back to the brothers being the perpetrators. The brothers eventually admit guilty to killing their parents and, during their infamous trial, make graphic allegations of physical, mental, emotional, and sexual abuse at the hands of both of their parents. However, they claimed they killed their parents in a state of panic, thinking their parents would kill them first to avoid the family secret from getting out. Despite these disturbing allegations and a mistrial, both brothers were sentenced to life in prison at their second trial in 1996; they are still currently incarcerated. 

Both series turn the actual case into a dramatization; despite being based on the same event, both stories use different plots to tell a dramatized story. 

In Law and Order, the main plot is Leslie Abramson’s (Edie Falco) goal of trying to win the Menendez case. Still, along the way, she deals with her issues, such as adopting a baby, disagreements with her husband Tim (Chris Bauer), her problems with her parents, and her growing bond with Erik Menendez (Gus Halper) and Lyle Menendez (Miles Gaston Villanueva). Law and Order is a franchise that consists of police procedural and legal drama; this spin-off Law and Order series, in particular, is being told through the perspective of Leslie, she is the main character here, and the show is about the Menendez Murders is mainly about the behind the scenes drama between the cops, lawyers and legal system surrounding it. 

On the other hand, Monsters aims to create a Rashomon effect about the Menendez case. The Rashomon effect is "a storytelling technique and a phenomenon that describes how people can have different perspectives on the same event." An example would be the film “Elephant,” a 2003 movie loosely based on the Columbine massacre. The film follows the lives of different characters doing their daily routine before the massacre happens at school. Monsters includes perspectives from Dr Oziel (Dallas Roberts), Lyle (Nicholas Alexander Chavez), Erik (Cooper Koch), Dominick Dunne (Nathan Lane), Jose Menendez (Javier Bardem), and Kitty Menendez (Chloe Sevigny), for example. We (the audience) are supposed to explore their different viewpoints regarding this case; by the end, the audience should conclude who the “real monsters” are. 

Both plots are unique in their own right. Before both shows, the only dramatizations of this case were through TV movies: A Killing in Beverly Hills, Honor Thy Mother and Father, and Blood Brothers. All three movies were A to Z stories of the case (before the killing, the killings, spending spree, jail time, and trial) that don’t stand out independently (except Blood Brothers with its ‘Kitty haunting Erik’ thing). Law and Order is a legal drama, and Monsters is a show with multiple perspectives. However, as I will explain, Law and Order had a more polished plot. Despite some pacing issues, it understands its end goal and does better at getting to the show's purpose.

Subplots

A subplot is a secondary plot that acts as a support story for the main story. By the end, the subplot is supposed to enhance and connect to the main plot. Some L&O subplots include Leslie and her husband struggling to adopt a baby, Lyle and his ex Jamie (Jamie Nobel) getting back together, Judge Weisburg’s (Anthony Edwards) reputation and job as a judge, and infighting between the Menendez (Jose’s) and Anderson's (Kitty’s)  families. Some subplots in Monsters include Erik becoming infatuated with another inmate (and trust me, I will get to that), Lyle and Norma Novelli’s (Natalie Taylor Gray) phone calls, and Dominick Dunne’s anger with the justice system after his daughter's killer was given manslaughter instead of first degree murder. Overall, the subplots in Law and Order do what a subplot should do to enhance the story. Even the unimportant subplots go somewhere; for example, at one point early in the series, Lyle is conversing with his lawyer, Jill Lansing (Julianne Nicholson). At one point in the conversation, she mentions her daughter wanting a baby brother, but Jill doesn’t want to give her one.

Lyle, in response, encourages Jill to give her one by saying, “Little brothers are the best.” Lyle then gushes about Erik and how happy he was and still is to have him around. This moment builds Lyle’s character by establishing how much Erik means to Lyle but also later sets up Jill’s exit at the end of the series when she decides not to represent Lyle in the second trial. She explained that while she still cares for Lyle, she felt like she missed out on her daughter growing up because she had spent so much time working on the case for the past three years. This is another issue I had with Monsters; it would introduce plots that lead to nothing significant. While not precisely a subplot, in episode 2 of Monsters, Erik mentions a new girl he’s seeing to his friend Craig Cignarelli (Charlie Hall). This girlfriend is most likely Noelle Terlesky, a girl the real-life Erik was seeing at the time of his arrest. Anyways, after this mention, she’s never seen in the show or mentioned by Erik again. It felt like the writers only mentioned her because she was an actual person in this case, but they had no real plans for her (something I will mention later). It makes me wonder why Erik would mention her if she wasn’t going to do anything in the story. As stated before, Monsters would introduce certain subplots or characters that wouldn’t do anything long-term for the plot. Completely stripping away the point of a subplot, which is supposed to create conflict, develop a character, and add depth to the main story, but the subplots in Monster failed to do that. 

For example, let’s compare the subplot between Erik and Tony's (Brandon Santana) subplot in Monsters vs Judge Weisburg’s subplot in Law and Order. In episode 3, Erik becomes infatuated with another inmate at the LA County Jail who also seems to like Erik, such as staring at him when he isn’t looking and helping Erik get dimes. Later, they’re seen working out together, and Tony brings up the fling to Erik; Erik denies being gay, although he did question his orientation at one point. Later, Erik and Tony are the only ones in the jail shower, and they shower seductively in front of each other. The subplot seems to be leading somewhere, such as a hookup or romance between the two, but no. Two episodes later, we learn from Erik that Tony was moved to another jail. That’s it. No moment shows them hooking up or having a “what are we?” conversation about their little fling. Erik mentions missing Tony to Dr Vicary (Gil Ozeri) in episode 7 (which, btw why would  Vicary's first response to that be "Miss the sex?" LMAOOOO), but this subplot has no conclusion. There’s no epiphany moment for Erik and his sexuality; this subplot did nothing for the plot. 

Let’s compare this to Judge Weisburg’s (Anthony Edwards) subplot in Law and Order. Judge Weisburg, at first, is portrayed as a fair and unbiased judge. He has his banter in court with Leslie before the Menendez trial, but it’s not shown that he has a particular issue with her. However, as the series progresses, he gets a lot of bad press because of the outcome of the Rodney King trial. His reputation as a judge is beginning to crumble, and he’s afraid that not getting a conviction in the Menendez case will be the beginning of the end for his career as a judge with election season coming up. The negative press explains why he becomes more harsh to Leslie during the trial and sabotages the second trial by not allowing any abuse evidence. Even though he is an antagonist in the story, his subplot

Gives his actions a motivation

Develops Weisburg and Leslie's character

It amplifies the plot by causing Leslie a conflict during the second trial (his actions lead to the brother's conviction).

Law and Order did a better job of leading its subplots somewhere, giving them all a conclusion and enhancing the show's main plot, while Monsters did not. The biggest issue with Erik and Tony’s subplot, in particular, is not the nude scene or the ethics of the writing of Erik’s sexuality, but the fact that you can take this subplot out and nothing would have changed. Nothing would’ve been gained or lost; it doesn’t develop Erik’s character, enhance the main plot, or raise any stakes. If Weigburg’s subplot were taken out, it would have taken away Weisburg’s and Leslie’s character development, not given Weisburg a motive, and it wouldn't have given Leslie a conflict for the second trial. A good subplot gives the main plot layers and adds complexity to the story and characters, but monsters don’t seem to know what to do with their subplots. 

Characterization

Law and Order and Monsters both have characters inspired by the real-life people involved in the Menendez case. Of course, we have the Menendez family, Leslie, and Jill, but both projects also include Pam Bozanich, Lyle’s prosecutor; Detective Zoller, the lead detective in the case; Judge Weisburg, the judge for both Menendez trials; Dr. Oziel Erik’s psychiatrist who he confessed to in October 1989, Judalon Smyth, Oziel’s lover who eventually told the police about the brother's crime and members of the brothers extended family such as their aunts, uncles, and cousins. In both shows, their roles seem to be drastically different. 

For one, in Law and Order, Pam Bozanich (Elizabeth Reaser) is a recurring character, but she still has her own story arc and character development. In law and order, she was the prosecutor in the McMartin trial. During the show's events, we learn that she failed to get a conviction during that trial. Still, she wants to desperately prove that she’s a reasonable prosecutor to the District Attorney’s Gil Garcetti (MArk Moses). Eventually, the DA is convinced to give her the Menendez trial, and Pam, thinking about her reputation, is desperate to get a conviction during the trial. Unfortunately for her, she doesn’t, and the DA takes her off the second trial, much to her dismay. Despite this, Pam develops a dislike for Leslie, so she doesn’t seem to mind being taken off the second trial. She said she’d rather eat glass than spend another hour in a room with Leslie. 

Pam Bozanich (Milana Vayntrub) is a character in Monsters; however, she takes on a much smaller role. She only shows up towards the end of the series when the trial begins, but she doesn’t have much of a role despite being a key figure in the Menendez case. This could be because of the two series' different premieres. Law and Order is a legal drama, and she is an antagonist to Leslie’s protagonist there, so it’s understandable why she takes a more significant role there than in Monsters. 

Still, given that Monsters is a show about multiple perspectives, I think the show could’ve benefited from an episode about how she looked at the murders. Dominick Dunne was just a gossip columnist in the show and real life and didn’t know the brothers personally, yet he gets so much screen time dedicated to his perspective on things. 

I had another issue with this show: despite wanting to explore multiple perspectives, it rarely gives time to explore the perspectives of characters who knew the brothers personally, such as their aunts, uncles, cousins, partners, and friends. I think an episode where both sides of their families are discussing their perspectives on what led to the murders would’ve been a great episode idea. Instead, their extended family members are reduced to background characters only added because the writers felt they had to add them because of their real-life counterparts. Even if the writers wanted to focus more on the immediate Menendez family, I still think members of their extended family could have worked as minor characters. Minor characters can be just as important as the main characters sometimes; if written right, they can add depth to the plot, help develop the main character, and help move the main plot forward. Unfortunately, it seemed like monsters didn’t know how to use their minor characters while also focusing on the Menendez family's story and different perspectives on what led to the murders.

On the other hand, Law and Order used their minor characters to move the plot, resolve conflicts, and develop characters. For example, minor characters Andy (Davi Santos) and Diane (Ashley Lenz) show up to tell Leslie and Jill about Erik and Lyle, revealing to them they were being molested when they were younger, and later testify for the defense about it on the stand during the trial. Even though they don't have much to do with the overall story, their testimonies and what they tell Leslie and Jill give the defense the corroboration they need for the brothers' sexual abuse claims in court. Diane's reveal to Jill and Leslie happens before Lyle admits Jose also molested him, so it also makes way for Lyle to be honest about his abuse from his father finally. 

To avoid this getting too long, I will only stick to the Menendez family and their characterization since they are the main focus of both shows (besides Leslie in Law and Order, but I feel it would be an unfair comparison to compare L&O Leslie to Monsters Leslie). But I will say that the Law and Order show does a better job at characterizing not only the main characters but also its recurring, minor, and antagonistic characters. All of the characters, including the antagonistic ones, are well-written. They all have unique personalities, are realistic and relatable, and are developed throughout the series. The main characters are also likable, making the audience want to root for them. I can’t say the same for the characters in Monsters. The characters were not relatable, developed, likable, or even realistic. They seemed more like caricatures instead of actual well-written characters.

Lyle Menendez as a character in Monsters

I won’t beat around the bush; I don’t like the character of Lyle Menendez in Monsters. Lyle is written as a fly-off-the-handle, bratty, arrogant, self-centered, spoiled, disrespectful, foul-mouthed diva that makes him unlikeable. It’s not like this happens when he’s on an adrenaline high or frustrated, but all of the time. In this series, he curses out and yells at his parents multiple times, yells at kids who are trick or treating, yells at a service workers, threatens Dr Oziel, is rude to Leslie (Ari Graynor), makes faces while his brother is testifying, doesn’t seem to care about Erik’s feelings most of the time, and is more concerned about dimes and his hairpiece over the fact that his life is on the line.

As stated before, Monsters was aiming for a Rashomon effect of storytelling. If that was the case, I could understand situations where Lyle is being a dick. I can see people like Oziel or his parents looking at him as a little bastard, but I'm supposed to take his attitude at face value because this storytelling isn’t made clear to the audience. Lyle, in this show, has almost no redeeming qualities. We hardly see a lighter side to his character; the bratty diva thing could have given Lyle’s character more depth and complexity had we seen a more sensitive side to him. Some moments show that he cares for Erik a lot, such as during their reunion at the jail, he advises Erik that he can’t just drink milk in the jail and he frequently tells Erik that he loves him. But the problem is that these are just that, moments. Lyle doesn’t get more layers to his character to balance out his negative qualities. Despite not saying it verbatim, Nicholas Chavez has implied that he took issue with Lyle's character, such as saying in interviews that he was written as the least sympathetic brother. But because he couldn’t do much about Lyle’s characterization, he wanted to play him as someone who acts the way he acts because he’s a profoundly hurt person wearing a mask to shield that hurt. I can see what he means on my second watch of the show. In episode 4, Lyle gets vulnerable about his abuse of Leslie and Jill. In that episode, it’s like Lyle is an entirely different person. You see that he still feels the need to protect his father’s image, and he feels the guilt and shame of being molested but also molesting Erik himself. There, we see just how much he loves Erik. While he wants to protect his father’s image, he also wants to safeguard Erik by not revealing this embarrassing and shameful encounter. We begin to understand that Lyle acts the way he acts because the root of that is insecurity, and his abuse is the main reason why he acts like a child because he’s still mentally a child himself. This episode would’ve been the perfect time to develop Lyle’s character, but the next time he’s on screen, he goes back to being a bratty dick. There’s no personal growth, no change in his morals, and no lesson learned from his moment of vulnerability. As a character, Lyle seems to stick to the “Status Quo is God” trope, where things always go back to the way things were before. It's like the writers didn’t understand the importance of character development.

Despite this, I do have to praise Nicholas’s performance. He is genuinely entertaining to watch and has excellent comedic timing. I am unsure if the writers intended to make his lines as funny as they were, but I mostly laughed when he was on screen. In addition, I can see that he studied the real-life Lyle Menendez. During the trial and court hearing scenes, he’s spot on with Lyle's mannerisms, facial expressions, and speaking. He even got Lyle’s child-like way of speaking when he was being directly examined by Jill down to a T. Unfortunately, his talent was wasted entirely. 

(Real-life Lyle’s wife was also SO excited for him to play Lyle; what a waste, lmao)

Lyle Menendez as a character in Law and Order

Law and order Lyle is a bit more tricky to describe.  Because Leslie is the main character, we don’t spend as much time with the brothers as in Monsters. But we see in Lyle that he’s confident, smooth, overly protective of his brother, naive, empathetic, and puts on a tough exterior even though he’s hurt and secretly emotional. He still has his flaws and moments of being obnoxious. He’s rude to the waitress and his bodyguards and is actively lying to his family, friends, and partner about his involvement in killing his parents. That said, his character flaws are justified from a storytelling perspective. He’s lying because he doesn’t want to hurt his loved ones, and his rudeness reflects how he was groomed at home, which we later see through flashbacks and his opening up about his family life. His rude moments can be chalked up to him mimicking his father; after his rude remark to the waitress, he says, “My dad always gave waitresses a hard time.” From the first episode during his police interview and what Jamie says to him at the hotel, it's clear how much Lyle admires his father and wants to make him proud. In episode 3, Dr. Conte (Raphael Sbarge), Lyle explains to Leslie and Jill that even though Lyle was sexually abused by his father, he still brags about how great of a man his father was and claims to love him; he’s doing something many survivors of abuse do, and that’s idolizing his abuser. So his rude moments are just him reflecting on his father, who he idolizes. This also explains to the audience why he didn’t want to reveal his father's abuse and why he felt so betrayed by him when Erik told him the abuse was still happening. While close to his father, through a flashback narrated by Donovan (Ben Winchell), it’s revealed that Lyle was upset by his father cheating on his mother, and we see multiple moments that show how deeply Lyle loves Erik. This also adds more depth to Lyle’s character. Even with his closeness to his father, he still needs to protect everyone in his family. This plants seeds for the brother's eventual allegations of what led up to them killing their parents. By the end of the series, Lyle has grown from the experience of his parents' murders and the trial. While still putting on a tough exterior, he has learned to be comfortable showing his more sensitive side and more open when expressing his feelings to Erik. At the beginning of the series, he seems to be unbothered by his parents' deaths and brushes off Erik's emotional hysteria. Still, in the second to last episode, he can tell Erik how much he misses his parents. While sticking to the main status quo of his character, Lyle's character still shows excellent character development. He still has most of his main character traits, but he also grows and learns from his experiences, and his sensitive side gives more depth to his character to show that he is a complex individual.

Even though I wish we had more time to explore Lyle’s character, his character here is way better written, realistic, likable, and relatable than his Monsters counterpart. 

Erik Menendez as a character in Monsters: 

As for Erik’s characterization, it's an unpopular opinion, but Erik was pretty unlikable in this show, too. I think the hurt man episode and people being biased towards Cooper have clouded judgment towards Erik’s character here. But in this show, Erik: Gets aggressive with Craig after Craig asks about the murders, yells and curses at Kitty for misspelling a word (a word he also misspelled too, might I add), and continues to scold her, blames his brother for the murders multiple times, yells at Leslie, says he should’ve killed Lyle too, robbed multiple houses, is rude to Oziel, doesn't care that his mom is spazzing in the kitchen, and is the one who came up with the murder plan. Watching this show, I got the opinion that Erik was bratty, passive-aggressive, sneaky, spoiled, and the mastermind behind the killings. Yes, he is more likable than Lyle, but not enough to think he's anything besides a disrespectful spoiled brat. I could say he’s more emotional and feels more guilty than Lyle. In The first episode, Erik is seen as being overly emotional over his parent's deaths, having near mental breakdowns and experiencing nightmares. But it's like his emotions have wholly dropped after the Oziel confession. There’s a lack of complexity in Erik’s character. I left the show looking at him like a toned-down Lyle. To echo what I said earlier, I can see someone like Dr. Oziel and his parents view him as a bratty kid, but with the lack of a narrator or establishing the story’s goal, I am supposed to accept that Erik is just as bratty as his brother. 

Erik also comes across as quite a jerk. When Craig tries to pry a confession out of him, Erik, for some reason, tries to intimate him. The show does not clarify why Erik got aggressive like this; it makes him seem like a passive-aggressive cold-blooded psycho. He doesn’t develop from this either; in the last episode, he pushes Lyle against the wall and says he should’ve killed him, too. Yes, the argument could be made that Lyle had been picking on him before this, but it shows Erik's lack of character development by showing that he is still an aggressive jerk. 

However, Cooper Koch's outstanding performance also saves Erik's characterization. The Hurt Man episode was excellent. Not only does Erik lay out his abuse at the hands of his father, but we also explore other things about Erik. Such as his complex feelings towards his parents, his idolization of Lyle, his confusing sexuality, and the root of his insecurities. Cooper does a fantastic job of displaying Erik’s emotions; one of the best things about this episode is that it feels like a real conversation between two people, not an exaggerated Hollywood script. Leslie tries to comfort Erik when he’s tearing himself down, and he keeps interrupting Leslie while she tries to comfort him. It is so natural to have a real-life conversation when someone is trying to reassure you when you are venting and vice versa. Like Nicholas, he’s also spot on when portraying the real-life Erik when necessary. At times, he even sounds like the honest Erik; it's almost eerie. Cooper is also entertaining, “Lyle, is that my toothbrush?” And “That’s where I keep it cold!”  It never fails to make me laugh. 

And yes, I am going to address the elephant in the room. The writers were awful in how they addressed Erik’s sexuality. I know he denies being gay multiple times in the show; however, between the Tony subplot and Pam telling Dominick that Erik was having oral sex with other inmates (they show this, too, by the way). Lyle and Jose making comments about Erik (allegedly) having sex with Craig, the average viewer might come out of this show thinking Erik is gay. I know the real Erik said he was confused about his sexuality, but it’s like Ryan took that one statement and ran with it. He ignores that Erik also said he did like girls and eventually had intercourse with girls and the fact that Erik did have multiple girlfriends. Yes I know there is an acknowledgment of Tammi, but that came towards the show's closing. There is a way to explore Erik’s sexuality from a storytelling point of view. Episode 5 did a decent job of addressing Erik’s confusing sexuality, and I wouldn’t have minded it if that was the only incident of it. But the sheer amount of gay subplots and jokes with Erik seemed more like a fetish as opposed to exploring how the sexual abuse confused the real-life Erik. Story aside, it feels offensive to the actual Erik.

Erik Menendez as a character in Law and Order:

Again, in Law and Order, we don’t spend that much time with the brothers. However, what we do see of Erik is that he’s very close to completely breaking down mentally. He’s outwardly more sensitive than Lyle and cries quite a bit in the show. He looks up to Lyle, calls him for everything, and loves and misses his parents. After their deaths, he focuses full time on tennis to make his father proud. He even recalls Jose encouraging him from the stand (although Lyle corrects him by reminding him that Jose was yelling at him). Erik seems closer to his mom; he tells his girlfriend that his mom would’ve been proud of him for having a girlfriend because she always gave him deadlines to get one. Kitty, in flashbacks, is shown as very sensitive and also cries often. In a way, Lyle is taking after his mom and Erik his mom. Even before the audience knows that he killed his parents, we see him close to breaking multiple times and know that he’s struggling to accept the fact that his parents were dead. Erik is also feeling the heat from guilt; his mental break isn't just over his parent's death but the fact that he was responsible for it. So, it is justifiable to the audience when he confesses to Craig and Dr Oziel. With Dr. Oziel, Erik only confessed to him because the only person he wanted to talk about it with, his brother, kept blowing him off, so when he confesses, it shows that Erik did it out of desperation and under the impression that he would be safe in doing so. It doesn’t make him seem sneaky, but he can’t take it anymore. He isn’t passive-aggressive or a jerk when Craig tries to pry a confession out of him. He still gaslights Craig but tries to brush it off like Craig is crazy instead of getting aggressive with him. It is explained here, though. He finally got it off his chest after the guilt was eating him alive, and after the drama with Dr Oziel and Lyle, he doesn’t want to talk about it anymore with anyone but them. Erik also develops by the end; even though he sticks to his same emotional self, he learns that it’s unhealthy to keep his emotions bottled up. Because his confession to Dr Oziel leads to his arrest, it stands to reason why he would feel cautious about being honest with his feelings. He also doesn’t reveal his abuse to Dr Oziel, but he learns to trust Leslie and is entirely open with her to avoid going on death row. Sure, it doesn’t stop him from shedding a few tears, but his honesty and relationship with Leslie develop him from someone close to breaking at any moment to someone in touch with his emotions and learning how to express them. I do prefer Cooper as Erik, but I still loved Gus’s portrayal and I think Law and Order did a better job at matching how the real-life Erik was feeling at the time.

Jose and Kitty Menendez as characters in Monsters:

Before I start, I will say regarding performance and chemistry alone; I prefer Javier and Chloe.  They are great with their material, and I think they capture Jose and Kitty's real-life energy. Javier, like Jose, is legitimately intense and intimidating, and Chloe nailed Kitty’s “I hate my kids; they ruined my marriage and life” spirit. 

Now, in both dramatizations, they take a smaller role. However, their roles are different in each series. In Monsters, Jose and Kitty are more characterized. For one, it explores the issues in their marriage, such as Jose’s affairs, his telling Kitty he doesn't love her and only wants her to give him children, and Kitty’s frustration with how he treats her and her loneliness. 

Kitty states multiple times that she hates her kids. She is characterized as a sad, pathetic, bitter, and insecure woman. We learn about Kitty's trauma from her abusive childhood, which explains why she treats her sons the way she does. Kitty’s resentment toward her sons was explained; she felt like she gave up her whole life for Jose only for him to treat her like garbage later, cheat on her, not love her, and pay more attention to their kids over her. Not that it justifies any abusive behavior, but it adds more layers to her character and actions. We also learn that she’s turned to alcohol to deal with her emotions, as seen when she reaches for the wine bottle for help after spazzing out in the kitchen.

Jose also has his fair share of trauma. He is characterized as a stern, strict, cunning, savvy, perfectionist, prideful, and abusive man. We also learn that he also has his fair share of trauma; he reveals to Kitty that his mother used to molest him as a kid, and when Lyle calls out his physical punishments to him and Erik as abuse, Jose brushes it off. Stating that his father used to hit him harder and that his sons' out-of-control behavior (the robberies, Lyle’s Princeton suspension) was the result of him not hitting them hard enough. This does not excuse his actions, but it explains his mentality.

Now that’s out the way, here is my issue with their characters: The show seemed to take more time to make the audience believe that Erik and Lyle were spoiled and bratty than they did, showing how scary Jose and Kitty were in Erik and Lyle (and others') perspectives. The moments that do show them as tyrants are limited and rushed quickly. I feel like the episodes that showcased last week’s events were rushed. I didn’t even mind the light-hearted moments, such as the Christmas moment, not because I felt terrible for them but because the audience would understand that no one is a Monster all the time. It also showed how the brothers could still love their parents even after all they did to them. Even the real  Lyle said during his cross-examination that he and his father had plenty of good times. 

Despite that, they are more sympathetic and complex than Erik and Lyle are. The brothers claimed they feared their parents, but I never got that feeling. How the show presents it, they came across as more strict, harsh, inconvenient, and demanding than they did someone to fear. It seemed more like two bratty kids who killed their parents because they resented them than people they killed out of fear and desperation. The deep horrors of how they allegedly treated their kids are only left to the imagination. If Ryan wanted the audience to decide who the “real” monsters were, he failed at showing just how monstrous they were to their boys (I will elaborate on this when we get to the abuse section).

Jose and Kitty as characters in Law and Order:

Jose and Kitty, in law and order, are explored even less than the brothers were. I’ve already explained why (the show is told from Leslie’s POV). What we see of them is shown through flashbacks from the brothers and other relatives. We see that Jose is controlling, intimidating, a bully, powerful, and abusive. We also learn that Lyle really looks up to his father, and at the beginning of the series, he constantly talks about making his dad proud. There’s no character growth to Jose here because this is ultimately a story about Leslie. Even though I preferred Javier, Carlos was also great at embodying Jose. The real Jose was said to be scary and intimidating even to grown adults, and Carlos made me feel afraid of him.

On the other hand, Kitty is shown as what Lyle describes as a “basketcase,” and Erik tells his cousin Henry that she is “so unhappy.” Flashbacks and comments of Kitty show her as constantly breaking down crying, dependent on drugs, passive, and showing little interest in her boys. Kitty also doesn’t grow much character; we learn that Jose had an affair with her, and Lyle tells Donovan it destroyed her. It helps the audience understand why Kitty turned into a basketcase, not necessarily to feel bad for her but to understand her more. Again, I prefer Chloe over Lolita; she did a better job embodying Kitty’s “I hate my kids” energy, but it’s not Lolita’s fault. I think she did great with what she had, but she wasn’t exactly playing the real-life Kitty. Lyle even pointed out on Facebook that Kitty here wasn’t shown as scary and violent as she was in real life. Law and Order even had a moment where the boys reminisced on a funny moment with their parents and flashbacks where Lyle remembered good times with his parents. I think it handled showing that Jose and Kitty weren't awful all the time without humanizing them too much. By the end of the show, the audience has seen why the brothers feared their parents so much and why they felt like killing them was their only option but there are still moments that show the brothers still love them and had good times with them.

Despite the flaws, law and order made the audience hate Jose and Kitty better. I will talk about the abuse later, but Law and Order did a far better job showing just how Monstrous Jose and Kitty were, even though Monsters did develop their characters more. A criticism I often see towards Law and Order is that the brothers were too sympathetic and the Menendez family were one-dimensional, and I can understand that viewpoint. We spent way more time with Leslie and behind-the-scenes legal drama than with them and their parents, which is why it was tough to explain their characters. However, this is excused because this is a legal drama explained through Leslie's eyes, which explains why the brothers are more sympathetic here. Throughout the series, we see that she begins to care for them like they are her children; it’s how she views them, and everything she knows of Jose and Kitty is being told to her from the point of view of other people, including their victims. Hence, it stands to reason why (Jose and Kitty) are only looked at as vile and one-dimensional. From a pure story point of view, it makes perfect sense.

Character development:

Monster’s storytelling also suffers from little to no character development. By the end of the show, almost everyone stays the same as they were. Lyle is still obnoxious and rude, Erik is still bratty and aggressive, and Dominick is still a bitter journalist who takes his distrust of the legal system out on the brothers. It’s like everyone stayed at point A and didn’t learn anything from their experiences. Out of the significant characters, the only ones who got real development seemed to be Jose and Kitty. In episode 6, they are struggling with their marriage and seem to hate each other, but by the end of the episode they seem to work out their differences and have a happy marriage. But like….their personalities don’t seem to change or develop. Kitty still hates her kids and Jose is still a controlling tyrant. Good storytelling means developing their characters, it doesn’t mean that they should have a complete 180 with their personalities, but they should have learned something from their experiences that leads to a change in their flaws, morals, and actions. This is another example of the characters here being over the top and cartoony. It’s not just the hyperbolic personalities, but the fact that no one seems human enough to develop. Lyle throughout the whole show is an obnoxious prick who is always yelling and cursing. Episode 4 showed a more vulnerable and soft side to him, giving the audience the impression that he acts the way he does because the abuse stunted his growth and he’s still mentally a child himself. However, for the remainder of the episodes he doesn’t change. He’s still rude and obnoxious, he’s learned nothing from this experience and it takes away the impact of seeing his more vulnerable side. It’s another example of lazy and ineffective storytelling. The show seemed to want to stick to a certain status quo, not understanding that characters are allowed to change without becoming completely different people.

I won’t talk too much about the characterization since I’ve already talked about that. Law and Order did a great job at developing its characters. By the end, everyone has grown, learned, and evolved from being a part of this case. I will be using as an example since she is our main character here. By the end of the series, Leslie turned a whole new leaf from losing her case. By the end, Leslie is heartbroken that she lost her case and the fact that Erik and Lyle both get life sentences. However, we see her grow throughout the series. She stays her same fierce, brash, bold and confident self, however we see her more vulnerable side. She has issues with her parents, her mother passes away and she reconnects with her estranged father. In the midst of all this, she becomes a mother again and adopts a baby boy. Her new son, own issue with her parents and closeness with the brothers is a factor on why she became so passionate about their case and why she turned a new leaf after the second trial to focus on raising her son and working at a toy store. Of course her decision was because of her loss, but also because learning about the horrific abuse the brothers suffered made her appreciate family and want the best for all children. As a result of both, she understands the real impact of a healthy and normal family and not only wants to be there for her child but other people’s children. 

Not only is there great development, but none of the protagonists are unlikable. Sure, they have their flaws, but it makes them come across as more complex and human. Even the antagonist characters (Weisburg, Detective Zoller, Pam, Gil Garcetti and David Conn) have their own subplots that fulfil the antagonistic role by having motivations behind their actions and having a foil for the antagonist that makes the audience question the protagonist. For example David Conn (Robin Thomas), as a part of the California DA office is assigned as the prosecutor in the second trial. Throughout the show, we see how desperate the DA office is for a conviction after losing the McMartin, Rodney King, and later OJ Simpson trial. After the OJ loss, the office is determined to convict the brothers. Later during the second trial, Conn reveals to the jury and the audience during his cross examination of Erik’s psychiatric in jail Dr. Vicary that Leslie had  hand in altering Dr Vicary’s (Todd Weeks) notes about Erik’s view of his mother. While this a small example, it shows how smart the law and order team was with its writing and storytelling. Not even the antagonists are over the top and cartoony, but real relatable people with their own backstories, goals, and motivations that makes the audience understand their viewpoint. 

Sexual/adult situations:

It’s no secret that monsters heavily sexualized the brothers. While I cannot praise Cooper and Nicholas’s performances enough, it’s clear that Ryan also cast them based on their looks and bodies. There are far too many scenes of them nude, shirtless, or in sexual situations, even when not necessary. I have no issues with nudity or sex scenes/suggestions in the media, but it was very excessive here. Law and Order had a scene of Erik’s girlfriend Noelle (Anna Osceola) teasing him with sex when he got out of jail. However, the most significant difference is context. Erik’s girlfriend teasing him made sense because she’s assumingly a young girl who wants to give her boyfriend a “gift” when he gets out of jail. It doesn’t seem out of the ordinary, and it’s not “in your face,” so to speak. It’s subtle and not distracting, like the sexual moments between Oziel and Judalon. The over-sexualization was so bad that monsters included incest undertones between the brothers. In the second episode, Lyle kisses Erik on the mouth, and later, they dance seductively with each other at a party. Then, in episode 7, Dominick Dunne gives people his theories of the Menendez family and suggests that the real family secret was Erik and Lyle's incestuous relationship. The scene then cuts to Kitty catching the brothers in the shower together. 

In Law and Order, one juror commented that Erik probably got his stories of sexual abuse from having sex with Lyle, which is a disgusting comment; it’s nowhere near as awful as Ryan deciding to showcase an incest scene between them. Even if it was Dominick Dunne’s imagination, I still don’t understand why it had to be shown. The juror's comment in Law and Order is met with disdain from the other jurors; unlike Monsters, the whole “brother incest” is brought up but not even entertained.

I will admit I laughed at the scene where an inmate sarcastically tells Lyle he’ll give him a dime if Lyle gives him head and Dr.Vicary’s “Miss the sex?” When Erik says he misses Tony, gave me a chuckle. If everything else weren’t so in your face and had the gross incest stuff, I wouldn’t have minded these moments so much. But the layers of over-sexualization, including sibling incest, showed (to me) what was on Ryan’s mind when he cast two good-looking 20-something-year-olds to play the brothers.

The abuse:

In Monsters, the brother's allegations of abuse weren’t shown like they should’ve been to get the point across. I’m going to start with Kitty. In real life, the brothers alleged that Kitty was also violent and abusive to them. We also know that she sexually abused them both. The show attempts to address that Kitty was also an abuser and not just an enabler. However, it is poorly executed, and there is not enough time to show that. The only incident of this is her raging out on her kids after they accuse her of trying to poison them, but just before that, we see them cussing her out and ganging up on her. It comes across that she is justified in her rage out, and considering her kids are sociopaths, her kids were being dicks to her, and she got frustrated. Add onto the fact that they just watched her spazz out on the kitchen floor unconcerned. So when she tells her therapist, “I hate my kids,” someone may think, “Well, they cuss her out, gang up on her, accuse her of poisoning them, and are thieves. I get why she hates them and feels like they ruined her life.” To make it worse, we see her kissing Erik on the head and calling Lyle “sweetheart” (we all know the real kitty would never lmao) and telling her therapist that she still feels the umbilical cord connecting them. It makes it seem like she has love for them, but their attitude makes her hate them. Even if I can give it the “this is Kitty’s perspective” excuse, as stated earlier, the show does a terrible job of providing more corroboration to the brother's perspective of the abuse they say they suffered and what led to them fearing their parents. In addition, the only incident of sexual abuse of hers that is shown is her looking at Erik’s penis to check for AIDS, but the show leaves out that she used to pop blisters on them (Erik was also much younger when this happened) and even then it’s seen as justified and not motivated by the real Kitty’s perverted nature. Before that, she and Erik were talking about how Erik could bring AIDS in the house because he isn’t using the condoms they bought (and they are aware of his sexual relationship with another boy). It makes it seem like Kitty was just a concerned mother instead of the pervert she was. Erik mentions Kitty sexually abusing Lyle in episode 5, but it’s wildly “blink and you’ll miss it,” and Lyle does not even talk about it. The naked pictures are shown in court, but it came after it was implied that Leslie coached the brothers to lie on the stand. However, the show spent more time showing that the brothers were rude brats who talked back to their parents instead of showing how vile Kitty could also be.

As for Jose, my issues are pretty much similar. We don’t see enough of him being abusive to his sons besides slapping, degrading, and yelling at them. Yes, it’s still abuse, but it's not abusive enough to make us hate his guts.  If I recall correctly, the only incident that shows his sexual abuse was in episode 6, when he drags Erik to his room, and there’s a bunch of thumbs behind the door. Everything else about his sexual abuse of them is only talked about. I’m not saying they should’ve shown explicit rape scenes, but Law and Order was able to show the abuse of both parents that makes the audience hate them both. Jose, like Kitty, is seen as justifiably angry with his boys because of their burglaries and Lyle’s suspension in episode 6. Again, I understand this episode is his point of view, but I found myself understanding Jose’s frustration. Perhaps that’s what the writers were aiming for; they explored multiple perspectives and let the audience decide who the monsters were. Still, less time was dedicated to showing how monstrous Jose and Kitty were in the brother's eyes. Again, it suffers from telling and not showing.

Law and Order was able to show Jose and Kitty’s abuse without being explicit but also bad enough to make you hate them and sympathize with the brothers. Through flashbacks, we see that Kitty is negligent (how she handles Erik’s nightmares, ignoring Jose and bearing Erik), relies on pills and alcohol, keeps kiddy porn pictures of them, and that she also molests Lyle. It’s not explicit, but it’s clear what’s happening as it leaves little to the imagination. Jose, in these flashbacks, is also shown as abusive. Multiple times, he is seen striking fear into his boys, and the sexual abuse is not explicit, but it leaves little to the imagination of what is happening. By the end of the series, the audience has seen how disgusting and frightening Jose and Kitty are to their boys. Someone might say, “Well, the show is biased for the defense, so it will be in their favor. Monsters are trying to give multiple perspectives and letting the audience decide.” That’s true, but the writers took plenty of time to show how bratty and annoying Erik and Lyle were to others. But, there was barely any time spent showing the audience just how vile Jose and Kitty were from the perspectives of their boys. While I appreciated episodes 4 and 5, their telling their stories would not have been as impactful as showing their stories to the audience. The last episode of Law and Order was also better at addressing generational trauma. The last episode has Jose’s sister Marta (Constance Marie) and Kitty’s sister Joan (Molly Hagan) telling Leslie that they were abused as children, which shows the impact of generational curses but doesn't humanize them too much to forget their abuse.

Overall Storytelling:

Lastly,the storytelling is what makes Law and Order work but not Monsters. While the plot in Law and Order is about the Menendez case, the show sticks to the Law and Order formula by sticking to the legal drama that surrounds the case. The story, like any good story, has a beginning, middle, and end. Its storytelling is polished, shows instead of telling, well structured, has conflict, well developed characters and has a clear purpose and identity. 

Beginning, middle, and end. The beginning of the story is the murders of Jose and Kitty Menendez and the investigators in the case trying to find the killers and ultimately their investigation leads them to the couple’s own two sons.

Middle: Erik and Lyle are arrested and adjust to life in jail. Meanwhile, the prosecution and defense are both building their case.

End: Both sides present their case during both of the brothers' trials. The defense, despite being the protagonist, loses the case and the brothers are sentenced to life in prison and Leslie turns a new leaf.

Polished and structured: As explained by the beginning middle and end, the storytelling in Law and Order is structured and clear. It’s organized in the kind of story it’s telling but also has important elements a well structured story needs like conflict and purpose.

Conflict: This is another reason why I feel like Law and Order dealt with the subplots better because they added to the story by adding conflict to drive the plot forward. As mentioned earlier, Judge Weisburg’s subplot at the end provided conflict for both him and Leslie. For him, the bad press gives him a conflict because he is desperate to get a conviction to keep his job and save his reputation. For Leslie, Weisburg’s desperation causes him to not allow any abuse evidence in the second trial. This causes her conflict because she struggles on how she’ll be able to argue her case without abuse evidence. The conflict here does what it’s supposed to do by creating tension, advancing the main plot forward, and once the story ends, the created closure.

Purpose: Lastly, the core thing that makes Law and Order better executed than Monster’s is its purpose. The show has an identity and knows exactly what message it is trying to send. For Law and Order, the purpose of the show is to showcase the corruption and unfairness of the legal system. To prove this point, it takes the real life Menendez murder case, a case that was a prime example of legal corruption and unfairness and dramatized it into a TV show. It makes sure to stick to the Law and Order format by being a legal and courtroom drama, as a result the brothers don’t get much attention, but they are still important as characters. Their testimony and allegations help build a case for the defense and their relationship with Leslie Abrahmson gives her character development.

Monsters like mentioned have a Ransom effect type of storytelling. The purpose of the Rashomon effect is supposed to show how multiple views of the same event can be interpreted in different ways and the contradictions that can arise from that. An example would be the 1970s sitcom “Good Times" episode “When there’s smoke”, after the couch catches on fire, the characters JJ, Michael and Thelma all tell Willona their story of what happened. Each story contradicts each other, making each narrator look favorable and the others look bad. In the end, it’s revealed that the character Penny is the one who lit the couch on fire after she tried to have a cigarette and dropped it on the couch after JJ says that he doesn’t like smokers. While this could have been a fresh and unique twist on dramatization of the Menendez brothers, the show drops the ball by failing to establish this. It’s not well structured, the timeline is off, the characters are not developed, it tells instead of shows, there’s a lack of proper conflict, and there’s no real purpose or identity for this show’s existence. 

Structure and timeline: One big difference between Law and Order and Monsters storytelling is how it’s structured. Law and Order for one had a clear cut story beginning, middle, and end where Monster’s does not. To give it the benefit of the doubt, it follows the timeline of the actual crime. That being, the murders, the brothers shopping spree, the Dr. Oziel drama, their arrest, then revealing the abuse to build the case, the first trial being a hung jury, the second trial, and the brothers conviction. However, the timeline seems jumpy and unfocused. For example, we see some of the same plot points multiple times such as Lyle’s Princeton suspension. Lyle explains his Princeton suspension in episode 4, in this episode this is his side of the story. We see this same plot point again in episode 6, the episode that is supposed to be the perspective of Jose and Kitty. However, the timeline is confusing because by the time the Jose and Kitty perspective episode happens, it’s after the brothers are in jail and Jose and Kitty are dead. So who is exactly telling the story? Again I understand wanting to incorporate a Rashomon effect story but the timeline is jumpy and is not structured in a way that makes it clear to the audience that the story being told is how different people interpret things. 

I mean, I’ve seen children’s shows write a better Rashomon effect story then this show has. One example I can think of is the cartoon “The powerpuff girls” in the episode “The Bare facts”, the Mayor of Townsville is kidnapped and blindfolded by the show’s main villain Mojo Jojo. The girls eventually save the mayor and take him back to his office, but the girls are giggling when they save him but he’s still blindfolded so he wants to know what’s so funny. When he is finally unblindfolded, he continues to ask the girls what’s so funny but they don’t want to tell him so they all change the subject by telling the story of how they found out he was kidnapped and how they rescued him. Each girl narrates the story from their perspective, but each account contradicts each other and is extremely hyperbolic. By the end, it is revealed that the girls were giggling about the fact that Mojo Jojo had stripped the mayor nude during the kidnapping and the girls were telling the mayor this story to avoid telling him the truth about why they were laughing. 

This kind of storytelling concept could have worked with the Menendez story because there are alot of characters in this case that have different perspectives on what exactly happened. But the problem is the story makes no effort to let the audience know that this is the case, so when we see Erik and Lyle ganging up on their mom and cursing her out, the audience doesn't know that in this particular episode it is supposed to be Kitty and Jose’s perspective so we are supposed to their behavior at face value. There’s no narrator or anything else to indicate that this multiple perspectives show. If episode 1 had stayed exactly the way it is and had ended with Dr Oziel on the stand or talking to his wife, Judalon, a journalist, or Jill and Leslie explaining what he thinks happened, and every episode began or ended like that, I probably still wouldn’t be a fan of the show but at least I could understand the kind of storytelling. Unfortunately, it seems like the show did not know how to properly structure that kind of story it is telling and thus comes across as sloppy, confusing, and inconsistent. 

Conflict: I’ve already touched on this in the subplots section, so I will keep this brief, Monsters includes very little conflict or tension for the story. Of course there are conflicts such as Judalon and Oziel’s drama and Dominick Dunne’s articles. But the conflicts don’t really do much to drive the plot in a unique way, but because they happened in real life. The show took many creative liberties when it came to the brothers' personalities but not when it came to plot points. The conflict between Leslie and David Conn was based on actual events, yet it was still highly dramatized enough to give the main plot a conflict and a resolution. Monsters, when it did have a conflict, didn't seem to know how to resolve it. Dominick Dunne’s storyline did not have an antagonist to foil his plans, and as a result the conflict created no tension and no flakes. This creates what’s called a forced conflict, or a conflict that’s added in just to create a conflict. In this show, it feels like Domonick Dunne’s gossip is added in just because Dominick was an actual figure, he was in the Law and Order show but he is reduced to a minor character. Ryan Murphy has stated that Domonick was heavily involved in the series because he was a key figure in how the public viewed the brothers. This can be a valid point, however Dominick's gossip comes across as more of a nuisance as opposed to an actual conflict for the brothers. A conflict is supposed to raise stakes, create tension and develop characters but his involvement doesn’t do much for the main plot. Unfortunately, it seemed like the writers didn’t know how to write a proper conflict.

Lack of purpose: Lastly, the biggest issue is that it has no purpose. Unlike Law and Order, the show has no real identity and doesn’t know what message it's trying to send. I understand wanting to let the audience decide who is telling the truth. Although I am on the brothers' side, there are perspectives out there that could put the brothers in hot water, the show doesn’t seem to know how to portray the multiple perspectives thing. So, on my first watch I was left confused on what the point was. Who are the monsters here? Erik and Lyle? Jose and Kitty? Domonick? If the writers wanted to let the audience decide then they did an awful job at establishing the Rashomon effect storytelling. The biggest proof that this was a terrible storytelling decision is the cast and writers having to explain this in every interview. If the show made it’’s purpose and identity clear then the case wouldn’t have to explain the show’s message. Simply put, Monster’s has reason to exist and doesn’t know what message it wants to convey,

Final thoughts:

All in all, Law and Order, while far from being perfect and having its fair share of inaccuracies, it’s still by far the most accurate out of the five Menendez dramatizations and blows Monsters out of the water. It does struggle with pacing issues, especially towards the end and I think Monsters had better acting, production quality, and chemistry between the actors than Law and Order. I do prefer Nicholas and Cooper over Miles and Gus as Lyle and Erik. They’re both very talented and entertaining to watch and are more believable as brothers in my opinion. I enjoyed their brotherly moments and their back and forth bantering scenes, it may not be accurate but it really establishes them as believable siblings. Javier and Chloe also have more chemistry as Jose and Kitty in my opinion, although Carlos and Lolita were given better material, I still prefer Javier and Chloe. I think the main cast had better chemistry and we’re more believable as a family then Miles, Gus, Carlos and Lolita.  The production team for Monsters also did a better job at establishing an 80s and early 90s aesthetic by the costuming, set designs, and music. The brothers costuming, especially when it came to their court outfits were spot on.

However, overall Law and Order did a better job when it comes to storytelling. Sure, it is biased for the defense but because it’s covering the case from a legal standpoint and Leslie is the main character, we are seeing the version of events from her eyes so storytelling wise it makes sense that the story would be in her favor. The biggest issue with Monsters is not the inaccuracies or the oversexualization but because it doesn’t know what it’s trying to say. It’s clear that Ryan wants the audience to decide who the Monsters are, but because he isn't clear with his aim to tell a Ransom effect storytelling, the audience is left confused on whose side they are supposed to be on. It comes across as inconsistent, unorganized, and lacking in identity. It’s frustrating too because you can see a lot of potential here for a good or even passable show, but it seemed like Ryan was more into capturing his fantasies as opposed to writing a good story. Really the only saving grace of this trainwreck of a show is the actors who are really putting on their best performance to save this mess of a series. 

[the-masked-reviewer]

Kung Fu Panda 4 (2024) Review

potential spoilers ahead...

For starters, I don't think this was a movie that needed to be made. It is not much of a story, if it qualifies at all. the whole thing feels more like an (overly)extended episode of one of the series rather then it's own movie. And was either poorly paced and slow or it was just straight up boring.

Now for an actual explanation. Starting with a community of Goats was a great idea, but I will admit the only reason I think that is because I love goats and am easily bought. Showing Tai Lung attacking the goats with the shots framed to make it difficult to see that he's actually covered in scales instead of fur is an awesome way to introduce the audience to the new villain, even if the execution wasn't great. The lighting and lack of emphasis make it difficult to notice and make out those details. And it isn't explained until later in the movie, after you know who the Chameleon is, when Po finds Tai Lung's footprints that slowly shrink into Not Tai Lung Footprints(TM). Throughout the movie the Chameleon never feels villainous, even as she is doing the Big Bad Thing and in the final fight. It makes it difficult to see the stakes as real and as ultimate as its supposed to. I do really like the consistency of the scales every time she shapeshifts, it looks cool and is a fun way to showcase shapeshifting visually.

Po has no real development in this story. He's supposed to be learning how to teach and not approach every conflict with violence. In the entire movie we see him teach the fox, his sidekick prisoner trainee person, ONE thing, and attempt diplomacy(if you can call a single line that is not entirely non-aggressive that) twice, failing both times. At the end of the movie its treated as though he has become the spiritual leader he begrudgingly set out to become, but in reality nothing changed and there was no lesson for Po, or anyone really including the audience, to learn from the adventure that was had. Jack Black (the god that he is) was great, but this doesn't feel like a movie about Thee "Kung fu Panda". The other movies all have Po going on adventures that teach about believing in yourself, creating a family, self confidence, and more. This movie's lack of clear message and hope feels like a major let down from such a positive children's series.

As for the fox, I didn't like or care about her at all. She was annoying, and I know that's Awkwafina's shtick or whatever, but you can't expect anyone, even young kids, to like or care about the annoying criminal that shows no redeeming qualities until the last ~40 minutes with that quality being questionably redeeming. She meets Po when he catches her stealing and she does nothing but cause problems and be annoying from then to the point where (Surprise!) she double crosses him. She only fights on his side in the end because of the classic reasoning, she didn't know anyone would get hurt. Things are classic for a reason, but here it all feels extremely superficial and cheap.

Shout out to literally every scene with Li and Ping, Po's goose and panda dads respectively. They were, and are, hands down the best scenes in the entire movie. They're the only times I actually had fun watching the movie and it would've been greatly improved if the movie was just a buddy adventure between them and not everything else.

They definitely suffered for the lack of The Furious Five. Even the in universe explanations for where they were were flimsy and bad. Its clear DreamWorks just wanted a quick, cheap, easy money maker and weren't willing to shell out the money for the voice actors.

[thenixkat]

So since I know the Dungeon Meshi anime does a lot of stuff wrong, is there anything it's better at? (I plan to read the manga once I'm done reading the series I'm currently on, so until then I'll just think of the anime as a badly done overview. )

Ok, so Dungeon Meshi is the first adaptation of a manga that the animation studio, Studio Trigger has done which is unfortunate for the reasons of this is the first thing these people are cutting their teeth on adaptation wise which means knowing what to cut from a story for pacing reasons vs how that effects the plot and tone are very much noticed. Plus changes to the story due to the ideas and biases of the people doing the adapting.

Studio Trigger created BNA/Brand New Animal which you've watched and Promare which I spent a period talking about on my blog as well as some other things. They're very good at animating action scenes! Not very good at story telling. And also like to include fanservice shit like, I'm pretty sure that several seconds log scene of preteen!Falin's butt in the tunnel taking up the entire view was from whoever is on their animation or art team that likes to do obnoxious and gross fanservice shit with the female characters.

I will say the anime is an ok adaptation, but some of the hits due to cutting and altering stuff def show. The action is good, the music is fun, the animators have the advantage of working in the art style of the late manga (which looks lovely) as opposed to the art style in the early manga where the mangaka was still figuring things out.

The only three things I think the anime changed for the better thus far are:

The dialogue change in the ghost icecream chapter/episode where Laios' wording makes it more clear that he thinks that if he was the one who got eaten none of his friends would be in danger because he thinks that they don't like him enough to try rescuing him.

Making the underground lake glow. The lake is supposed to be infused with magic and glow but the mangaka drew mirror-like reflections on the water in the manga that really wouldn't be going on if the water was admitting its own light.

The framing of Laios finding Falin's remains was so much more impactful, a real gut punch wham shot even without the cut conversation that would make it more clear why finding Falin's body in such a state would be so very bad (tho that cut convo still would have really enhanced the impact)

When you get to reading the manga I say go for finding and reading the extras and supplementary material if you can. A lot of the extra tidbits are fun world building stuff tho I do still have complaints about a few things with the Dunmeshi world

[sorikkung]

good boy gone bad | 27

bad bitch lessons, a.k.a the "audition"

wc: 4.8k

a/n: my god we're FINALLY BACK after half a years unofficial hiatus because i forgot how to write <3 on god i wrote this chapter 4 times and its not my favourite still but im not writing it a 5th and i like it Enough so i hope yall enjoy it too SDFGKJSFD we should be able to pick up the pace quickly with normal smau chapters soon :) thank you all for waiting!!!

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Having a dozen men all crammed in a one-man studio apartment is about exactly as cramped as it sounds. How you wish you could have had one of those more spacious studio apartments, complete with floor to ceiling windows, a proper kitchen, and a living room. For now, you will have to settle for six men sitting on your bed, Wooyoung sitting on Yeosang's lap at your desk, Chan and Felix standing in the bathroom doorway after washing the dye and bleach out of their hair, and Hongjoong standing ominously in the corner, pouting after realising the “fake” in the “fake punk polycule” included the punk part, and not just the polycule.

You make do.

Describing exactly the kind of character you want them to play is the easy part – cocky, brash, sleazy and obnoxious are the names of the game, and if everyone absorbed your in-depth explanation as much as Seonghwa has been diligently typing it down on his phone, you think this should be a breeze. The next part of the plan is to see them in action and test their wits — in other words, time for them to audition.

By whatever miracle, you are able to explain the auditioning process without tipping off the others to you and Wooyoung’s little deception – he catches your eye during the explanation and gives you a grateful wink – and set up the scene for your improvisation game. These boys need practice, as too much unfamiliarity will be far too apparent on the day, and it’s already going to be a tough sell to prove that you managed to pull twelve boyfriends. You damn well might be in over your head with this one, but you are in too deep to pump the breaks now.

“Basically, I need you all to show me what you can do. Cause if your acting does not cut it, I’m gonna be the laughingstock here and my back-up plan is probably arson.”

Beomgyu snorts from his spot on your bed. “I think arson is a pretty good back-up plan.”

“Pretty good except for the criminal charges, yeah. So, time to partner up! Who’s got the balls to go first?”

Seonghwa blinks a few times, looking at his phone, then looking back up at you in confusion. “Why is your back-up plan arson?”

“I’ll go first!”

Saved by the bell, Yeonjun pipes up just in time to avoid another hasty bluff to throw the aspiring actor off your tail, and you have no idea if he did that on purpose but you don’t look a gift horse in the mouth either way.

“Perfect, who do you wanna do it with? For the first scenario, I’ll play my dad.”

“I can-“ Hyuka speaks up, but you notice Soobin tugging on his sleeve and freezing in alarm at all the eyes on him, and it seems to make Hyuka hesitate as well. There’s an obvious tension there that you can’t quite place the origins of, but judging by the way Wooyoung is excitedly biting his nails, you figure you can pry later. “Um. Uh-“

Yeonjun smiles at them apologetically, then turns back around to you. “Actually, I was hoping you’d be my partner for this.”

He says those words like he intends for them to linger, and you figure after how forward he’s been so far coming onto you that he means it, but you don’t want to throw Felix under the bus like that after he begged you to bring him along so he could shoot his shot with the man, so you try not to indulge him too much.

“Oh.” You try to ignore the way that makes your face heat up. “Sure, okay. Yeosang, you play my dad, act really judgemental and pissy at us.”

Yeosang wrinkles his nose. “I don’t want to be your dad.”

You were hoping he would say that.

“Perfect! You already know your lines. Annnd, action!”

His disgruntled expression is honestly quite fitting for the role you just cast him in, and Wooyoung stands up to instinctively take what you assume is the role of your mother as he leans on the backrest of your desk chair to mutter to him, “I cannot believe him right now. Does he really think crashing the wedding with all his friends will do him any favours? If only he’d just settled down with a nice girl…”

Yeonjun stares the couple down, then takes a confident step towards you; that’s about as far as he gets before he visibly falters. You raise a brow at him.

“That’s your cue, Yeonjun. If they’re talkin shit, it’s time to act up.”

He fidgets with his sleeves, posture shrinking in on himself, and suddenly his striking appearance and features look far less intimidating than they did just a moment ago. “Um. Well. I should first probably uh… ask. How far I’m meant to go with this?”

You get the feeling you know what he’s asking by that, but not being entirely sure, you press. “What do you mean?”

“Like…” he takes another step closer, this time all the way up in your personal space and cages you to the wall with both arms. His stance seems confident, but the look on his face is very pointedly not, a stark juxtaposition to his usual shameless bravado. “Like, how far can I go to cause a scene? Cause if I was really with my boyfriend hearing his parents spout that shit about him, I’d just kiss him on the mouth and see how mad they get.”

“I like how you think.”

“Is that—” Yeonjun wets his lips in anticipation, wide eyes flicking between yours and your lips as he leans in even closer, “—consent?”

It’s honestly quite charming of the effortlessly flirty one to be so concerned with explicit consent even now, so you just take the leap for him and grab the collar of his shirt, closing the distance. The others erupt behind you, hoots and hollers all drowned out by the feeling of Yeonjun’s plush lips on yours and your heart dancing in your chest so wildly you think it could trip and fall out. He seems completely caught off guard, taking a moment to really process what was happening before he’s kissing you back with such a shocking gentleness that when he reaches up to cup your chin with a feather-light touch, you almost feel like you should slow down for him.

Instead, you back off, leaving him there gawking at you like you just grew a second head while his fingertips ghost over his lips where yours just were. His ears are flushed pink.

“You’d think you’ve never kissed a guy before, with that face you’re making,” you tease, flicking his nose. “It’s very cute. But as much as I enjoyed that, it doesn’t exactly quite have the impact I’m looking for, and that’s exactly why I set today aside to practice— we have to act familiar. It has to be natural, and comfortable, otherwise it’ll be very obvious that it’s an act.”

The way Yeonjun droops at the comment makes you want to rescind it, but you have enough restraint not to. It is quite clear to you now that Yeonjun obviously does seek your approval a lot more than the others do – such as much was hinted to you by Beomgyu, but his reaction here further confirms it – so you want to be nice to him, but without playing a clear favourite.

Lord knows what Felix will think, is the first rogue thought to cross your mind, and suddenly reminding yourself why he’s part of this plan in the first place, you look over to glance at your best friend in horror – did you just string him along this whole time to go directly for the one guy here you wanted to wingman him with most? – but surprisingly enough, the look Felix gives you two isn’t one of burning jealousy or betrayal.

He has half his fist in his mouth and his eyes are positively sparkling.

You make a mental note to ask him about that later.

“Aw, don’t look too down, that took guts to go for straight away!” You turn back to praise Yeonjun, affectionately clasping his shoulder, and he nods quickly with a tiny, hopeful grin. “My only feedback is to not be so careful. I’m not gonna flip out at anything less chaste than a peck, I’m trying to cause a scene. Has to be somewhat scandalous, without, y’know, actually getting us arrested for public indecency.”

Yeonjun chokes on nothing, then recovers with a laugh – but before he gets to say anything back, Taehyun has bolted upright from his seat on the bed, a sudden determination in his steely gaze. He makes himself quite difficult to read, whether on purpose or otherwise; you know factually that this man has some sort of crush on you, that is, if Beomgyu’s word is truthworthy, though, you have no real reason to doubt him thus far. Unlike Yeonjun who wears his heart on his sleeve, Taehyun’s expression remains consistently unreadable to you whenever you observe him. Part of you wonders just how much of that wall is intentional. Regardless, the words that come out of his mouth next are the ones you expect the least.

“Let me try.”

It’s not a question. He gives you room to decline, but it’s very pointedly not a question, and just that confidence from one of the more reserved members of the group is enough to get your heart thrumming again – not that it had much of a chance to calm down yet. Your mind flickers back to the back-n-forth between him and Gyu in the group chat, the hickeys left all over his neck, and the tip he oh-so-graciously gifted you in a pre-emptive strike of revenge, and suddenly you feel hot.

“Sure, go for it.”

Taehyun grabs you by the back of the neck. He doesn’t even hesitate, pulling you in to slot himself where Yeonjun was just a moment ago, crashing your lips together and shoving the other man out of the way with his free arm as he backs you up into the wall again, pressing you against it and kissing you breathless. He’s fucking intoxicating, the way he dares to taste you on his tongue without care for the audience around him, without care for anything else except his hands in your hair and on your hip and the way he gasps against your mouth when you loop your arms around his shoulders and hook a leg around his waist. He shoves his hips forward against you in response and the others react so loudly your neighbours probably thought everyone’s favourite soccer team scored a winning goal.

“Woo! More tongue!” Beomgyu hollers, and Taehyun doesn’t even break the kiss for the one moment it takes for him to presumably flip him off, if the hand leaving your hip was any indication, followed by a very prompt “Fuck you too!” from his roommate. You realise quickly that he isn’t going to be the one to pull away first, so regrettably, you push him back with a coy smile and a thin string of spit connecting your mouths.

“Eww, gross,” Soobin snickers, hiding his laughter with large hands over his mouth. “Wow, I’m shocked. I didn’t think you had it in you, Tyun.”

He shrugged in what sure looks like nonchalance, but you start to think it looks more like self-restraint, given how keen he was on not stopping. “He said he wanted a scandal, and if that won’t scandalise his conservative homophobic parents, I’m not sure what will.”

It takes you a good few seconds just to re-gain your ability to speak, but by then, he’s already turned back to you with his hands in his pockets and a smug grin on his face. Fuck, you must be blushing – the way Chan and Felix are grinning at you from the side with a knowing look in their eyes tells you you’re probably definitely blushing.

“So, how was it?” he prompts cockily, and you hate the way you instinctively swallow and betray how flustered he got you that easily.

“G-Good,” you hum weakly, clearing your throat before repeating yourself. “Good. Um. Yeah that was like, kind of exactly what I was looking for. Flying colours. You pass! Though, I have to say, and don’t get me wrong I am thoroughly happy to kiss you all, um, we do kind of need to be able to sell the act without relying on just. Making out repeatedly every time they look in our direction. Try and save those for when they seem the most pissed off. But yeah, that was like… good.”

Felix wriggles his eyebrows at you suggestively. “That good, huh?”

“Oh, shut up and get over here,” you mutter, making a harsh jerking motion for him to come forward and save you from your embarrassment – he has a towel on his head from drying out the dye in the sink just before, so you snatch it from him to quickly and roughly towel-dry it to distract yourself from your burning face. The black hair looks good on him, you think, the way the dark wet strands fall in front of his face and frame his features in a way you haven’t seen on him before – last time his hair was any darker than blonde, it was his natural brown and didn’t reach past his eyebrows, and now his hair was getting long enough at the front to tickle his nose. He looks like a completely different person, and frankly, now is the worst possible time for him to be looking a lot more attractive than you would allow yourself to internalise prior.

“Right, so we gonna show them how it’s really done, now?” Felix teases, and you punch him in the arm with a scoff, making him recoil as if you just bowled him over. You can’t even tell if he’s gotten flirtier with you if he’s just pulling your leg, but you did say you would use him as a demonstration for the kissing part. Not that you need to, anymore, with Taehyun setting such an example, and you tell yourself that’s a good thing. “Ow, ow! How you wound me, lovebug.”

You wrinkle your nose at both him and how hard you’re thinking about kissing him now. “Don’t call me lovebug.”

“Why not? Aren’t we meant to be boyfriends, now?”

A breathy laugh escapes your lips at his attempts to lighten the mood while you finish towel drying his hair and tossing the cloth into your laundry hamper, fixing the strands atop his head to sit nicely.

“Yeah, yeah, but lovebug is a bit much, I think. You’re on the right track, though, take notes of that everyone – casually dropping pet names between each other in a way that looks natural will be perfect for making a convincing polycule, so utilise that, just try not to lay it on too thick.” You’re back into dedicated drama teacher mode before you even know it, Felix content to stand beside you with a curiously pleased grin as you explain to everyone further.

“For today, I don’t expect all of you to start kissing each other on the mouth, but I do want you all to start getting familiar with breaking the touch barrier, obviously within whatever your partner consents to. Using Felix as my example, some other things I’d like to see and focus on are placements of hands—” you wrap yours around Felix’s waist, and he’s quick to mirror you, only to blush when you slide a hand into his back pocket, “—or small yet intimate actions, like, tucking hair behind their ear, playing with each other’s hands, touching their neck, things like that.”

You demonstrate each action on Felix as you say it, and by the time you have a hand on the side of his neck and caress it gently with your thumb, you find he’s completely relaxed into your touch, leaning back against one of your shelves as he pulls you in front of him between his legs and plops his chin on your shoulder with both arms around your front and playfully patting patterns on your belly.

“Hey,” he murmurs, breath fanning against your neck, and you can hear the smirk in his voice that’s usually so playful and silly but now, standing in front of everyone like this, has goosebumps rising on your skin. “I think just playing around with each other will look the most natural. Real couples do stuff like this all the time, right?”

Frankly, you fully expected you would be using Felix as a human test dummy, figuring he would be content with you throwing yourself at him all you want for the purpose of demonstration, and comfortable enough to do so, but you hardly expected he would be the one demonstrating anything on you of his own accord, and you swear it must be the residual adrenaline of kissing the two men before him that has you still riled up and on edge enough for the rumble of his deep voice in his chest pressed to your back to make your legs feel like jelly. Only a little bit, though, you are not getting genuinely flustered over the flirtatious actions of your best friend, rather, merely surprised at him being a lot less shy in front of others than you thought he would be. Not that he’s ever really been shy towards you, not in a long time now, especially when it comes to things like physical affection, but… you don’t know where that train of thought is going anymore.

“Right, yeah,” you agree, pliantly allowing him to grasp your chin and turn your face towards his, so he could plant a tiny little peck on your nose and beam at you widely. His face is so close, and unlike the previous two, you have not thought about having this man’s face so close to yours since the two of you were in high school. His face has filled out so much since then; he’s lost all the baby fat in his cheeks, his jawline sharper and his features more pronounced, and now that he’s actually started using chapstick his lips aren’t permanently chapped and gross anymore either, in fact they’re now quite glossy and shapely-

You look away before he can kiss you.

You didn’t even realise you were staring so hard at his lips until you were leaning in, and all you hear of the commotion from everyone else around you sounds like static. Gyu is screaming, Wooyoung is cheering, Yeosang is trying to stop him from climbing onto your desk chair, Soobin has bowled Hyuka over with his face buried in his back while the newly-bleached blonde just laughs at him, Yeonjun, Taehyun and Hongjoong seem fixated on you and Felix, all for different reasons, Seonghwa is furiously typing down notes on his notes app again and Chan is nowhere to be found. Probably in the bathroom washing out his hair dye, you think.

“Yeah, so, um, all of that, and like, of course general flirtatiousness, is the kind of thing I’m looking for, even better if you can be an obnoxious prick about it,” you joke, trying to seem chill with no idea how well you were actually succeeding in it. “So, partner up and have some time to practice, I’m gonna go finish up Chris’s hair and then I’ll come back to evaluate y’all.”

Felix’s brilliant grin falls to a slight pout when you pull away from him, arms trailing after you as you leave for the bathroom. “You good?” he calls out after you, and you want him to know he didn’t do anything wrong to make you uncomfortable, but you also can’t handle looking at him right now when the face of your old high school crush in the body of a supermodel stares back at you, so you have to leave.

“Yeah, I’m fine! Just juggling this many people and makeovers is hard,” you reassure him with a slight smile, and that seems to console him enough to allow you to dip to the bathroom and leave the door only slightly ajar behind you, letting you take a deep breath to collect yourself.

Good fucking god. Okay, so Felix is hot now – that shouldn’t really come as a surprise to you, but it does, because you’ve spent the last god knows how many years trying to tell yourself he’s not really your type anymore, but especially in the clothes you picked out for him and his hair styled like that, he fucking is. He’s the spitting image of your type and all of a sudden with the balls to match – or maybe he’s had the guts for a while now, but you pointedly did not want to notice – and you do not know how you are supposed to feel about any of it. You already have a crush on one of your two closest best friends, you definitely don’t need two – especially on one that already rejected you years ago, and especially not when surrounded by plenty of other equally as attractive and far more eager men who would give you their time of day.

You shake your head, ridding yourself the thought, instead letting yourself linger on the kisses you did have, how different they felt but how heart-fluttering each of them were anyway; Yeonjun’s uncharacteristic shyness and gentleness, how cutely flustered he was after in a way you really want to tease more, and Taehyun’s shocking boldness and confidence, how handsy of a kisser he is, how determined—

“Hey, can you pass me that towel?”

And of course, your actual crush, the one you oh-so-desperately want to get over but it’s kind of hard to do that when he’s standing shirtless in your shower with streaky blue dye dripping down his face and neck.

“O-Oh, yeah, sure.”

It’s not the first time you’ve seen Chan shirtless and definitely won’t be the last. That man hates wearing shirts around the house if he doesn’t absolutely have to, and even pants are optional if its warm enough, but you will never truly get used to seeing his muscular body that he works so hard on, all on display like this. You’ve gotten a lot better at not staring as much, though, not that he ever seems to notice, and just as good at acting like it didn’t affect you at all, so falling back into the familiarity of that is a relief after the whirlwind of emotions you just went through outside.

Once Chan finishes towel-drying his hair into a bright blue fluffy cloud, he slips his top back on, re-attaches his earrings and accessories, and it’s only now when you get to realise just how much effort he’s put in his appearance today to match your aesthetic. Not that the two of you were ever that far apart in that respect – he too didn’t have much colour in his wardrobe other than black, and preferred clothes with a bit of an edge to them, albeit, cranked down a significant few notches from your usual over-the-top attire.

When he looks at his reflection in the mirror, though, he doesn’t seem too happy with it.

“Something’s missing,” he mumbles, scratching his chin. “I don’t know what it is. But while I’m dressed the part, even with bright blue hair, it doesn’t quite feel… drastic enough, I guess. I feel like I still just look like the guy down the road your parents know and like enough.”

You give him a long, hard look – while you’re pretty sure part of it is his own low self-esteem not being able to see himself as cool, intimidating or attractive in any calibre, he has a point – he still looks too soft and familiar.

“Can I put makeup on you?”

Chan brightens up at that a little. You wonder if he was hoping you would say that.”

“Sure!”

You grab a stool from the corner of the cramped bathroom where you had the boys sit in earlier for him to sit on, but once you get your makeup out and decide on what kind of look you want to try on him, you realise it’s a little too low for you to work on his face without bending over. Glancing over your shoulder at the crack in the door, and hearing all the liveliness out there filter through it – shrill squeals, lots of laughter, some yelling, someone’s started playing music again – you decide you don’t want to leave the quieter comfort of your bathroom into that chaos just yet, so you straddle Chan’s lap on the singular chair with a shrug and get to work.

Chan has to steady you with both hands on your waist so you don’t both go toppling off the stool – suppose not having a back made it a little more precarious than anticipated, but his strong arms hold you in place just fine. You try not to think about it, because you really, really don’t need to be thinking about that right now, and try to simply focus on the dramatic smoky eyeshadow you’re applying instead that you think will really pop with the spare blue contacts you had lying around that’ll make his warm and approachable gaze a lot more piercing.

He doesn’t say anything, so neither do you, despite your heart beating arguably heavier now than it was what you were being pressed to a wall and made out with – and it becomes a lot more dangerous to think about that now instead of a welcome distraction, because his face is so close that you can observe every little detail, including the tiny, faded little freckles that dust his cheek in the warmer weather, and how plump and soft his lips look. Fuck. You’re rather glad he has to keep his eyes shut for you to do his eye makeup, because you’re looking down at his lips a lot more than you’d usually allow yourself to, but with all the kissing talk and practice and the weakness you’ve always had for his thick, perfect lips, you are just not a strong enough man today.

His hands shift you closer on his lap, and you feel just the slightest bit more insane.

“Open your eyes?” you ask him, to observe your work and snap you out of it, and he blinks at you a few times cautiously. A smile is creeping across his face, the nervous kind you’re all too familiar with – he has a certain smile he does when he knows he’s being perceived whether he likes it or not, and it’s just as adorable as it is saddening that he clearly has no fucking idea how breathtaking he is.

“How is it?”

“You’re beautiful,” you breathe out, a little choked up. The situation seems a lot more tense than you intended it to, but he must feel it too, because he shies away under your gaze. “I mean it. Not because of the makeup, I just used it to enhance your features further, but I really just…”

I really just think you’re fucking gorgeous.

What the fuck has gotten into you today?

“Just… what?”

You slide off his lap, ignoring the way his grip on your hips tighten for the slightest second before letting you go to rummage through your cabinet for the unopened blue contacts you knew you had in there. “Here, put these on. I think they’ll really complete the look.”

He shrugs, taking them from you and taking his time putting them in, not all that used to putting in contacts, but it isn’t his first time, either. You’ve roped him into enough cosplays with you and Felix over the years to have him familiar enough with the process of putting them in, and eventually he turns back to look at you with an icy blue gaze that is equal parts unsettling and arousing.

“Yeah, you definitely look fiercer now. Take a look.”

Chan finally turns to the mirror, taking in his new look, and his long evaluation of himself seems more intrigued this time around than distasteful, which is a win in your book. If he likes what he sees, maybe your confidence can start to rub off on him some, too.

“Wow,” he exhales, twisting his face this way and that. “I look like a completely different person.”

“Not really.” You know that it was against the point, so you elaborate. “Just a different flavour. You’re still the Chris I know and love, but you look more… confident, almost. And half of any act or aura of intimidation or coolness is just that. Confidence.”

“Confidence, huh…” Chan stands up a little straighter, squaring his gaze a bit more and trying to channel his inner you. He looks hot. Ridiculously hot. But that really can’t be your focus right now. “Yeah. I feel more confident, too. I’ll try see if it’s enough for me to put the moves on one of the boys,” he chuckles, and you smack him on the ass and playfully shove him out the door.

“Go get ‘em, tiger.”

-

taglist: @jaxavance @fiantomartell @roulette010 @jcngh0-hq @remiee @syunderful @absentcaryatid @yunho-leeknow @inarizqkis @pastelsicheng @john-joong @i-dont-know-me-either @xavi-in-kpopland @beautifulcolorgarden (idk why the tags arent working for a couple of yall sorry if you changed urls and i missed it!!)

[thealmightyemprex]

Universal Monster watch through thoughts part 1

So I have a 30 film set of Universal Classic Monster movies.What I am gonna do is every five films is share my thoughts,not really reviews but just thoughts

1.Dracula 1931

The first black and white film I saw as a kid .Its a capital C Classic for sure....But its never been my favorite,and there are many other Dracula adaptations I prefer .I think my big issues are Johnathan and Mina here are just so boring,while some of the silence is eerie I find most of it awkward and the ending just suuuuuuucks,we dont even get to see Dracula's death .That said four things make this film worth while ,one is the gothic vibe is peak here ,then you have Dwight Frye who is a scene stealer as the deranged Renfield,Edward Van Sloan who is a perfect heroic foil to the titular character as Van Helsing and of course Bela Lugosi as one of the most iconic villains ever,mesmerizing ,suave,seductive and yet still eerie .Its got flaws but Its good parts are so good,mainly those three performances

2.Frankenstein 1931

The movie I say is responsible for me being a horror fan and truly my favorite horror movie .Lets get this out of the way,Boris Karloff delivers one of the greatest performances of the genre ,cause he isnt a big scary monster,hes a lost child in world that fears and hates him .I actually feel this is a good film to show kids,as kids really connect to the plight of the Monster .Karloff is not the only highlight,James Whales direction is superb ,the moments of silence are actually eerie,the film looks gorgeous ,gotta praise JAck Pierces extraordinary makeup and Colin Clive gives a phenominal performance as the obsessed creator .Only thing I am not fond of is the tacked on ending .The opening however is brillaint with Edward Van Sloan warning how scary the film is and his ominous "We warned you "

3.The Mummy (1932 )

Man I wish I liked this film more then I do.Like its not bad but not a favorite .Theres a lot of good in this movie,cast is good ,Zita Johan is a good leading lady,Edward Van Sloan is always a plus ,and Boris Karloff gives a nice undestated performance as our villain Imhotep ,with some legit frightening shots of his hypnotic glare .Jack Pierces makeup is extraordniary ,the production design is good ,there is some legit shocking pre code stuff like a bunch of guys getting impaled .I also like the angle of it being a dark love story with Imhotep just trying to resurrect his lost love .Also has the scariest scene in a Universal Monster movie so far ,when Imhotep awakens and scares a guy into madness .Unfortunately its slow pace ,David Manners as the Boring Pretty Boy protagonist ,the weak love story between Manners and Zohan ,and the fact that plot wise it is WAY to similar to Dracula hold me back from fully loving it.ITs still good ,I just dont love it

4.The Invisible Man (1933)

James Whale hits it out of the park again with another great film .Claude Rains gives a powerhouse performance ,which is really impressive cause you dont see him for most of the movie ,hes either just a voice or bandaged up yet he carries the whole film as one of the best villains in all of cinema .The effects for being 91 years old look pretty damn good ,the film has an amazing supportinjg cast including Gloria Stuart ,Henry Travers and ESPECIALLY Una O Connor and to top it all off,the film is HILARIOUS.I mean it folks this film has an amazing sense of humor,from being very witty,eccentric character to examining the absurdity of the premise .One of my favorites

5.The Bride of Frankenstein (1935)

While Frankenstein is MY personal favorite,I TOTALLY get when people say this is the BEST of the Universal Monster movies ,as this is a masterpiece .Also DEFINATELY a queer classic(Happy Pride ) .The performances are great with the stand out being Ernest Thesingers wonderfully comic and camp villain Pretorious (So far my favorite non monster character in these films ) and of course Karloff at his best giving an utterly heartbreaking performance as the monster ,his scenes with the blind man bring a tear to my eye .Thats really the word to describe the film,heartbreaking ,the filmmixes tragedy,horror and humor so experetly .Also Elsa Lanchesters role as the Bride is so brief but is rightfully iconic and the ending is utterly magnificent

Ranking so far

5.Mummy

4.Dracula

3.Invisble Man

2.Frankenstein

1.Bride of Frankenstein

To be continued

@ariel-seagull-wings @the-blue-fairie @themousefromfantasyland @theancientvaleofsoulmaking @piterelizabethdevries @countesspetofi @princesssarisa @barbossas-wench @amalthea9

[kitsu-katsu]

I quite liked kung fu panda 4, tbh

It was nice, I liked Zhen just fine, the humor felt mostly in keeping with the previous movies

But it did feel a bit disconnected in its pacing at times and what I think is the worst sin of it: it was VERY obvious that they didn't get the voice actors of characters like Lord Sheng or Master Kai back, because DAMN their scenes were distractingly silent. It took me out of the immersion, ngl

Like at some point you either gotta say fuck it and get someone else who sounds similar or don't include them

Only Tai Lung talking or occasional quips from that one guy named like. Steve or something that also took you out cause it didn't fit with the other chinese names while you had silent reaction shots from motherfucking Lord Sheng felt so awkward it was like that soecific part of the movie was unfinished

[mediocre-noodle]

THE WRITING!! ->

context for last photo (bc its new worldbuilding):

before releasing the flowers (at a funeral rite in kismadoré), a chosen someone starts off a poem and then the others attending chime in on the second verse. the poem was created by dallas during the wilds’ arc. its traditionally spoken at funeral rites in kismadoré.

the first funeral rite ever in kismadoré was a mass mourning when they had first found the ruins and the poem was said by dallas. the first one after the walls came down (day of the coup d’état) was led by asmo (juno has social anxiety).

(<- was inspired by the monologue from hiccup during stoic’s (? spell check) funeral scene in HTTYD)

general summary and background of the writing bc you cant tell what happened from the first paragraph ->

this is at the closing of the coup d’état (aka storming the castle and killing the king— dallas’ bio dad). just maybe 10-15 mins before this, dallas had killed his father and the battle was nearing a close (the resistance won if it isnt clear). there were many casualties on both sides. even though the battle was won, there were still fights going on (not many. not a huge battle zone. its more of resistance who are still trying to stay alive vs royals who are loyal and basically worship their king.)

on his way to help others still engaged in fights, dallas encountered a childhood friend-now-enemy who was pissed at him (enemy now bc indoctrination. also his cousin,, btw.) they were yelling at him and then just,, shot him. dallas was trying to de-escalate.

asmodae was nearby and heard the yelling and came to help fight (didnt know it was dallas— thought it was just another straggler) but sw what happened. she killed the friend turned enemy (shot to the head) (get rid of the threat is an important lesson skip taught them, even if it makes them sick thinking about it) and ran to try and stop dallas from bleeding, even if she knew it was pointless. dallas bled out in her arms.

hours later, when everything is over, asmo throws away the jacket that she used to try and stop the bleeding. its ruined. not with blood, but with memories. that night, she sits in the bath for almost two hours, scrubbing herself red trying to get dallas’s blood off her hands, even though it came off on the second wash. even to this day, shes convinced its under her fingernails.

-> the ✨ angst ✨ (btw i searched up symptoms of blood loss for this. your welcome /j (it included confusion ehhehehe)) (also this takes place over like,, 3.5 mins maybe. i write a bit fast paced i think. makes sense though bc hES DOOMEDDD HES BLEEDING OUTTT RAPIDLYY he also is a bit malnourished bc eating issues which may also affect it) (also yes i wrote the poem- aha) (im not The Best at writing sometimes— it takes sm energy for me to do it. i can do poetry but its gotta mean something)

dude……………. dude………………………………………

ive been trying to think of words for like 5 minutes but like. all i can think of is godDAMN

[icharchivist]

Please answer this venting some more about ff7remake

^ you and me rn

aww <33 such a cute meme to illustrate it hi <333

Before i dive into it, a few disclaimers

-I've been fan of the franchise for over 15 years and there's definitely an aspect i'd say of having sat with the previous games for so long that there is a chance there will be bias against anything new. I try to be as objective as i can but as it's a game that means a lot to me, I doubt i would fully manage to be so

-Rumors of a Remake has been brought up ever since the release of Crisis Core because of how the mid-credit scene was adapting the beginning of the OG, and also because of test footage for a possible Remake then. And then when the Remake was announced in 2015 it really took fans by storm and we had to wait 5 more years before seeing the first part, which means a lot of hype and expectations have been built around this Remake which probably also colored the way fans will approach it.

-In the end i'm just one random fan with my own opinion and therefore this will be colored with my own feelings, and i think if people feel any other way about what i say, their own interpretation also matter, so it's a nonexhaustive aspect of all of it

-It's going to get long. In fact this whole ask is over 10.5k long. I'm so sorry.

-I'm going to spoil major aspect of the compilation, or at least won't try to dance around spoiler if i have to mention them.

-I am not touching the Yuffie DLC because i havent played it yet, and that contrary to the Remake it's not an "adaptation" of plotpoints from the OG and should be an original story and i'll judge it as such.

-It is just about Part 1 of the Remake, if i mention Rebirth i'll be vague.

Under the cut!

The Remake is based on the very first few hours of the original game, which is a very tight narrative to start with. If we follow the canon OG, it means they would have to stretch things out and pad in addition to have a proper game runtime.

As such the Remake isn't a straight adaptation of the beginning of the OG, but also will fill in with some original material. Call backs to the other game, supplementary lore, or fully new materials, as well as reworking previous scenes.

But it also includes a completely unique storyline that ends up taking center stage, and said storyline is a sequel to Advent Children. This one story therefore comes with its own problems.

Therefore there are different angles on which to judge the remake, both as an adaptation and a continuation of the franchise.

But frankly i'm allergic to the continuation aspect so bad that i can only see how it doesn't work, instead of how well the game is delivering on this scenario.

I should also mention that i started watching a cutscene movie of the remake in 2020 but stopped after the Wall Market scene because i wanted to play for myself but also was bummed by the way the plot was taking. then i started playing the game in 2021 when it released on computer and i dropped it right before Wall Market because i was seriously getting bummed out by the developments it took, and it made me disconnect with the saga for years just because i was bitter. So that also colors my vision of it that it managed to make me uninterested about a saga that's so close to my heart. I've only decided to give the game a shot again because i ended up rewatching the movie recently and was so emotional i wanted to see through with the remake.

Let's go:

First, the Good.

-The Fighting Gameplay is fantastic. It's a good middle ground between the fast paced action game and the timed turn by turn from the original. It preserves a lot of what made the fights memorable while modernizing it fantastically. In term of pure fighting gameplay, the game is a treat to play.

-Adding to it the equipments menu is a massive upgrade and you have no idea how grateful i am to be able to access each of the characters' set up and switch their materias from one chara to the next without needing them in my party. The scars of the OG are too real. Also very happy that everyone level up at the same rate even if they're not in your party for a while. The OG doesn't give exp to characters who aren't in your party when you play and if you don't switch out regularly, once the game forces you to play specific character, you run the risk of being massively underleveled. So happy the remake doesn't do that.

-The Enemies fights are fantastically adapted. In the OG because of the turn by turn format, the attacks weren't as distinctive from one another as they could be. Being able to really see how each enemies move and work was a pure treat.

-The environment design. The places are either faithfully reecreated or updated in a way that makes them very vivid and interesting. My only grip was with how bright the undercity looks on the regular, but the way to adapt it by having the brightness pushed as much as it does when the Sector 7 plate fall still made for a horrifying perspective, and i do think there's values on the aspect of putting the player in the same mentality as the people in the undercity thinking it's not so bad after all.

-Also adding in, character designs and updates have been really great and faithful to the compilation and it's a treat

-Also big mention to the new English cast that, i think, are almost all perfect replacement. Except Zack, which i think is a terrible replacement, but one miss out of all the wins is honestly not stopping it from being a plus

-Additional scenes of each characters that don't have them talking about the whole Whispers thing are usually pretty good. Barret especially gets to win a lot in personality by constantly seeing how he reacts to things. The OG didn't have as many character centric moments and it rarely shows us the intra-dynamic of the group outside of Cloud (rarely, but not never), and the remake was allowed to really allowed to bring it up a notch in a way that really makes you feel on how those characters care about one another.

-Fleshing out NPCs especially linked to the Sector 7's incident were good moves. Jessie, Biggs and Wedge taking more room in the game developping them especially with the full chapter dedicated to them was great and really allowed you to feel for the devastation of what would happen to them.

-Most of the New NPC are really cool and interesting and i'm very glad we got Andrea for instance. Linked to that, getting rid of the homophobic elements of the Honey Bee Inn to replace it with Andrea in particular genuinely healed me a little inside i think. Also i really like Roche.

-Every Turks scene are incredible as far as they're concerned. I really like the dive into their point of view and the way to prepare for their late game shift. Genuinely no complains there.

-Added quests in Sector 7 and Sector 5 to get to know both sectors. I genuinely think it's a good way to really develop an attachement to those places and the way they matter to our protagonists.

-The whole storyarc added to the Sewer and the Train Graveyard was genuinely great and served to really show how Tifa and Aerith grew closer, and ways to explore some specific character angst for both of them, and i really liked it.

-I was surprised at first but i do like replacing the climbing of the wall to reach the upper city with climbing the ruins of Sector 7 instead. It's another case of taking away a section with unique gaming mechanisms, yeah, but i also think it hits much harder and help you really sit on the devastation that occured in a way the OG couldn't show us. I think it was genuinely a good change.

-The adaptation of the infiltration by the stairs was also incredible.

-Seeing Shinra constantly trying to restart a war with Wutai and using the terrorists for this really drive home the propaganda that was in the work at Shinra and it's really neat to see.

The On-The-Fence.

-The Deep Ground stuff. Genuinely liked the first time it's quickly mentioned by the NPC, and actually connecting it to the researches around Jenova during the lab portion was interesting, but i think they kinda overplayed their hand a little.

-Everything about the lore of Avalanche outside of Barret and his crew. Having a main cell sometimes helping or not, and the Mayor being part of it, are choices i can't really say where i land on about. I found the Mayor reinterpretation fine but it came at the cost of all the gameplay that got changed because of his inclusion for example.

-The Reinterpretation of Wall Market. On one hand i do like the more flashy approach to the Market and really feeling how Corneo's fingerprints are basically everywhere. On the other i find it unsettling how "Glam" the whole approach to enter Corneo's house was. There's a huge difference between getting the help from the little folks who are ready to help you as you make your plan yourself, and having just to impress 3 of the authority of the whole town.

-The Return to Sector 7 plotline is very difficult adaptation wise for me because i think it shouldn't be there, but it's the one section of the game that really gives Barret time to shine and i really like what they do with him, and i do think it makes sense for him to want to come back and hope for the best. Barret carries this section because everything else makes it jarring.

-The Sunlamp sections to reactor 5. Way too long and overstuffed but it helps really setting up just how wasteful and hypocrite Shinra's energy use is.

-The removal of ambiguity about the action of Avalanche especially. This one is difficult to explain. Since we rarely leave Cloud's POV we don't really see if Shinra, say, provoke a bigger explosion to the Mako Reactor and then pin it on us, or if our actions genuinely hurt people. The Remake is constantly reassuring you that the worst of our actions are only because Shinra are making them worse on purpose. The OG doesn't really give you this reassuring. I'm... miffled about it because i think losing this nuance is particularly a problem for the set up of the Barret/Reeve conflict in late game, because there's never a moment Barret can just brush off they didn't do anything wrong. The question is more, are you willing to sit with the consequences of those actions, of the people who may die as you try to achieve the greater good? Which is also exactly in parallel to Reeve who, after seeing Sector 7, will be the one to kidnap Marlene to pressure Barret because, just like him, he's doing an "specific sacrifice" to stop harm from happening. But the remake constantly absolves Avalanche from any of that by making it clear it's Shinra's propaganda. And i do think it's making this plotline an injustice.... while also recognizing that perhaps it's necessary to spell out considering how otherwise people would easily side over Shinra, especially in a world post 9/11. And meanwhile this whole discussion between Barret and Reeve late in the OG might not happen at all because in Rebirth, Reeve doesn't kidnap Marlene. We're in a situation where the two men who considered maybe one sacrifice for the greater good, aren't even doing sacrifice anymore because they're too morally good for it. It cheapens their plotlines, but at the same time i don't know if i'd trust audience going into this conflict anyway. So it's difficult. It feels like the conflict was simplified and dumbed down, and i'm torn between "well it's necessary because audience needs to understand their pov" and " 'gratz on the loss of nuance everyday".

-The Further inclusion of Project G and S in the storyline when Hojo talks about it. I'm really on the fence so it's not easy to say, but i found it really jarring when Hojo mentioned them. Since the Remake itself doesn't bring much more answer as to how those Projects are implemented in the story, my memories of CC made it seem very weird. A friend told me about how it's used in Rebirth and it may be a good point but... wait and see.

-Related to that, the Mako degenerecency addition. Or more like. We knew Mako Poisoning was a thing, we knew of Project G and S Degenerecency, and it's not a stretch to think Mako will destroy its host on the long run -- but it's never been outright said in the OG nor addressed outside of CC, and i'm on the fence about how i feel about it. It seems to have a bigger part in Rebirth so i'll genuinely hold my judgement until i see what they do with it i think.

The "That could easily have been better."

-Back to Wall Market, the big de-queerification of the plotline despite the Honey Bee Inn section. The 1997 portion wasn't great sensitivity wise, but there was this clear element of how Aerith and Cloud agreed together on the crossdressing and worked their ass off specifically to cross dress Cloud together. In doing so you meet also Jules, who's a drag queen and will challenge you to a squat off in exchange of one of his wig, and you inspire the dressmaker by helping him discover he could try making dresses for other purpose than cis-women. The dressmaker find solace in the queer approach to his work. In the remake you have no mention of Jules being a drag queen even if he looks more gnc, the dressmaker just needs a reminder that girls dancing is hot to be inspired again, and Cloud crossdressing is imposed on him at the very last minute without him having prepared nor agreed with it. Andrea replacing all of the homophobic elements of the Honey Bee Inn, mainly the fact that the male hosts from it are making move on Cloud that makes him uncomfortable even if it helps for the crossdressing, and that in itself is great because Andrea ends up the mouthpiece of queer positivity replacing the most hiffy queer part of the original game. But it came at the expense of de-queering literally every single other plotlines of this part and robbing Cloud of his agency in his own crossdressing. Meanwhile to replace the quests in which Cloud is actively looking into crossdressing himself with quests in which Cloud has to prove he's the Manly Man. It's so jarring to me.

-Cloud's mental breakdowns. Hear me out. I'm a huge fan of Cloud's mental breakdown in the OG that starts pretty early. On one hand, i like some of the way they implanted more mental breakdown. The one Cloud has while Biggs talk about him being attached to his sword? amazing bit, for exemple. On the other, they really struggle with showing them in a way that's like... genuinely interesting. A lot of the early mental breakdowns in the OG usually black out the screen, pause the music, and then you only have white words showing up on the screen. The Remake cannot help but being flashy with them in a way i find particularly tacky. Re: "Back Then, i only got scrapped knees", when he falls from Mako Reactor 5. In the OG it's a reminder of when Tifa was the one who fell that day and Cloud tried to help her, fell with her, only got scrapped knees while she was in a coma, and then he was shuned out by the rest of the village because he was believed to have caused the incident, and Cloud developped his first survival guilt out of this one. When he falls in that scene, it is because Tifa was the one endangering herself to try to save him, and it flashed him back to it. In the Remake you get to see a model of him adult in a white landscape trying to talk to him, until Sephiroth hijack the whole situation and makes it about him. The whole tension is ruined like that. Likewise, when Cloud remembers Sephiroth calling himself an ancient, same "black screen, white text, no music", instead being interpreted with a weird flashback on a white background before Sephiroth hijack the scene to spell out that Cloud's fear of "being unable to save anyone" is seriously starting to eat him alive. Or how, in the whole new Deep Ground section, Cloud flashes back to when he was prisoner in a tube, and you see it clearly again. Yes it's realistic for Cloud to break down, no he doesn't break down seeing tubes in the OG, but showing flashes of him being in one is so vulgar for the audience. And meanwhile we completely lost one of the most terrifying mental breakdown Cloud has in an optional scene in the Honey Bee In where a copy of himself jumps on him to strangle him for the way he is denying the reality that's happening to him. like man. It sucks.

-Special mention to how i'm sad they removed Aerith scamming people with her flower business. Because it was always funny to me and sad not to see in the remake. At least the remake is a major step up from every single appearance of Aerith after the OG that tends to make her too pure and sweet (and i include Crisis Core in it) while in the OG she can be a menace, and the remake did manage to make her more of a menace than not, so it's nice-- but i want her to scam people. god forbid a girl does anything.

-Cloud and Choices. So i discuss about it often but in the OG during the whole first part of the game, you're often the one having to determinate how Cloud replies to some things. Said things will somewhat shape the scenario, most importantly: who are you going to go on a date with between Aerith, Tifa, Yuffie and Barret. On a metatextual level, those choices are also clearly supposed to indicate the different personas Cloud pulls off around people, in order to really have it hit home the moment he regains his memories and you can't control his words anymore.

The OG could more easily do it because the game isn't voiced, so it's easier to prepare, and the Remake couldn't do as many of those and honestly, that's fine.... the problem is how they replaced it.

Example: the Special Affection Scene with either Aerith, Tifa and Barret. The requirements for either of them is how many quests you did with Tifa on Sector 7, how many quests you did with Aerith in sector 5, who you decide to wake up first when the two of them fall in the Sewer, and if you tie or if you have less than 3 points with them you get the Barret cutscene.

... those aren't real choices to influence the cutscene imo. Except maybe the "who you wake up", just "doing sidequests or not" isn't indicative at all of who you'd have an affectionate scene with. and Barret instead is only there if you fail with them.

now, in the OG, the Barret scene does happen only if you failed with the other girls, but he actually had options giving him point too, like calling him Cloud's boyfriend when Corneo flirts with Cloud, or giving the flower to Marlene.

The Remake doesn't give you any of that. There's a fake choice in the first scene with Aerith where she gives you her flower and then you have no choice but to give it to Tifa, where in the OG you could give it to Marlene there. ok whatever.

but those are fake choices.

Likewise for the dresses: they're determined by how many quests you did, not about your actions, not about what you decide to collect, it's literally just filling a check list. and most aggravating, no matter if you do good or bad during this scene, Cloud will be picked as Corneo's lover no matter what, because he distincts himself by calling Corneo's pathetic. In the OG, if you don't crossdress Cloud in the perfect outfit, one of the girls get picked instead.

And it feels so.... anti-game in a sense? why do you remove anything that had the player interreact with the story in some way? or more like, if it was to be replaced why give conditions this lackluster?

this is maybe a nippick and all and it could be dealt with, but considering the thematic linked to Cloud and choices and persona this feels like such a lackluster way to replace it.

-Weird timing with some of Cloud's flashbacks? It bothered me but it might be nippicky. But we regularly see Cloud flashes back to when Tifa was a kid, which i believe he shouldn't (reason in a further down section). The only one that is important is the promise under the stars one, but they moved it to be triggered on Cloud when he's out with Jessie and the gang, while in the OG this scene is triggered after Tifa tries to remind Cloud of it, and it's because they have a conversation about it that we get to relive it with Cloud. I think it's a problem because it makes Cloud the one who initiates remembering those instead of Tifa, which is a problem to commit to the gaslight storyline with Sephiroth, when Sephiroth will manage to convince Cloud he never existed by cornering Tifa into saying she doesn't remember Cloud in one of his biggest memories. Because as long as the only flashback is one prompted by Tifa, you can argue that it's Tifa who plants the idea in Cloud's mind and therefore maybe Sephiroth is right. But the more Cloud remembers things unprompted to himself, the more you'd question Sephiroth's manipulation since "well no it doesn't make any sense if Cloud remembers things like that on his own."

-Reeve was great but showing Cait Sith early was a mistake and i think this set up is going to influence Rebirth in a bad way

The Bad

-The Padding. That's the core of all the problems of the game is that they wanted desperately to extend the runtime and therefore would use any excuses to make you waste time. Some exploration can be great, but eventually you'll really feel it when scenes start to seriously stretch out

-The Removal of puzzles and exploration in order to constantly guide you from one battle to the next and one cutscene to the next, and eventually very long mini game. It's probably hard to explain but it became very jarring to me. The OG kinda have you doing things yourself, and everything i can think of were replaced by very vulgar "quests to cross" type. Like Cloud's dress in Wall Market depends on how many quests you've done which are unrelated to how Andrea sees Cloud, while in the OG you have to find each pieces of the perfect dress on your own, make individual decisions for each of the piece and hoping it works in the end.

The Integrality of the Shinra's exploration puzzle were replaced as well to instead focus on cutscenes with exposition. The archives are supposed to be a puzzle game to get a password from the mayor to get to the next level. In the remake, the Mayor gives you an extended cutscene to say he's on your side and gives you a key to move forward and he tells you to talk to another Avalanche helper. You're supposed to overhear people talk about "last time i was in the bathroom i swear i could hear voices" to figure out you can infiltrate the vents to eardrops on the meeting. The Remake just downright tells you to go to the vent, but only after you proved you can fight. And even there rather than telling you to look for something, there's always clear quest markers to guide you, you dont need to think. After a while the game just gives up with adapting the others floor, including the elaborate puzzle where you have to sneak into a vent maze to get into locked rooms.

Instead they give an extended Lab Dungeon that doesn't exist in the main game, that is very weird from Hojo at this point, and for the "puzzle" it is, the characters are always telling you what to do and it's mostly finding ways to open door in very easy way to get to more fights. There's no intentions of genuinely having you work out how to play. Meanwhile instead the mini games take too long and are often just new mechanisms for one scene and then you move out. I like the mini games, but the balance has been very jarring to me. That said this is colored by the fact i'm playing the pc-port with keyboard+mouse and the port itself hasn't been well optimized for the mini games making them a lot more frustrating than they would be on controller.

I think it's wild also that for a game desperate to pad its runtimes, it refuses to let you just get lost into a puzzle to, yknow, lose time.

-The Fear of Committing to the Fucked Up aspect of the game. The major problem i have with that is that the remake specifically set up how those elements could become even more Fucked Up, and then genuinely refusing to follow through with them. No one you know survive Sector 7's fall of the plate. Jessie, Biggs, Wedge, they all die miserably at the pillar, and everyone you've met at Sector 7 don't seem to survive. The Remake develops all of this in a way that it will make it devastating to experience... and then they pull back at the last minute. Actually everyone you met and who mattered are fine.

Sephiroth's massacre of the Shinra's Lab Floor that covered everything with trails of blood are replaced by the fact Jenova is in a remove area only Hojo accesses to, and so the trail is just Jenova's purple goop and Sephiroth probably didn't murder anyone (other than the president) this time. Lol. Lmao even. Adding to prev point, the discovery of Jenova having been taken away was totally anticlimactic compared to the way the OG delivers on it, because of the muted music, lack of build off, and refusal to show the death that surrounds her tube.

Present Shinra gets an extended scene to shame Barret and then when Sephiroth stabs him, he only leaks black mist, compared to the team going to the President Office to see he has been impaled. The Hell House, that haunts you in the Collapsed Sector, is now a thrilling action piece of a show. Cloud's most fucked up breakdown (seen above) is removed.

Hojo's plans to force Aerith to breed with Nanaki to experiment on their offsprings that would live for a long period of time thanks to the length of Nanaki's species' lifespan, is replaced instead with Hojo talking about breeding her with human experiments who are degenerating because of the Jenova cells, because it's not about the lifespan anymore but just having many experiments in case Aerith dies. Still fucked up and all, and it can work out fine, but it's still the remake getting cold feet about the bestiality aspect, and therefore Nanaki's introduction has to be different from when he just happened to be in the same cage as Aerith. It just constantly pulls back from going all in when it can afford it. the Train Graveyard is the only place they really are allowed to show fear, but even there it's more creepy than the majorly unsettling set pieces.

And i heard it happened in Rebirth too, where the whole haunted section with monsters being people who were experimented on to an horrifying degree and you are the ones who have to put those living people down, be replaced by a full VR experience.

Like, i think pulling away from one of them wouldn't be so bad - i'm like, also willing to hear the bestiality replacement point for example, but when it's a pattern like this it starts just to cheapen every scenes that have a punch into it.

-speaking of i hated the speech President Shinra gives Barret and the whole "you only care about clearing your name, not about making things better for Midgar". in the OG there IS an aspect of Barret's desire to save the planet being a selfish wish for revenge. He cares for the planet yes, but this revenge is what he holds on to to cope with the guilt of having believed in Shinra once. Still his desire to save the planet is real, and he does actually want to dismantle Shinra no matter what. This aspect of his character is what creates a conflict with Reeve later on, and it's where the conflict shines well because we have two morally ambiguous characters having to come to term with why they want to make the world better and what are they actually willing to sacrifice for this. This Discussion with Reeve later on doesn't really pick a side (even though later in the game Reeve will do everything to help the gang and fully switches side), but it's two sympathetic characters who are trying to make the world a better place who come to a clash because of the different motivation and willingness to commit.

Having Barret run in about clearing Avalanche name, which i don't recall him being that dedicated about doing in the OG (if only because the propaganda was less pointed to because of what will be my next point), is the thing that allows the President to have a gotcha and point out that Barret had no long term plan to help people and he was a scam, and that the president might be a bad person but at least he thinks about it.

I really hate it because if it's about outlining that Barret is more in for revenge than for ecology, it's giving President Shinra, a one dimensional villain, the benefit of having the upper hand on Barret. And Barret is left speechless because he lets this guilt settles in, rather than how he fights for his own POV against Reeve later.

It's like they're trying to prepare the Barret/Reeve conflict but the way they went at it was leaning too hard on letting the President have his moment, while also framing Barret as much more selfish as even his dreams of revenge from the OG let him be.

and at the same time it's weird in the remake because the remake goes hard on how much Barret is into Planetology, much more than the OG, so the guy has done his researches and has invested a lot more into ecology for it to just be a selfish barging.

And like i mentioned, this whole scene doesn't exist in the OG because we have an earlier confrontation to the President when we get arrested and Barret is mostly still mad at him for having killed his friends, not for how they're being framed, and the president is so one dimensional villain he barely invest himself in this conversation, and the next thing we see, the president is dead. They made the President more cunning in the Remake which i don't /mind/ (it helps setting up the kind of person Rufus is without having to expose that Rufus will bring a real shift to Shinra's policies, by having his father already show you what Rufus may have been raised into thinking, which means that Rufus' appearance can only be about vibes and threats without needing to expose who he is, especially this late into the remake), but by allowing him to be alive in this situation it ended up being a terrible look on Barret on something that isn't an issue in the OG.

-The whole arc between Sector 7's fall and running to Shinra to save Aerith. This one is a doozy. Everything they had added up to this point had at least a good reason to be there for the timing of all things. Like the Jessie chapter happened at night on a point in the OG where nothing happens between two big plot point, it fits organically, it's nice.

But this one really had me annoyed because i think the previous arc extended even more on why Tifa and Barret would jump right away into wanting to rescue Aerith like in the OG, but instead this is the moment the two of them pull back from going to help Aerith so instead they can focus on totally new plotlines.

On paper i don't mind the idea of them going to Sector 7 in the hope to find people who survived it, because i do think they would need this closure. In the OG there's no secret passage under the doors of the sector though, so they don't have any means to get back to the Sector. I get it in term of characters' motivation, but it also somehow manage to put the tight plot into a halt.

Now it takes them a few days to think about saving Aerith, because first we need to be reassured everyone who matters in Sector 7 is fine, saving Wedge, discovering more Deep Grounds, having Cloud has new "i shouldn't be there" flashbacks, and then doing all sort of missions for people in the aftermath of the fall of the plate, until having to help Leslie on a whole sidequest for him to tell us how to climb the wall. All of which are interesting ideas on paper but i think ends up padding the time so badly it ends up frustrating and removing completely the urgency of "Aerith was taken as a lab rat because she tried so save a stranger".

And this arc births the problem i was mentioning in my prev point that therefore the trio remains in the slums for at least two days of hearing Shinra's propaganda and the way they frame Avalanche in the way that cause Barret to be so upset it's the thing he challenges the President about, while in the OG he's still mourning first, the anger is due to the loss and grief, not on how his friends are remembered.

Actually i think that sums up a lot of the problem with the Remake when it comes to the thematic of grief, which in the OG is about how you have to accept this grief as a part of yourself because else you're going to lose yourself to its stages (and Barret therefore is kind of more this representation of the anger side of grief, compared to Cloud being stuck on denial) , and instead changing it more on "how you are remembered", either by denying the death from happening at all, or having Barret just wanting that the way his friends are remembered in death to be honorable.

-The Hojo Lab Arc. Boy is this one ways too long. Clearly wanting to compensate for the Shinra's floor that has been removed by giving this sort of exploration episode in the unsettling Jenova/Deep Ground's lab. On one hand, the atmosphere for this is chilling (at first) and it does make sense to move Jenova in a more secret floor room.

But the gameplay ended up being lackluster, just going from one obvious step to the other with the characters repeating to you want to do, only so you can get into fights, and i can think of like ONE moment that was genuinely scary, but the rest was really just.... the most padding things could get.

I also think it lampshade Hojo as a villain too much this early into the game. Also while i'm at it i hate that Hojo remembers Cloud in this timeline now. I think Hojo's disinterest for failed experiments meaning he wouldn't even consider Cloud noteworthy is an interesting way to build tension, and i hate that Hojo is aware of things and now is just maniacally playing his cards for now just for fun to see what Sephiroth will do next. Hojo is a very interesting antagonist, and while i do think he would love to commit unethical experiments with however he meets, this whole sequence was too much. Also the fact he mostly "tests" the gang by having them fight advanced weapons and like a couple monsters that happened to escape, it kinda takes away from the mad scientific vibe when he's just trying his new toys, rather than actively trying to do something more interesting and fucked up. They frame it as him wanting data on Cloud knowing he's been experimented on, but again, i don't like that he knows that, but also i think those tests weren't exactly interestings for this exact data either. and meanwhile showing him actively letting Sephiroth get away remove any type of possible tension about where Hojo stands in this whole company.

but yeah the Labs could have been a great concept but it took the most boring way to execute it and instead it just felt like dragging.

The Terrible

-No respect for the mysteries of the saga. Everything that the OG built a mystery around is spoiled in the Remake, or teased in flashforward. This is so aggravating to me.

Like, it feels to me that the devs were so convinced the game will be played by people who played the OG, or who would play the OG for themselves, that they did not bother with keeping any of them out. Sephiroth keeps popping off being more ominous than he should be. The mention of Zack gives Cloud a mental breakdown so much so they mute Aerith to really point out that something weird is going on with Cloud and Aerith's ex, compared to how in the OG Aerith just don't originally mention him and when the name Zack is finally uttered, Cloud is too far in denial to connect anything at this point.

Cait Sith coming on the scene of Sector 7, while not linking him to Reeve yet (but i heard Rebirth jumped into doing so right away), therefore setting up that Cait Sith has at least an emotional reason to be joining the crew, therefore setting up the plotline once you have everyone in your party about how there's a mole in your group into making sure the players have suspicions about Cait Sith to start with.

Zack appearing in the ending of the game, showing he's close to Cloud, showing he has Cloud's sword, totally exposing the existence of this character while he is a mystery the whole game.

Hojo telling Cloud he was never in Soldier, Cloud getting recognized in Shinra HQ by people who therefore confirm he once existed, Cloud flashbacks about being experimented on....

All new stuff that instead of working as foreshadowing end up lampshading things that should have been more quiet mysteries, element to explore later on.

There's also so many "spelling the lore out in the remake way earlier than in the OG" like having a whole Shinra propaganda room about them looking for The Ancients' secret while if i recall correctly, this was a secret endeavor only revealed further into the game.

And then the flash forward, especially in the last part of the game but not only. Cloud having a flash forward to the plate falling. To Aerith's dying. Literally showing the intro of Advent Children as the future they're trying to avoid to tease Meteor, Aerith's death, Cloud fighting Sephiroth.... and Nanaki running in a world post-civilization centuries later? this one is the most bewildering one to me because this specific scene should mean nothing to the characters about what the future has in store for them, but they played it up because it only matters if YOU know the saga. God this part was annoying to me.

I feel like the game is expecting so much that the player has played the OG that they're just begging them to tune in for part 2 because things might be different this time since we have NEW mysteries to worry about now! Will the horrors happen? teee hee who knows!

and for new players, it's confusing, but it also ends on "we're not following the OG anyway" so you kinda just have to stick with part 2 when it comes out instead.

i find it so aggravating and it takes me out of the story every single time. It's like none of the mysteries matter to be treated seriously for someone who might discover the saga.

But it therefore also comes at the price of completely ruining some characters' motivation.

Speaking of.

-Sephiroth.

Now to start with something positive, this Sephiroth is supposed to come from the Advent Children timeline, and on that regard, he's beautifully characterized. Yes, Sephiroth in Advent Children would be saying those things. Yes, he would try new ways to torment Cloud, yes he would play his cards differently, yes he would be hyper homoerotic and want Cloud by his side more than ever. All of that tracks very well with his character by Advent Children time.

.... glad to see new audience will never know how Sephiroth was before that then???

Sephiroth has one of the greatest villain built up in video games because of how slow burn his appearance is. First you hear about him in a flashback in good light, then you hear his name in a second flashback but this time in horror. Then Cloud collapse with a memory of Sephiroth, and then when they go to rescue Aerith they get to escape because the floor they were on has been massacred by Sephiroth, Jenova is gone, and the president has been found impaled on Sephiroth's sword. Cloud and Tifa react in horror as people who know Sephiroth, and then you have to escape, and once outside of Midgar, they will start discussing "what's up with Sephiroth actually"

and then once you're at Kalm, Cloud will give you an extended flashback of the Nibelheim incident with Sephiroth as a playable unit and you see he's mad strong. You try to pass through the cavern guarded by a Midgar Zolom which will be your first terrifying boss experience because of how hard it is to beat, only to pass this by stealth to see Sephiroth just empaled one before you. AND THEN you go to Junon where Sephiroth is rumored to have been and once on the boat going to the Costa Del Sol, you will run into him. Cloud will challenge him, and Sephiroth will barely recognize him, and then let them fight a bodypart of Jenova. And it's only from this point on that Sephiroth will seriously start to pay attention to the crew and will slowly but surely try to manipulate Cloud, developping an obsession toward him.

the Remake ends when you leave Midgar. So Sephiroth shouldn't have appeared. And clearly the Remake was scared that not showing the fan favorite will cause problem, so they justified a way to have Sephiroth into the story early by having him be late-development Sephiroth.

which just means that if you haven't played the OG, you're getting a wrong impression of Sephiroth and the way he specifically approached Cloud. As well as completely missing out on the slow built of his capabilities.

But if you have played the OG you therefore get to really notice how he hijacks scene and therefore change them into things they're not. I hate his appearance in Cloud and Aerith's first meeting, completely changing the mood of this scene to make it all about him. I hate that everytime Cloud has a mental breakdown, Sephiroth appears to take advantage of him.

AC!Sephiroth would! but this is a horrible way to build him for a first time audience, and it's so vulgar in the way it spells things out for him.

And you know he's going to play his cards differently because of how he lost the previous time; For example in the Rebirth trailers they did the whole marketting around Sephiorth wanting Cloud to doubt Tifa, saying about how she shouldn't be alive and will manipulate Cloud. It's a direct response to the fact that neglecting to take into account Tifa is what caused Sephiroth downfall because she was the only person who knew Cloud so intimately that she was able to guide him through his memories, thanks to how much Cloud trusted her. Sephiroth, therefore, logically, need to make sure Tifa is not going to get in the way this time.

.... and that's swell and it makes sense but we're getting a whole other story aren't we?

The remake was adverticized as a remake and instead a huge chunk of it hinges on the fact you know the saga and because of Sephiroth and the characters knowing Fate is oncoming, it's actually a sequel.

And it's deeply frustrating to play because aside from Sephiroth and Aerith, no one knows what the previous timeline was. (coming back on Aerith in a bit). All of the cast suddenly is working to change a fate they do not even know about because Sephiroth and Aerith want to challenge this fate.

As a player it removes you from fully connect with the story because the characters don't even know what they're fighting for!! They don't have the context of what the bad things are going to be!

And like okay you either like it or you don't, but personally i hate it a lot.

-Desamorcing any emotional scene by the new mysteries.

The remake wants you to be invested in the new mysteries around Sephiroth and the Whispers so bad that scenes get to be completely hijacked by those characters ruining the tension any scene is supposed to build in.

Cloud and Aerith first meeting is supposed to be a quiet scene as he runs into her after the Reactor exploded. You can also completely ignore her and she'll move on, but otherwise it's a really quiet and simple scene. The Remake builds a whole Cloud hallucinate Sephiroth scene out of it, has Aerith tormented by the Whispers, she approaches Cloud to thank him, and Sephiroth will appear to threaten Cloud about how he intends to let fate repeat, implying the threat of killing her. The whole sweet scene starting of to establish a dynamic between those two? had the focus changed on Sephiroth instead to be ominous.

Fighting Reno in the church is a good addition and all, but Cloud trying to murder him only so the Whispers can come and take him away so the whole "escaping the Church" bit is all about the Whispers? You had a good tension over two characters physically interreacting and you had to ruin it.

And the worst for me was really the whole Sector 7 incident, constantly seeing the whispers just to stop us from getting to the pillar, seeing the whispers everytime one of the Avalanche Three is having a big moment just so you can then see them as they make sure they die. Scenes that should be about Cloud and Tifa realizing they are losing people they're caring about, Cloud starting to have his whole "i can't save anyone" panic settles in, and it ends up being distracted by the Whispers doing their things and making it look like the only reason those characters die is because it's meant to be, not because yknow, they got killed?

Oh and Hojo recognizing Cloud and the Specters taking him away was so damn bad too.

It's like. Any scene that are trying to build a tension, perhaps even a good one!! suddenly gets ruined by the whole "let's keep things on track" antagonist. Scenes that would have emotionally hit hard instead becomes confusing because of a whole new plotline that only works on a meta textual level. Embarrassing as hell.

-Zack. Why would you do that. Why would you show Zack why would you create a whole alternative timeline.

oh, well, i know why. Zack is too popular not to and you gotta include him. But the fact Zack is a neat character because of how much you can feel his absence when you know why it is there, the way they just dangled him in front of our face is so insulting, especially as being the scene right before our heroes go to defeat fate. It's something that only matter to hardcore fans, who would also be fans because of how Zack haunts the narrative, and so now instead we get an alternative timeline story that would be all swell and game in fanfictions, but is bond to be confusing for non-fans, and just really antithetical to what made Zack so beloved to start with.

Every Zack fan i've talked with after the remake did that had the same reaction of being both happy he lived, and then "but what the fuck are they doing with that". It's a mystery, a zinger for the next game, to try to keep you invested

... but it feels cowardly, as well as the Sephiroth stuff feel cowardly. It feels like the game had no confidence in it doing well without fan favorites, and therefore included them in the game no matter what, even if it defies why they are fan favorite to start with.

-The Fate plotline. I've been rambling over this one a lot at this point so i don't know what much to say. I hate that the Remake is a story about defying fate. About how things are not written in stone and all of that. I feel like the game is basically in denial of the original game if only to lure the player into this state of denial. And it could work to mirror how Cloud will go through his journey, considering the OG is a lot about grief and Cloud is specifically about the harmful aspect of denial, but i think this is imposing ways too much metatextual commentary over the actual text to the point you're denaturing what the story was about.

At the end of the game, everyone have to accept together to change fate, a fate they know nothing about, a fate they just imagine could be bad. the PLAYER knows what they're talking about, but them, themselves, do not. At this point the characters don't really react out of their own arc and motivation, but on about trying to change an abstract idea they have no idea about.

Except for Aerith who knows about stuff in the future and is so determined to not let it be set in stone, Sephiroth who is implied to come from the AC timeline and wants to do things differently, and Nanaki who understands the Whispers and knows vaguely what to expect.

In a bitter way it puts any hardcore fan who expected to replay the plot of the OG in the position of the bad guy for implying that changes are wrong, actually, regardless of why fans would think this way.

To me, it's antithetical to the plot of the OG. Final fantasy manages to do stories about fate, FF15 is a great story about not being able to defy fate, Crisis Core COULD have been a story about fate due to its ending but it decided not to be, but the OG was not about fate in any way and pushing this as the core theme feels alien to the story.

The characters barely know what it's about aside from out of context flash forward and are supposed to make their stand to correct this.

Meanwhile the story also goes into so many loops to try to make you curious about the Whispers, or the way they fix the timeline, like when they save Barret's life, but everything is artificially contrived for my taste and every single scenes with the Whispers made me wish i had never been hype about this whole project to start with.

-Aerith and Nanaki becoming dev's mouthpieces at the expense of their own character arc. There are many scenes when those two will suddenly stop in their track just to do exposition dump about fate and destiny.

Nanaki is noteworthy because legit 80% of his dialogues are about Fate and Destiny, and his introduction to the squad literally had to rely on Aerith showing him a glimpse of the other timeline so he knows they're supposed to be friend, which is infuriating to think about. Because Nanaki developping a natural friendship with the gang is too much to imagine i guess. For a story about defying fate they sure make sure you know Nanaki only is talking with you because Fate told him so.

Meanwhile for Aerith it's so.... So much to me because at some point it's like her being a character stops and suddenly she ends up discussing exactly how there's a fate in front of them that will be scary to change. She wants to change it because of her own fate into it, but also fear changing it and all of that...

Which plagues Aerith with worries she didn't have at first, which means that for a bit, Aerith stops being her own character on her way to her character arc because she needs to look straight at the audience to explain them the themes of the story in case they didn't catch it up. It is so sloppy to me and i hate the idea of turning Aerith's gradual arc of reconnecting with her heritage and realizing she's the only one who can change something, into one where she's already wise and having it all figured out.

I saw someone comment on how Rebirth feels like a 5D Chess game between Sephiroth and Aerith both trying to change fate in their favor, but while i love their natural antagonistic dynamic, it genuinely bugs me how their independant actions are taking a cosmic weight right from the start of the remake. The more Sephiroth pulls in one direction the more Aerith is pulling on the other, and this natural nemesis relation where Aerith is constantly trying to one up Sephiroth and the other way around took a much bigger dimension now that Sephiroth comes from the Future and Aerith is aware of Fate.

-"Tee Hee Maybe They Won't Die :3c"

It's the frustrating aftereffect of destroying the keeper of fate, is that now the game is showing you a timeline in which Zack is alive, and is trying to act like "maybe Aerith won't die this time". Which feels cruel to me because either they go through with it and keep them both alive and we removed all the stakes from this story or why the game has a lot to say about grief, or they go through with it and they specifically manifactured a way to raise our hopes up for the sake of wanting to see them again.

Aerith and Zack are easily my favorite characters with Cloud, i've read countless of Fix It fanfic, AU where they come back, i know this denial, this desire they'll be okay.

and i know i don't want it from the main game because their death matters too much for what the story is trying to tell.

Zack needs to die for Cloud to even become who he becomes. Without his death, Sephiroth won't be able to manipulate Cloud properly. It's the reveal that Cloud has usurped Zack's life that will lead Cloud to the pure mental collapse that will have him give Meteor to Sephiroth and Sephiroth would trigger the apocalypse. Grieving Zack is a major element to explain the lowest of lows in Cloud's life.

The alternative timeline therefore lose those stakes, and may instead try to prove that Zack has to die else bad things will happen. After all, Cloud doesn't wake up in this timeline, so clearly Zack being alive means his own timeline may get unlucky as it goes.

Meanwhile Aerith's death is necessary for the powerstruggle between Sephiroth and Aerith, with the fact that by killing her, Sephiroth actually made her more powerful.

Sephiroth decides to kill Aerith because her power as the last of the Ancients and the Holy Materia are the only things that can reach out to the power of the Planet to counter everything Sephiroth wants to do. The moment he realizes She is the Menace, he will use Cloud to try to kill her, and when Cloud breaks the mind control, Sephiroth kills her himself. That way he ultimately have two birds one stone by both getting rid of Aerith and being able to break Cloud's mind and make him his and therefore getting Meteor.

But since Aerith was deep into a ritual and when she died she returned to the Lifestream, she managed to keep doing what she was doing from the otherside, more powerful than ever, and it's why the ending is as it is, with Aerith unleashing the lifestream as a way to shield the world from the fall of Meteor.

Aerith's death is essential to how to stop Sephiroth, on the aspect of, by killing her, Sephiroth dug his own grave.

But now what? Either they're keeping her alive and the 3rd part of the game will go in a complete different direction, or they'll kill her still after having raised people hope that she may survive.

-So the saga is setting itself at ending on a totally different note as the OG, at some point it will have to stop trying to adapt the OG at all because it completely went off rail... Or things will go back on rail and we've been played all along.

So yeah it's either the remake will follow through with the major plot beats and will therefore betrays its own new themes because turns out you can't win without following fate after all, or it will go completely off the rail and it will just Not Be The Plot Of The Original Game.

I'm sure we can try to see it as a sequel, i'm sure some people may be able to, but the more i get reminded of how close it is to the OG the more the things that go off rail just feel out of place, because it clashes with the themes of the OG.

I can't enjoy the fully new "sequel stuff" because it's always coupled with a reminder of the OG i love and this sequel just seems wrong there.

-It feels unfinished. And despite all of this, the game doesn't feel finished. You may add as many stories you want to give meat for the game to keep going, but ultimately you just barely introduced the concept and the characters since you legit only adapted the prologue, you left mysteries opened that are not being answered to keep people on a hook, but you end the game basically feeling you just started this trip. After a 60h+ long experience at least, you are left on a cliffhanger telling you to tune in next time.

This was always going to be the risk by cutting the game in part and even more so when the part one decided to only be about Midgar. I mentioned how i think the remake could narratively have tried to push to Junon since it would have ended with a battle with Sephiroth like they wanted.

but by finishing the Prologue, seems just seem rushed, nothing is finished, and there's a lot of plots that open at the end of the game. Like Rufus, for example, who is one of the major antagonist of the game, who can only come last minute. And because he comes in this late to the game, you can't actually have him explain what he's going to do as the antagonist. So he's just there for the vibes and it feel slike a weird addition that is just a cliffhanger for what's to come.

-"If you want to play the plot of the OG you just need to replay the OG or Ever Crisis"

Then you shouldn't have called the game a remake.

^ this is something a dev said btw and it still annoys me to this day. then you should have been transparent about it not being a remake. And saying that if people want to replay the OG they should play Ever Crisis, which is a GACHA live service game that will inevitably be unplugged one day because Square Enix doesn't have a good track record with taking care of their gacha (starting by what happened to the First Soldier, which was closed after one year of service), genuinely made me annoyed.

All in all, in the end, i'll take their word for this because it sure means i have no reason to be interested in the remake. So i will replay the OG instead.

And then they weep when Rebirth do less sales than the Remake. Lol. Lmao even.

But also just this mentality saddens me. Many people won't try the OG because it looks and feels old. It's a great game, but when the rest of the saga has only HD elements, it's difficult to get into or recommend. That's why people wanted a remake. Just being dismissive about it seems sad to me.

DEEP SIGHS.

CONCLUSION.

I didn't come to the remake wanting to hate it. In fact at first i really tried to rationalize everything it was building itself for.

But i powered through the remake more and more irritated and the irritating part took over all of the way i could interreact with the remake.

And the game isn't even that bad. It still genuinely feels like you return to the characters you know and love. I spent more hours having fun than i've had not having fun.

but the problem is that the good things are in the details and in the small interractions here and there, and that the flaws are the Major Plot Elements that you genuinely can't ignore.

And i'm torn, because i love those characters and want to see more, and the gameplay is so fun!

But by the time of the Ending of the Remake, i was just genuinely tired. Like the whole ending portion of the Remake broke me a little because no matter how in character Sephiroth is compared to his AC self, no matter how fun and camp the scenes are in isolation: this is still such a shitty choice to make about the thing that was called a remake.

I'm sure i've forgotten things despite how long this ask is. but yeah. That should be a good run down of my problems with the game.

..... sorry if you expected anything shorter. Turns out it just ended up being a good opportunity to sort out my thoughts and well. well....

Anyway hope you had a good read if you read all of it, and take care o7

[swampgallows]

You recently reblogged a post of the "waifu bait" twitter post, and mentioned not watching modern anime. I tried looking up anime on your blog and you said you liked Tokyo Godfathers, so I trust your taste lol. Can you recommend some other anime you liked? Preferably movies, but this doesn't really matter.

OMG thats very sweet of you haha. my anime tag is actually "animu" but a lot of it is just aesthetic posts/gifs. i find i still gravitate toward anime from the late 90s - early 00s but not for lack of trying. what i like most about anything animated is the animation itself so i place a higher premium on anime that isn't mostly static intricate paper dolls with mouth flaps or is at least nice to look at. i prefer slice of life over action or mecha/sci-fi in any kind of media, so while i've heard really great things about ghost in the shell, gundam, etc. i've never seen them.

i also have a very low tolerance for most shonen ("h-his power level... it's over 9000!" playground battle tactics) and most sexual tropes/fanservice ("onee-chan let's compare chest sizes!" type shit). it's probably more accurate to say i like some japanese animation rather than "anime", if that makes sense. essentially anything rating fairly low across the weeb-ass-shit scale.

recs under cut cause it got long!!

= movies, in chronological order: obligatory ghibli favorites: my neighbor totoro (1988), kiki's delivery service (1989), only yesterday (1991). only yesterday is a little more obscure than the other two but ghibli films have pretty much a universal seal of approval so i doubt a pitch is necessary. onward!

little nemo: adventures in slumberland (1989): hey does this count as anime? i hope so. one of the pivotal founts of nightmare fuel from my youth (beaten only by brave little toaster, perhaps) this film has eluded seemingly everyone i know in my age group and i'm not sure why. while it's not nearly as inappropriate as its early 20th century source material it may have fallen to scarcity due to its "pg" content, like tobacco use and several frightening scenes, a la the failure of disney's the black cauldron. regardless, the animation is fluid, the songs are cute, the backgrounds are beautifully painted, and there at least a handful of shots that will flash in your mind before bed.

princess arete (2001): hits a lil close to home since it's about a girl named arete trapped in her room and yearning for autonomy, to create things with her hands, and to participate in the outside world. a bit slow paced and quiet but i think it adds to the atmosphere and immersive isolation, and it does pick up near the end a bit.

interstella 5555 (2003): obligatory. more of a feature-length music video than a film but still has a cohesive narrative. hope you like french house!

MIND GAME (2004): my feelings about mind game are fairly similar to my feelings about burning man: grateful i had the experience, but once is enough. i personally don't care for "trippy" stuff, but the animation itself does have some great visuals, switching up different styles and even incorporating live action footage and rotoscoping for an experimental "patchwork" feel. nishi, a down-on-his-luck loser, grapples with purpose and the meaning of life after a handful of near-death experiences, including being swallowed by a whale; anything "biblical" after that is all knowledge-wise. like princess arete, this one's also by studio 4C but is intended for mature audiences (lots of sex. and a rape, as a warning). if you liked tekkonkinkreet (another 4C production) or paprika (satoshi kon), mind game is worth a shot.

---

= series, in chronological order:

oishinbo (1988-92): almost like a shonen, but with gourmet cooking. as part of their cultural division, a japanese newspaper tasks two journalists, yamaoka and kurita, with creating "the ultimate menu" to broaden japanese culinary horizons. yamaoka is the estranged son of a highly venerated food critic and engages in a persistent rivalry with his father to both prove his expertise and to challenge the rigid traditions. kurita is an average working girl of the 80s providing the audience perspective as we learn the elaborate methods of the gourmet cooking world alongside her. nostalgic for its music, setting, and style, this was a big comfort anime for me, though despite its several seasons it never wraps up the story of the manga. also kurita has a unique outfit almost every episode, which is a nice detail. i only found out about it because of @/80sanime!

tenchi muyo + tenchi universe (1992-95): harem anime crossed with a feudal japanese space opera of sorts. i first saw the show on toonami as a kid, and what hooked me instantly were all the different personalities of the girls. if you're familiar with the cartoon the owl house, it's said that eda is HEAVILY inspired in personality, character design, and even voice by one of the main characters, ryoko hakubi, a space pirate hiding out on earth from the galaxy police. mostly comedy with obligatory hot springs and beach episodes, but has spaceship battles and magical sword fights too.

neon genesis evangelion (1995-6) + the end of evangelion (1997): i should not have watched this as a 12 year old. although i think anyone of any age who watches end of evangelion walks away permanently changed. (due to the nature of the series, it is unclear whether the "rebuild of evangelion" films are remakes or sequels, but i personally don't recommend them either way.) if you are somehow not familiar with evangelion: teens pilot giant robots against extraterrestrial threats called "angels". things become... much less about giant robots.

azumanga daioh (2002): this was one of the first series i had ever seen (western or japanese) about girls being friends that wasnt preoccupied with getting boyfriends or being "girly". still has the occasional fanservice tropes, but mostly comedic or quickly over with. since it was adapted from the 4 panel comic strips, it retains a lot of the short-form humor as quick vignettes or gags. not as exaggerated and boisterous as nichijou but similar, and way less insipid than k-on but still has sentimental and cute moments between the girls.

ashita no nadja (2003-4): nadja, an orphaned dancer in london, is on a quest to find her mother. she travels across (mostly) europe with the dandelion troupe, a group of entertainers with their own fraught backstories. she is intent on helping everyone she meets, sometimes to her own detriment, and learns lessons along the way about who she can trust, how a person's past can change them, and that not everything can be fixed with a smile and a song. meanwhile there's a kind of tuxedo mask thing going on between a pair of twin brothers, and nadja struggles with romantic feelings for both of them. overall very much a feelgood "girl cartoon", but i liked the dance sequences, the animation quality, and the evolution of nadja's character. i got to vicariously travel and dance alongside her, and i liked cheering on someone with a good heart working hard to make her dreams come true.

paradise kiss (2005): MAN i should watch this again. reserved overachiever high school student Caroline stumbles into the world of underground fashion and street culture as a model, blowing open the confines of her previously sheltered life. while she finds a home in ParaKiss she also has to confront the dark sides of fame, the fashion industry, and the strain it puts on their relationships. as a fairly introverted raver with model friends i related to a lot of it. also for queer points, george is bisexual and isabella has been praised as positive representation by trans women, especially for a series from the aughts. also WHATTT THE FUCK PATRICK SEITZ VOICES GEORGE IN THE DUB??? OHHH MY GOD okay anyway

the ancient magus bride (mahou tsukai no yome) (2017-2023): stunning animation, and a series i've yet to catch up with purely because i end up crying virtually every episode. it's a bit of a wish fulfillment thing (teenage girl discovers she has special powers and is whisked away from her abusive home life to a medieval fantasy world where she is betrothed to a tender monster-man) but has a lot of great worldbuilding and poignant storylines. it's ghibli-esque in a way but with more of an overarching melancholy and sense of foreboding compared to the average ghibli film. and just to get it out of the way for some inexplicable reason a few of the side characters have HUMONGOUS hungolomghnonoloughongous

---

ive seen quite a bit of anime in my day but these are the ones i actually remember watching and enjoying. like i recently watched all of slayers and most of slayers next, and while it was satisfying in a 90s nostalgia way i wouldnt necessarily recommend it. also there are some very highly acclaimed films and series that i haven't gotten around to yet (full metal alchemist brotherhood, cowboy bebop [I KNOW IM SORRY], the animatrix, etc.) hopefully this is enough to go off of for now!

[chibivesicle]

Scoured youtube, reddit, and twitter for reactions to episode 9, and was shocked at how the vast majority sympthatized with Nai. The old anime never could convince you Knives made any sense in his motives, let alone agree with him. So to see innumerable old and new fans now actually feeling a lot of sadness in the tragedy of the twins splitting apart, and that Knives now has a POINT (that plenty wholeheartedly agree with!), it's pretty refreshing.

Hello there,

In my opinion out of the three versions of Trigun; '98 anime, Trigun Maximum and Stampede, the one which gave Knives the most clear motivations was Trigun Maximum hands down. Which makes sense seeing that the original anime had no material to go on and the backstory with Rem wasn't until volume 7 of Maximum. Legato was clearly the better villain in the original anime and Knives was just a hands off bad guy whose character would not be fleshed out many years later. The manga really goes into the mindset behind Knives actions, how he asks for forgiveness with what he is about to do/undertake at times and how he thinks that his course of actions is the best one. He's obviously asking for forgiveness from some sort of higher power/authority since the scenes are him alone or it could be that he's asking the other plants for their forgiveness for his own use or abuse of them. Either way, he's frequently aware that he's doing bad things but always for a cause. Some could and have argued it is almost too sympathetic with Knives . . .

However, as I stated in my episode 9 review; I do not think there was any emotional weight or feeling behind Knives (or Vash for that matter). Nor did I feel like there was the same level of emotional tension between the brothers in Stampede. '98 anime Knives was a shallow villain, but the scene where Vash shot him and ran off screaming was very much in character. The manga goes way more into depth at how they process what happened to Tessla in completely different ways and how their inherent nature allows for them to draw completely different conclusions from the exact same facts. Ultimately, Knives chooses revenge with a scorched earth policy to all humans while Vash will always forgive and look beyond bad actions and behavior.

Just because the ending theme song is around the conflict and falling out between two brothers doesn't mean the story is supporting that with its narrative. It sort of mentioned that in the beginning, but dropped the idea until the last two episodes. I had originally predicted this was a theme but it was then lost from episodes 4-7 and with how short this is, not good for pacing.

I guess if you compare Stampede to the '98 anime, Knives being more active could be seen as a win. However, the characterization and storytelling in Stampede being so poor and knowing that the manga had more things which would have been nice to include. But not using them. That's a big disappointment. They had the entire finished manga to work with and for the most part, Studio Orange has been cherry picking bits here and there with little clear vision of how they fit together.

But at the end of the day, I'm here on the internet voicing what is my opinion amongst a sea of other opinions. I keep hoping that Stampede will get more people to go back and read the manga and that Darkhorse will get the act together and do another print run of Yasuhiro Nightow's works. I really want to read Kekkai Sensen and for them to pick up the Back 2 Back tankobon set.

[watching-pictures-move]

Movie Review | The Terror (Corman, 1963)

I'd mostly known The Terror as an example of the work of the fading horror star played by Boris Karloff in Targets, a movie which in part was borne out of Roger Corman wanting to make more money off the movie and get more shooting days out of Karloff. In that movie it represents the old horror, fantastical, stodgy, out of touch with reality, and is juxtaposed against the new horror unsettlingly ordinary and commonplace, most memorably when it plays at the drive-in during the climactic shooting rampage. But the contrast between old and new is present in this movie as well, if less intentionally foregrounded. On one hand, you have Karloff, cast for his legendary stature in the horror genre and also because he needs money. On the other hand, you have Jack Nicholson, who by the end of the decade would represent the cutting edge of film acting.

Now, where Targets shows the old school being outmoded, it appears relatively robust in The Terror. This isn't a career highpoint for either Karloff or Nicholson, the former, while looking a little unhappy still imbues his role with a great deal of presence, especially with those booming line readings he could do in his sleep. Nicholson would go on to become a great actor, but such greatness is not evident here, and the bulk of his line readings come across as stiff and uncomfortable, and he spends a lot of the movie tilting his head up and looking down from an unflattering angle. There's a scene where Nicholson and a possible ghost played by Sandra Knight are conversing in a cemetery, and she keeps talking about how she's dead that might be the least energetic, most under-emoted scene that Nicholson's ever been in, which I suppose is appropriate for Knight given she might be dead but definitely not for Nicholson. If you'd heard of Nicholson's reputation but had somehow only seen this movie, you'd think everybody lost their minds.

The actor who acquits himself best is Corman regular Dick Miller, who gets a little bit of swagger. Apparently what little of the plot kept changing as the production progressed (with multiple directors chipping in, including Francis Ford Coppola, Jack Hill and even Nicholson himself), and I suspect given Miller's history of bit parts, he was comfortable stepping into scenes as needed. In Miller's words:

"When we were shooting in the castle, none of it made any sense. Some of the things I did were ridiculous because I was a butler and I was there just for Karloff to talk to, for Jack to talk to, just a butler."

And:

"In the rewrite I became the heavy. Now all these scenes I were played with different dimensions with fantastic character changes. So this came out at different levels, as well as my hair length and body weight. I was walking in and out of doors changing 20 pounds during this picture. And because the one part was shot in the winter and the other in the summer, my color would change. I would leave the castle white, come into the sunlight and I was practically black, really suntanned. And my hair was a different length; my sideburns were moving up and down. It was a wild thing."

This messy production history also explains the total lack of narrative momentum, with scene after scene spent hanging around a castle with little in the way of plot progression. To a lot of people, this movie will be torture with its molasses-like pacing. But for those like me, who just marathoned a bunch of Corman's Edgar Allan Poe adaptations, who like gothic horror elements in any capacity, and for whom just traipsing through a castle and all its creepy corridors, especially if the one or more characters are wearing something flowy or puffy and there's some Hammer/Bava lighting inside and some fog outside, it's a good enough time.

[fishylife]

Fishy's top movies watched in 2023

It’s that time of year again. Time for my movies roundup for the year.

This post includes movies that I watched in 2023, not movies that were released in 2023. I will rank movies based on my personal impression, so this is not an objective post. As well, I sort the movies in tiers as opposed to individual rankings.

From my ‘About’ page, you can see my movies posts from prior years as well as my Dreamwidth blog where I post writeups on movies and other media.

And on with the list!

My Favourite Movies of the Year

These were the movies that had the biggest impact on me. I think of them often.

The Last Black Man in San Francisco (2019)

This movie was about a man and his attachment to his childhood house. It was based on the experiences of one of the writers, who also played a fictionalized version of himself in the movie as one of the main characters. I thought the movie was thoughtful in its themes, about gentrification, and people's attachments to places.

Another reason why I liked this movie was because it was very beautiful. I was so in awe of some of the shots and aesthetic choices that the director had made. San Francisco is such a visually distinct city and the director definitely took advantage of that. As well, the colour palettes in this movie were so pretty. I had fun choosing a gif for this movie in my post because there were so many beautiful shots. (My custom Tumblr theme seems to be cutting off some gifs so if you are viewing this post in my custom theme, please click on the above gif to see it in full because it is pretty :3)

Definitely check out this show if you want a visual feast and a meaningful story.

Creation of the Gods I: Kingdom of Storms (封神第一部: 朝歌風雲) (2023)

I know this is more of a fun action flick but it really did move me. This movie is the first in a trilogy covering the Investiture of the Gods, a famous Chinese historical fantasy and mythology novel. The novel is a retelling of the fall of the Shang Dynasty and the rise of the Zhou Dynasty, with mythology weaved in.

This movie specifically followed the journey of Ji Fa, who would be the future King of the Zhou Dynasty (sort of a spoiler though most Chinese audiences will already know who he is). Ji Fa was a hostage son who glorified his captor, Yin Shou, the last King of the Shang Dynasty. Over the course of the movie, Yin Shou’s tyranny was revealed, and by the end of the movie, Ji Fa understood his values and decided he had a responsibility to take down the tyrant. The mythological story line had to do with the immortals seeing that Yin Shou’s rule would be bad for the common folk, and wanting to stop that from happening. It was an exciting movie about war and politics, but it was also a touching story about fathers and sons. I kept rewatching scenes between fathers and sons and brothers and feeling those moments of love for one another.

There have been comparisons between this movie and the Lord of the Rings Trilogy, and for good reason. The director, Wuershan, took much inspiration from the Lord of the Rings and consulted and hired people who had worked on the Lord of the Rings. Many behind the scenes videos outlined the extensive design process in creating the world that this story was set in. There was also a separate variety show that covered the 8-9 month training camp that all of the young actors attended to hone acting and physical ability. It’s clear that a lot of love went into this movie, and it showed in how rich the movie felt to me.

For some reason, I couldn't find any Creation of the Gods gifs using the Tumblr in-post gif finder. So instead, I looked up specific characters and found a gif from one of the most hype scenes in the movie >3

Check out this movie if you want something fun and fast-paced!

Honourable Mentions

These were also movies that I enjoyed and they made me think. They just weren’t at the top of my list.

The King of Comedy (1982)

The King of Comedy was about a man who was desperate to find fame through any means possible. There were characters in the movie who were fascinated with fame and celebrities in different ways. What was chilling was that some of these characteristics were familiar to us and I was sympathetic to them to varying degrees. I thought the different interpretations of obsession with celebrity were interesting, and relevant even to celebrity culture now.

An Elephant Sitting Still (大象席地而坐) (2018)

This was a drama film focusing on a few main characters living in a town, each with their own battles. One of the characteristics of this movie was its length, nearly 4 hours long, and yet this movie did not feel as long as other long movies I watched. The director Hu Bo naturally had a slow style but it didn’t feel slow. Rather, he captured some of the mundanity of life so instead of feeling bored, I felt that I was accompanying these characters in real time as they went about their day. As mentioned, this was a story about characters and their battles, and I did feel some parts of this story to be somewhat hard to watch. Not literally, but in the sense that I felt bad and I knew I couldn’t do anything for the characters. I know this movie definitely isn’t for everyone given its length and style, but I felt that I could get a sense of what the director was trying to express, about trying to break free of one’s chains.

Movies that were still good

I thought these movies were good and they had messages that would speak to other people.

From Up on Poppy Hill (コクリコ坂から) (2011)

This was a movie about young people, young romance, and coming of age. Our main characters were high school students. Through the course of the movie, they learned about themselves, each other, and they learned to fight for causes they believed in. As a story, it was fun. It was cute, but our characters did encounter troubles which I appreciated.

While this movie was animated by Studio Ghibli, it was directed by Miyazaki Goro, the son of Miyazaki Hayao, and there were notable differences in style. I felt that From Up on Poppy Hill was a bit faster paced, but still showed off much of the Studio Ghibli style that we appreciate, in high quality animation and pacing.

Apocalypse Now (1979)

I’m not normally drawn to war films, but I felt that the story line of this movie offered something a bit different. This movie was about a military captain who was assigned to assassinate a defector during the Vietnam War. I think this movie appealed to me because the plot was more of a personal journey of the captain as he tried to understand why the defector had decided to take the path that he did. It offered a different perspective on the horrors of war that I commonly see. I think this is one of those movies that I’ll have to re-watch several times because it was packed with interesting dialogue.

Bullhead (Rundskop) (2011)

This was a solemn drama/crime film, surrounding an illegal market where livestock were injected with hormones. From beginning to end I felt a serious sense of gravity over the main character as he went about his life, and as we discovered his past. I think the appeal of this movie was the style and the character, as opposed to the story. Not that the story was bad, but rather, I think the story was more of a vehicle to show us what life was like for the people in this movie, specifically our main character.

I Am Mother (2019)

I do love a science fiction story that asks questions and makes me think. I Am Mother was about a child who was raised by a robot. Initially, we were only privy to the nurturing of this child. As she grew older, we were shown more about the truth of the world. I liked this movie because it was simple from a story standpoint, but it did raise a lot of hypothetical questions, which is what I love about science fiction stories.

Quest for Fire (1981)

I included this movie on my list because it certainly left an impression on me. To sum up my feelings on it, I appreciated the commitment to the concept. This movie was about a group of cavemen in prehistoric times. They had had a fire, but it was put out, and so the group sent a few members to find fire again. The reason this movie left an impression was because it was very raw. This was a prehistoric time, a time before many of the social norms we were familiar with would have been common among people. Some of it was gruesome, such as violence or just eating habits that were hard to watch, but I appreciated that the movie retained this cohesive style to immerse us in the time period. I’m pretty sure this movie was not historically accurate (for reasons that I won't say because of spoilers) but I think it delivered the story it set out to deliver.

The Heroic Trio (東方三俠) (1993)

If I was 13 years old I probably would have made this movie my entire personality. This was an action-adventure movie starring three icons of Hong Kong and Chinese entertainment (Michelle Yeoh, Anita Mui, and Maggie Cheung). It was a story about solving crime mixed in with a little bit of the supernatural. It had a surprising amount of backstory, particularly relating to two members of the trio. And of course I loved seeing the women fight in cool action scenes.

Closing Remarks

I’m a little surprised myself that there were some critically acclaimed movies that didn’t make this list. This didn’t bother me in previous years but it did bother me this year. I went into some movies expecting to love them because they were what I would consider my type of movie. Perhaps it was because my expectations were too high, that the parts I didn’t like seemed to stick out more to me. I did do some thinking as to why I didn’t like those movies and I think I still stand by those opinions.

Anyway, that’s it for 2023. Have you seen any of these movies? What did you think of them? Let me know!

Wishing everyone a happy 2024!

[amostimprobabledream]

My thoughts on the new Matilda movie musical

Yeah, I’m gonna get this out of the way - I am extremely biased because I grew up on the OG Matilda with Mara Wilson. It’s one of my comfort movies, so I was likely to be critical of this. However I’m also a fan of the musical and Tim Minchin in general, so I was willing to give it a shot. Overall? The Mara Wilson version is the absolute superior movie. The musical is somewhat more true to the book (except the bullshit with Miss Honey’s parents), but there’s something very overly-produced and rushed about this new version. I liked most of the songs, but they felt a lot faster than the songs on the musical soundtrack and it gave the movie this weird pacing issue where it was both slow, with its overindulgent dream sequences, and incredibly rapid-paced with how quickly it jumps from plot points and the songs are sped up. “Bruce” was my favourite of the musical numbers but I don’t like that Bruce was downgraded into being Matilda’s age instead of a child a few years older. It doesn’t really feel like a cohesive story so much as a bunch of fantastical set pieces linked together. And while the actress who played her was a good singer, I couldn’t help but find this Matilda kind of unlikeable? There aren’t many scenes where she’s interacting with the kids the way an actual kid would, like in the OG movie and the book where there’s a long scene with her and Lavender as Hortensia explains the ins and outs of Cruncham Hall to them - instead we get a musical number of the kids singing about how tough the school is. Most of her scenes involve her yelling at the adults around her or singing about how unfair her life is. Also, she kept purposefully defying Trunchbull (lying about that kid having narcolepsy, trying to defend Bruce, etc) but Trunchbull never really does anything to her for it aside from vaguely promising to punish her “late”. Like when she shoves Bruce in the Chokey, why not come back and do something to Matilda? (Also Miss Honey’s aghast at Bruce being put in the Chokey because “he’s too young!” but like...putting a child in the Chokey at all is cruel and unusual so what weird complaint? The way she says it makes it sound like she’d be fine with it if he was a nine year old.) Like in the OG movie, she locked Matilda in the chokey just because her dad sold her a shitty car, tries to have her locked away when she figures out Matilda was at her house and blames Matilda for the glass spilling even though she was sitting at her desk. The movie tried to get you to feel sorry for her by giving Mr and Mrs Wormwood moments where they mistreat her, but it just fell kinda flat for me, especially since the Wormwoods came across like they were doing another movie offscreen. (I also found it weird they cut Matilda’s older brother Mikey.) This Matilda just comes off like a bossy little showoff and the actress’s habit of shrieking half her lines didn’t help - I think it’s obvious she’s more used to acting onstage where you have to project your face than in a movie.

I don’t have much to say about the other kids because they barely seemed to be in the movie - Hortensia got changed to a weird kid with a beret and I don’t think anybody even spoke her name onscreen, Lavender became “the newt kid” and more like Matilda’s secretary than her best friend and Bruce got that one song and went right back to being irrelevant again. Emma Thompson was easily the best part of the movie, she was clearly having an absolute blast playing Miss Trunchbull and they included some scenes that were in the original novel, like picking a boy up by his ears, but I’m sorry - Pam Farris’s Trunchbull would have utterly destroyed Thompson’s. She’s played way more for comedy and her defeat is a lot more anticlimactic and cartoony.

Miss Honey is a massive downgrade from the original. The actress had a good singing voice, but Miss Honey in this is a soggy pile of lettuce. She spends the entire movie stuttering and quailing and makes very limp attempts at protecting the kids and overall it’s easy to completely forget she’s in a scene. The OG Miss Honey had a dark past that caused her great pain, but “she did not allow it to interfere with her teaching” and she makes much more of an effort to be proactive in her children’s lives - including when she goes to Matilda’s house and tells off her parents directly. This one was just so bland and two-dimensional and she just spends like every scene with this annoying timid smile on her face. I also found it weird Matilda happened to tell a story that was exactly what happened to Miss Honey’s parents - does she have clairvoyance in this version as well and she can see the backstory of her future adopted mother? Also, with how the character of Ms. Phelps suddenly became like a major supporting character, why didn’t Ms. Phelps just adopt Matilda? It seemed very weird to me Matilda spends all this time with another adult who isn’t Miss Honey and she never gets suspicious about why this kid doesn’t appear to have any friends or why she’s never met her parents - also, why did Matilda keep lying to Ms. Phelps about having shitty parents? She’s fine with outright confronting her parents over her father’s dirty business dealings and outright defying the Trunchbull, but she can’t tell the one adult she actually trusts the truth about what’s going on? Ms. Phelps didn’t seem to have much of a life outside of driving her library van around and listening to Matilda’s story, so it seemed off they put so much focus on her. Matilda’s bond with Miss Honey also suffered greatly in comparison to the book and OG movie and we didn’t even have the scene where she officially has her adoption papers signed by the Wormwoods. If it was that easy for Matilda to leave, why didn’t she just ask Ms. Phelps if she could live with her before the movie started? Why keep lying? Also I found it interesting that every mean/abusive adult was white but every “sympathetic” adult had been raceswapped. I don’t think the filmmakers bothered to stop and consider how problematic that is, but this post is already getting pretty long so that’s as much as I’m going to say. All in all, I regret paying money to see it. Again, Tim Minchin’s songs were the best bit but the whole movie just felt like it was trying to distract you from the weak storytelling with flashy set pieces and overly-saturated colours. (Also what the fuck was that bit right at the end where Crunchem Hall has a fairground built on the playground? Like yeah, I’m sure kids will really want to focus on learning when there’s a fucking ferris wheel and helter skelter outside!)

[iloveabunchofgames]

#JakeReviewsItch

Animal Lover

by Trainwreck Studios

Price (US): $9.99

Included In: Bundle for Racial Justice and Equality

Genre: Visual Novel

Pitch: A Frog Prince story. Lots of kissing. Lots of cute boys.

My expectations: The Itch page boasts, ">150,000 words!" which sounds more like a threat to me. There's no way I'm reading all of that in time for a review. Another choice quote from the description: "No furries! Don't let the title fool you!" If you're concerned people are going to be misled by the title, maybe dig into your >150,000 words for a different title, rather than hoping they'll click on the game and look for clarification.

Review:

Lucy is a veterinary intern.She still has more to learn, but she knows that the pets her clinic treats might carry diseases. She knows there’s a strict policy against kissing the patients. When she was younger, she loved to kiss her pet hamster. Muscle memory is a powerful force, so who could blame poor Lucy for getting swept up in the moment and laying one on the irresistible Hamchop?

Lucy’s magical kiss reverts Hamchop to his true form, a naked, hunky, anime prince named Edmund. He doesn’t know why he turned into a hamster centuries ago, but he knows he’s not alone. He once saw a cat who was certainly more than a cat.

Thus begins Lucy’s quest to kiss more animals and collect more anime hunks. It’s stupid, but it’s a stupid story told well.

The hunks aren’t the most fleshed-out characters in all of literature, but there’s more to them than I expected, and I love how they play off one another. Political debates between an early-’80s anarchist and an old-world monarch? Hot tub truth-or-dare that leads to everyone correcting each other over gender roles and attitudes toward “reefer?”

Don’t judge Animal Lover by its fluffy appearance.

+ Every character is unique, layered, and likeable. + The ensemble works well together. Their relationships with each other are all natural and nuanced. + The overarching mystery isn't takes a backseat to character moments, while still being taken seriously. I always wanted to know what would happen next. + Pacing could be tighter, but considering how few poses these men have, and how much time they spend in a small set of static environments, I thought I'd quickly get sick of looking at this game. There are just enough character entrances and exits, scene changes, insert shots, and musical cues to stave off boredom.

– Five men is a lot of men. I love them all, but even the game acknowledges that no one should be responsible for that many people. – When Lucy's introduced, she tells us that her defining character trait is that she hates lying. When she meets the hamster prince, she immediately hides him and then lies to her boss. It's non-stop secrets and lies with Lucy. Each time she confesses the truth, people surprise her by being totally cool, but she continues to lie at every opportunity, and for what? Cheap, stupid drama? No, thanks. – I was, on average, 45 minutes ahead of every twist in the story. – I played through the first nine chapters, which took about three hours. I then rapidly clicked and speed read up to chapter 15 (another 45 minutes). I don't know if I'm anywhere near the end. It would benefit from being a bit leaner.

🧡🧡🧡🤍🤍

Bottom Line: While I don't find much allure in the promise of shirtless cartoons, the rapport between this cast of dorks hooked me, and their ridiculous story kept me engaged for hours—though I admit, I hit my limit before reaching the conclusion. As traditional, linear visual novels go, this might be the best I've reviewed, but it still left me feeling like my time would have been better spent reading a book or watching a movie. If you think you'll like it, you're probably right.

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