#(in terms of style in word choice. and goals for the story set out to be told)

[mejomonster]

To get good at telling stories... writing stories... one must... practice by writing stories ;-;

[imminentinertia]

How to get me to nope the fuck out of a fic part 172: Doing Profanity Wrong

Please don't. I'm begging here. I'll do it Ray style if it helps.

First, let's talk a bit about types of profanity. Just so you know, there will be a bit of vulgar language here (in case that first "fuck" in the title of the post didn't turn you off already).

I'm not going into the functions of profanity, the why we use it and how we use it to achieve our goals for using it, Steven Pinker's The Stuff of Thought is a good starting point for functions if you're interested. What I'm most interested in right now is the what.

The what is often a taboo of some sort, like mocking something sacred, referring to body parts that are considered filthy, fears of invoking dangerous situations like illness or natural disasters. The words used can be grouped into these categories*:

Sex

Religion

Bodily functions

Disease

(Derogatory terms may be considered a function, the why is to cause harm, but it tends to contain terms that don't always belong in the four other categories, and those four tend to bleed into this. I consider it a fifth category of types of words)

Languages and cultures don't use these categories in the same ways. For instance, there's very little left of disease swearing in English ("a pox on you" sounds just a tiny bit outdated, wouldn't you say) but it's alive and kicking in Danish (all word constructions with the word "kraft" refers to cancer, and there are a lot of those constructions). The British Isles and Denmark are pretty close geographically and not enormously different culturally, but the swearing takes different routes.

English uses a hell of a lot of religious profanity. East and South East Asian languages, not so much. There are examples, like mara (まら), a quite rude Japanese word for dick that has its root in the demon Mara (I don't know the precise etymology, but it's possible it has to do with temptation), but it's not anywhere near as prevalent as in Christianity-heavy cultures.

Which means that "for Buddha's sake" does not, I repeat NOT, work as local colour swearing. At. All.

It really is not a problem if you write an English profanity in an English sentence, in your English fic set in a culture that isn't in the Anglosphere. Don't worry about it - the point is that the story needs to flow well, and trying to fit in unfamiliar swearing is likely to end up stiff and awkward.

What you might want to think about is the categories. It's not that E/SE Asians never say "oh my God" or "fuck" in English, we who have other mother tongues often like a bit of English profanity mixed in with our native language, but the patterns for when to swear in English may be different.

So if you pay a bit of attention to how the shows are translated and what swearing choices are made (disregard the bowdlerised translations on fudging IQIYI entirely) and what category the characters seem to use the most, it becomes easier to make the story flow well without anglofying it too much (brimming with "oh my God") or stumbling in asiafying your own language ("oh my Buddha").

Sex and bodily functions tend to be safe bets because there are a number of taboos regarding both in so many cultures they're probably near-universal and only differs in exactly how they're used, but trying to make that super authentic for the source language and culture doesn't necessarily fit well into the language you're writing.

In other words, "shit" and "fuck" and such are likely to work fine for anything.

Also, there are a number of ways to be rude as fuck without uttering a single vulgar word. You can be rude while speaking and acting very politely, even. That's not something that's easy to show in a fic, it's easier to tell it ("he's speaking very politely yet it's the rudest thing she's ever heard"). Not to mention that it's easy to get it wrong when it's a culture you don't know extremely well, so a little vague telling is likely to make your story smoother than a detailed description of a rudeness situation.

The point is that one of the characters is rude to another, and that can be communicated well to the readers in several ways.

*Sources what sources. Actually there are lots of sources, but they tend to leave out disease. This is how I categorise and I'm sure there are researchers who agree with me, somewhere.

[highfantasy-soul]

NATLA - Episode 1: Aang (1/4)

[Masterlist of my NATLA thoughts]

An explanation of what I'm doing here and my history with ATLA.

Of course, full spoilers ahead.

Next>

A word on the expositional dialogue:

That's always going to happen when you're being introduced to a fantasy world - it happened a lot in the cartoon, too. The viewer has no idea the political landscape, the rules of the world, magic system, governmental bodies, religion, how close or far the 'gods' are to mortals - and as shows usually don't have much world-building narration in them, dialogue is used to supplement that. I think people forget that and just automatically assume expositional dialogue is 'bad' when it's really not, we've just had the advice 'show don't tell' twisted and bastardized so terribly that we now have a visceral reaction to any 'telling' through dialogue even if it's totally normal storytelling.

Lets also not forget that a whole expositional monologue is given every 20 minutes in the animated version, so let's not pretend that being explicit about the narrative is something that needs to be avoided. You listened to Katara talk about Aang needing to learn all the elements and defeat the Fire Nation 61 times. I think the live-action can say it at least 3.

The show begins by showing some of the magic (bending) and clarifies this for new viewers with the dialogue "An earthbender!" from one of the fire-wielding men. This bit of dialogue is clarifying as it puts limits on the magic and lets new viewers know that that dude probably can only use earth magic - so the viewer isn't sitting there thinking 'why doesn't that dude throw some fire, too instead of just rocks?' or 'Why isn't he teleporting away?'

Also, it lets us know that having an earthbender there wasn't expected - the guard's tone lets us know that it's an unwelcome presence there.

The opening scene shows us a great look at the difference in bending styles - earth is slower, but more directly powerful - fire is quicker, but less forceful. Get hit with flying rocks, you're down and unlikely to get up - get hit with a firebolt, you'll get knocked, but there's not much blunt force trauma in it (fire/force damage vs bludgeoning damage in dnd terms)

Sozin explaining his plan fills 2 roles: characterization in that he likes to taunt his victims and he's overly confident, very sure of his importance and 'rightness'; and it lets the audience know what the political landscape of the world is like at the moment and how underhanded the Fire Nation is willing to be to win.

The redirection of focus from the Air Nomads to the Earth Kingdom is mirrored in the finale where the siege of the north drew eyes (we will assume other nations noticed an armada of Fire Nation ships sailing onto Water Tribe territory) while Ozai's real goal was to overtake Omashu - where the Fire Nation was keeping the Avatar's eyes on the north as well so he didn't rush off to help the Earth Kingdom.

The Earth bender asking Sozin 'why are you doing this?' also displays how such an act of war is inconceivable at this point in history - he genuinely has no idea why one might want to start a world war.

If you know the cartoon, or just real life, you know the reasons people have, so this dialogue might seem like its pushing for exposition, but it, in and of itself, is showing worldbuilding in the fact that while we might think 'yeah, obviously the Fire Nation is the bad guy bent on world domination', the people of the world at the time were wholly unprepared for such a war to begin.

Starting with the fire nation plan/attack was a strong choice to set the stakes immediately

Kids don't really care too much about stakes - they care about jokes and fun characters. If you want to make a story that appeals across the spectrum immediately, stakes are good things to start out with.

When you're gearing toward much younger viewers and the show is episodic - just coming on the channel randomly - it keeps kid's attention better when you start out with strong characters that are easy to grasp (see the animated version), but when you're addressing even a slightly older audience and it's in a format where you have specifically set out to watch this particular story, you start with the world and stakes, usually doing that through some minor or side characters (see Harry Potter and The Lord of the Rings).

This also allows new watchers to have the shocking reveal of Aang having been in the iceberg for 100 years at the same time Aang is learning this. There's no clear time jump from the Fire Nation's attack and Katara waterbending - so the new viewers don't know that's happened and the extra stakes shock really lands - it's not an eminent attack by the firenation, the war has already been going on and the fire nation is winning.

The time jump is hinted at with the wrecked ship Katara practices in, Katara saying fire nation soldiers haven't been seen in years, and when Gran Gran says Aang is an airbender (while he's still asleep), Sokka claims they haven't been seen in years.

These are all hints that there's been a time jump, but how significant of a jump isn't revealed until later - it could have just been 20 years for all we know so far

For those who watched the animated show, all this set up might feel tedious, unnecessary, or like the show is hand-holding the audience, but that's because you already know the story. For those who have never seen the animated show, all this is necessary - as shown by all the new watchers who are praising the exposition as it's a huge world. By the end of episode 1 of the live action, those who watched the animated would have heard the exposition 3 times already - by the end of the season, they'd have heard it 20 times - so you got the luxury of a lot of exposition, let the newbies get some too.

[toburnup]

okay i LOVED learning those most recent tidbits about your writing process, especially approx how long it can take you to write/edit! makes me feel so much better about my own wips lmao. especially with something as complex as iylo. i think it’s the easy-going kinda flow or vibe of your writing (though dgmw, you know how to make every line pack a serious punch) that made me assume you tend to bang this shit out hella quick… when in reality it sounds like it takes a pretty reasonable (“reasonable”) amt of time.

on this note i am so curious about your drafting process. like, how do you not get caught up fleshing out all the details in the moment? am i just terrible at writing outlines? feels like i’m always setting a hard goal to write short standalones but they always get out of hand

hahahah oh good, i'm glad it was interesting!!! i'd say my writing style on here is very casual, so. i like that that's the vibe i give off 😌

!! the drafting process! it's messy but it usually goes something like this (long post ahead!)

i start by writing dialogue or a specific moment from the scene i'm most excited to get to. i don't force myself to start at the beginning because who even knows where the beginning is.

dialogue can be a good place to start because it can lay out a whole dynamic in just a few exchanges (the best example i can think of this is when i wrote thirty days, because the first part i wrote was the "you should probably leave" - "why?" - "'cause i'm going to jerk off" - "i don't want to go" - "fine. stay." exchange which set up the whooole fic)

....and then i keep writing until i run out of steam lol. if i'm writing a scene and need to jump ahead because of an idea or whatnot, i just type // so i know i need to come back there (easy to search the doc for a symbol of some kind when it comes to editing). can't think of a specific word? i just pop a // in there as a placeholder.

once i've written out the meatier bit (ugh), i go back to the scene i started with, and then write backwards from there until i find a spot that feels like it could be the beginning (i mean i say that, but this is usually a lot of jumping around).

and that's the first draft!

i don't outline ahead of time, or write out plot points or anything. mostly because a) i have no idea what's gonna happen and b) i like character-driven stories and i find those motivations by writing them

that's the big reason i write dialogue without an end goal in mind - sometimes writing the lines or hearing them in my head takes the conversation in a different direction than i would've originally planned, and that can lead to some Good Moments

i’m always setting a hard goal to write short standalones but they always get out of hand

this happens to me too, for sure. i've found it's helpful to move away from the setup portions of a fic. and also being okay with things not being 100% clear (in terms of motivation, characters feelings, all that) and leaving some gaps for the reader to fill. and also being okay with your writing being misinterpreted.

idk if this is helpful at all!! my main thing is don't stop yourself from fleshing out the details. if there's a big scene you want to get to, don't force yourself to slog through the parts you don't want to write just to get there. i find it's almost easier to do it that way, because then you get to write the earlier parts with the question of: "what choices do they make to become the people in that scene?"

don't deprive yourself!! if you want to delve right into the details, do it.

[curestardust]

Dust Watched: Bakuten!! Movie

Genres: Sports (Men’s Rhythmic Gymnastics), SoL // 1 movie (1h30m) // S01 (x) 

A redemption. We love to see it.

✧  story  ✧

I was, I believe, one of the few people who actually didn’t like the original “Bakuten!!” anime very much. So I was more than ecstatic watching this movie, as basically all of my complaints have been remedied and we got a really nice finale(?) for the show.

The story picks up where the last one left off, a bit before the Inter High Championship. There’s some training and goofing around but red flags are popping up all over the place. Sure enough, when the group was about to give its performance at the Inter High, I checked the time and we were only 20 minutes into the movie. Oof.

A domino falls, and many more follow. The anime’s mood goes into a slow uncomfortable, tense, and depressing downward spiral as nothing seems to be going right. An emotional confrontation where everything just comes to the surface, kickstarts the events that stop our descent into Depression Valley and we get to enjoy the journey of the ascent; the characters finally coming to terms with their situation and feelings, ending us off with a fun final performance. Great pacing all in all.

✧  characters  ✧

I complained a lot about the characters of the senpais due to them feeling like one-gag characters who couldn’t get a second to be *actual* fully fleshed out characters because they had to upkeep a quota of saying a joke X times an episode. And while their goofy ahh designs I’m still not a fan of, this movie GREATLY dialed back the gags which helped a lot. This was essential too, with how character-centric this movie was. The greatest character development obviously goes to Watari, who has the seniority and becomes the new captain with the 3 eldest leaving to start studying for their Entrance Exams. He has no idea what to do and feels horrible about it. Futaba is conflicted and scared while Misato is just silently bottling up his emotions, leading to an incredibly stressful environment. Misato actually barely talks for the first half of the movie so I was kinda concerned that now that his talent isn’t in the spotlight, the story won’t know what to do with him but I was wrong- He is great in the secon half.

And of course, the BasedTM Shiro High members make their (pretty important) appearance too, which was my favourite part from the original season to begin with, so I was happy beyond words.

✧  art  ✧

The movie carries the same quality as the original although with a few... interesting artistic liberties taken. I only wish they had fewer cuts during the performances cause I couldn’t keep track of what was going on.

✧  sound ✧

Again, the music is not my style but goes well with the show and I don’t remember what my problem was with Futaba’s VA in S01 but he must’ve worked it out cause all the VA’s did a great job.

✧  overview ✧

While I quite enjoyed this movie, there was something more that I wanted to congratulate it on. In one scene, Futaba mentions what a shame it is that there’s “no future in Men’s Rhythmic Gymnastics” as you can’t go pro or to the Olympics. This prompted me to look up some info on the sport and read an article that gave me a much greater understanding on the goal of this show.

Not only is what Futaba says true, the sport basically only exists in Japan where it has some ties to Martial Arts.

All sports anime have those “oh no, the senpais are going to College/University, and they might not continue doing the sport” arc but in this case, it hurts more because they don’t quite have a choice. And yet the ending of the anime feels hopeful. That even ifnot in this generation, or the next, but someday, kids will be able to look at Men’s Rhythmic Gymnastics as a viable career.

This show is a love letter to the sport. And I’m sure the creators are hoping for a future in reality the like of what they’ve set-up in the movie. 

My Rating: 8/10

[isabelpsaroslunnen]

I've been thinking about the translation convention in secondary world fantasy. It can also be used in other genres and settings, but in the English-language fantasy version, English doesn't even exist in the world of the story, and the characters wouldn't know it, much less use it. The English words in the story are the nearest approximations of what the characters would "actually" say or what things like plants or food or whatever would actually be called.

Since we all know the characters couldn't be really speaking English, we can be fairly accommodating of usage that doesn't make a lot of in-story sense if you think about it. It's a translation! You don't have to make up a bunch of conlang words that audiences have to learn when most of them would happily accept the translation convention.

That's the idea, anyway, and that's repeated a lot. But I do think it has limits, and advice around the translation convention tends to ignore these.

The point of a "looser" style that leans on the translation convention is (in my experience) to be more accessible to audiences without distractions like conlang words to figure out. Those can be jarring, especially when there are a lot of them.

But real world terms with explicit real world associations can also be very jarring in a setting without the original context. Personally, a story with Queen Anne's lace but no Queen Anne is going to break my immersion a bit, since part of my mind is like "...wait." Clear references to, say, real world religious figures can snap my suspension of disbelief altogether.

It's a bit like costuming in historical pieces for me. Exactly replicating historical fashion can be distancing for audiences, especially if the goal is for audiences to relate to the characters or see the familiar in them. And modern audiences often won't have the background to understand the significance of specific choices in truly accurate costuming.

So sometimes, the costumes in these pieces are deliberately modernized to be more familiar to audiences, so they don't get jolted out, so they'll get what's going on with specific choices, etc. It's essentially a translation attempt.

But this can be taken so far that it's also extremely disruptive to immersion. If a bunch of characters from Italian city-states in the early 1400s are going around in 2020s prom dress style, it doesn't make immersion easier for some of us, but harder, and that kind of approach is often itself very dated before long. So there is a challenge, depending on what the narrative and costuming are trying to do, in finding the kind of Goldilocks range between too unfamiliar and jarringly modern.

(Sometimes the goal is to knock the audience out of their immersion in the story and to do some meta thing, but as often as not, the effect seems unintentional and a distraction from what the story is trying to do.)

I feel like language usage in fantasy works similarly—sometimes it's very modern and fantasy-anachronistic for a purpose, but often it's simply a misjudgment of how far the translation convention will go with many audiences before immersion starts breaking. The convention will go a long way, all things considered, but it's not going to cover everything.

[jtl-frozenduck]

Additions to the last post.

These words are an extension of a discussion I had with another fan, @th3lost4uthor, in a previous post about Oropo, but since mine are so long, and reading them in the small viewport is a bit of a torture. So this is just a post to add to the two-person exchange.

I can also use this opportunity to post my own thoughts on some of the things that have been said about Nox, Qilby and loW. I can also add a little to the last thread that had something to say about Oropo.

Whether or not I feel right about these things is irrelevant. I'm just writing down my own reflections, feel free to look at them.

PS: Please don't just intercept one part of what I'm saying and then make a comment. I've seen people do that on places other than tumblr, and that would make me a bit misunderstand the intent of doing so. ^^；

I have a cautious, conservative and open-minded attitude towards reflection itself.

(*Continuing to add to the content until I feel complete.*)

——

1.

Personal style, general setting, theme, characters, desires and goals... (under the umbrella of "setting and characters") make and influence each other.

Sorry for the laziness of my statement earlier. xD Without a good setting there can be no good characters, and at the same time a good character can confirm the setting of the story in reverse. I think impressive characters are the product of interaction and communication through the people and things that surround them.

Why I think Oropo has the potential to be a great character is the issues, the themes, the setting, the struggles, the mistakes, the actions, the realisations. He's got it all.

-- Perhaps in the end it wasn't Oropo that I admired, but the issues behind the character that I wanted to tell. Idea is to present the theme of "self and reality" in the context of the clone's identity. Oropo himself would not have been so off-putting if they had carefully shown how it all played out. At least his narrative as a character would have been complete.

It would be better to say that Season 3 spoiled the lore than to say that it was predicted from the storyline in the Wakfu OVA that Season 3 would go to such an outrageous choice. -- No, it was even obvious from the end of the Wakfu manga. The whole story went haywire from that point on.

Oropo had a rich family fortune, but they chose to let him lose it all. He is the glue that ankama fills the holes with. As a character, Oropo's does acts that do not serve to shape him personally in the first place, but are made to rationalize the MMO setting.

I feel like Qilby himself is "hanging by a thread" on this issue. Assuming he doesn't have a loW background - I would also feel that the time left for him to be portrayed in season 2 was "rushed". I'd feel like "I feel like there's something missing in terms of getting to know this guy." That is, specific context. 

The people who hate Qilby, who find his ideas "incomprehensible", "always complaining", "selfish", "extremist "? Although the character of Qilby goes to great lengths to describe to others the pain of his loneliness. And yet there are those who feel that it is all "self-inflicted and self-inflicted"?

It's possible.

Why Nox is the best rated and most consistent of the three. As a character, he is responsible for stating things like; remorse for neglecting his family, the struggle between family and career, the madness of doing whatever it takes to make amends, the suppression of his conscience as a human being...

All that is needed is a magic cube, (as an opportunity for tragedy to occur) a motivation that inspires public sympathy, full of humanity. (To lift the family out of poverty.) And a personality that "would make him wrong". (Nox is curious about studying the unknown. Seeing it as a potential risk leads him to "a situation of inevitable obsession and madness" when he encounters the Rubik's Cube.) In this way, Nox is able to achieve what he is meant to do as a character.

So much for the starter resources needed to tell Nox's story well. Simple, but the themes behind what is trying to be stated through this character are not shallow.

In Wakfu - the World of Twelve, it is not very difficult to portray a father who is lonely at heart, suffering from remorse and pressure to miss and love his family. We can feel Nox's fate tied to the land. We feel how the land feeds its people and how the people who live on it give back to the land. A great example of how the characters and the setting are tied together. We love Nox, and with that, we fall in love with the world he lives in. This is a perfect example of how a character's story is told so that the world can be shaped sideways.

We could easily feel Nox's charisma. He is also the most effortlessly appreciated of the three, the friendliest to the audience's brains and the most easily accepted by us. This is because of his easy-to-understand launch resources, interesting personality and sympathetic backstory. We see humanity through Nox, feel sympathy for what happens to him, his goals resonate, and feel helpless and hopelessly deplored at his final end.

Qilby's initiation resources are more complex than Nox's. In the second season, fatally, Qilby is not in the context in which his story takes place; he is in the twelve worlds of the here and now, in a place where the story that took place in the past has died.

His story should have started in his real hometown, where there was the setting, an atmosphere that would allow the audience to fully understand his motivations. It allows us, the audience, to really feel the neglect of Qilby's family for his suffering and his own struggle with loneliness.

Qilby is given a sense of mystery and left to us imagination as to what happened to him. And as a result, they are able to easily push back on the promises made to Qilby's character - here comes the manga.

We don't really have any details about Qilby. Even in loW, getting information about him is, at best, through some visual dialogue/NPC conversations/plot hints. The side stories are ultimately not as vivid as the character's present tense. He is not directly present in loW to interact with others, and the story is "like it's about him, but too distant from him". He is present, but always outside the here and now of the story, in a place we cannot see.

For me, loW acted as a riddler, with plenty of metaphors, hints about the relationship between nation, family, and faith. The background information gave me a general but incomplete understanding of their characters' relationships. It left me curious and confused about all the details of what actually happened, but that's where the imagery came from. A double-edged sword.

For loW the actual mention of the present tense plot, i.e. the invasion of Orgonax, the destruction. Is given as a consequence of the events of these characters. what Nora discovers through her quest, for the main characters in these backstories, their stories are heard by us, but are not being played out.

It seems that loW did it on purpose. But the shadowy white space drove me crazy. None of the theories that actually stand up. We find our own satisfying explanations to restore our peace of mind from a story that has too many gaps. And manga has destroyed this land of peace of mind.

——

Added* Nox and Qilby

Nox has a nostalgic quality to some of his fans, so he gets extra points for impressions. Not only that, but in my observations of Wakfu fans everywhere, Nox's appeal continues to appeal to old and new audiences all over the world and has received fairly consistent praise.

I myself have become a fan of Wakfu because of Nox. This has led me to reflect on the polarisation of fan opinion of Qilby.

Why does the general public treat Qilby differently from Nox?

Excluding the 'outliers' who are strongly interested in Qilby himself and those who hate him, I found that the general audience tended to express their own understanding of Qilby's loneliness and pain. But Nox's behaviour was not only understood, but also sympathized with and loved. Add the latter to the mix and there is a world of difference in how the general audience feels about the two characters.

The reality is that Nox's act of exterminating the Sadida nation is of the same nature as Qilby's decision to cause the demise of Eliatrope.

The audience noticed this, but the difference was that the Qilby haters were obsessed with the fact that attracting Orgonax to cause a second war led to the extinction of Eliatrope's people, but they didn't take Nox to task for that. Why?

Assuming that their crimes were brought before a modern court, Nox would have received a lighter sentence than Qilby. Because Nox himself felt that his actions were wrong. Whereas Qilby would insist on admitting that he was right. In the eyes of those who hated Qilby to death, this was his greatest crime. And in the eyes of those who love Qilby, this is what makes him most interesting.

Behind the reasons for both men's wrongdoings are human motives. But the two characters bear separate problems on their shoulders.

The grief that Nox experienced left me with a secular and pure impression of the man himself; his suffering was clean, clear and easy to understand.

But Qilby as a character, what needs to be stated behind the scenes is deep, chaotic, dead, depressing, primal, vague and mysterious incarnate.

That's why I'm conservative about loW; the official message about Qilby's past remains hazy, preventing the jury that sees Qilby's problems from accurately and easily measuring his guilt. In terms of how they view Qilby, people in the wakfu fanbase vary in their attitudes towards his interpretation of the Qilby character.

In my opinion, these views on Qilby, these blossoming ideas, are double-edged swords. It means that fans don't get the accepted consistency in their views of Qilby, unlike Nox who has a consistent view of his behaviour, a clean sweep of praise.

Qilby in loW, Qilby in episodes, and Qilby in manga are three people to me. In the eyes of Qilby haters there is not much difference. In their eyes, the constant fact in all three versions is that Qilby was the cause of the second war. But the deeper reasons and motives behind it are explained differently in these three versions.

In my feelings about all three versions, loW's Qilby has the air of the ANTI HERO, the misunderstood man with good intentions, exposing lies but in the end choosing to go to extremes to solve the problem. Single-minded.

Qilby in the episode, on the other hand, emphasises the problem of loneliness brought on by his eternal memories, and his reasons behind starting the second war become more complex compared to loW, and in one of these deep and complex reasons behind it, his personal inner need to explore the universe and thus satisfy a solution to his emptiness is the one that is most easily checked by the viewer's brain. This is why his attraction to Orgonax feels utterly selfish in the eyes of those who hate him. This is because in the episode Qilby is presented as being more self-conscious about his own needs. Here I use the word "shown" rather than saying that this is the essence of Qilby. There is a world of difference between the two.

In loW, there is no mention of Qilby being plagued by the loneliness caused by eternal memory, i.e. this setting does not exist in loW, but was added later. If loW is to be considered a classic, then Qilby in the episode is not canon.

My own impression of Qilby is formed by the loW version and the episodic version complementing each other.

And in any case, Qilby cared about his people and took them to heart.

The manga version is a pale explanation of Qilby's past that complements the episodic version of Qilby's actions and Eliatrope's history. It spoils the complexity represented by the issues that Qilby had to take on as a character in the first two versions.

None of these three versions of Qilby would be considered canon by me. All three versions are vague in their descriptions of Qilby's past and vague in their descriptions of the issues behind Qilby so to speak. I have never gotten Qilby himself from ankama's interpretation, and never will from now on. I have a Qilby of my own in my mind, while others have a Qilby of their own alive in theirs.

There just one Nox alive in this world, but millions of Qilby's.

* Given the reflective nature, this topic content is likely to be continually added to in the future.

—— （My buddy said that Ankama puts Qilby in an awkward but flexible position, allowing him to be both loved and hated by some people. I think that's right on. 🤣

If you guys want to explore the depth that can exist in Qilby as a character, I would recommend this fan's theory about Qilby that I chatted with. As I said earlier, everyone has their own Qilby, it's just that this fan has a wonderful and passionate understanding of Qilby. I don't mean here in terms of whether these understandings are absolutely orthodox, but in terms of the criteria for a good play, it is at least complete.

I would not say that there is such a thing as a true Qilby, nor would I admit any orthodoxy of an ideological nature. Even ankama. their act of manga overturned the previous portrayal for Qilby. So even officially I don't want to see their content as "100% canonical" anymore. But still, respect. Let's just say that I hope that in season 4 they give Qilby the opportunity to develop himself more fully, to have more possibilities. To say that I'm passionate about finding the so-called absolute canon in terms of understanding Qilby as a character...I'd rather keep my mind flexible. (My heart is so tired.

My own understanding of the characters, and whether they are good or not, is through whether they do the task they are given by the theme, by seeing whether the issue they are trying to present is fully developed, described and concluded in the plot. It is important to recall the theme, to interact with the events and with the other characters in a way that is useful for the presentation of the theme, and to have interesting ideas interspersed with it. But telling the full flow of an event as it happens is fundamental to a good story.

[duckprintspress]

How can I write quickly?

I (hi, I’m @unforth) have been asked frequently over the years how I write a lot quickly. I’m a pretty fast writer - for example, I wrote the 5600 words of my May Trope Mayhem fill from yesterday in under 2.5 hours. 

First, a little of my personal history for context. I’ve always written, starting from when I was able to string letters into (very poorly spelled) words and (horrible un-grammatical) sentences. When I started trying my hand at serious, professional-level fiction writing, I joined a community called novel_in_90, which was founded by the author Elizabeth Bear. The purpose of novel_in_90 was “to be NaNoWriMo but more realistic.” Instead of 50,000 words in 31 days, it was 67,500 words in 90 days, or 750 words a day. I participated in multiple rounds of novel_in_90 starting in mid-2005, and in 2007 I completed my first (godawful) novel. When I started, even writing a couple hundred words of day took me forever, but it got easier with time. 

During those same years, I also got a job that required I do professional writing on a deadline: I was a grant writer, and I only got paid when the grants won. That often meant working fast under high pressure, culminating in the weekend I wrote and edited an entire 40 pages grant that was due on Monday. I think, if I hadn’t had a solid foundation of “regular daily plodding writing,” I’d not have been able to marathon when the moment came...and it came because I had to, not because I wanted to. However, I learned a valuable lesson: I could. Subsequently, I found that, when I had the time and space and was rested enough to use my brain, I could bust out a huge amount. Like, I wrote an entire 150,000 word novel in 17 days.

My personal record is about 200,000 words in one month (it was the month I wrote that novel; I wasn’t tracking when I did that so I don’t know exactly), 25,000 words in a day, and I’ve topped out around 3,000 words an hour. I do know people who can do more...but not many.

Not everyone will be able to do this. Flat out, I MUST preface the rest of this post by saying that. Some people will find that writing fast fits their brain, and for others, it just won’t, and that’s okay. Fast doesn’t equal better, and it isn’t inherently “good” to write fast. Furthermore, even for those who can write fast, not everyone will find the same strategies helpful. I can share what works for me. Try out one item, some items, or all of these - if writing faster is something you want to be able to do, which it certainly never has to be. Use what works for you, and discard the rest.

Sit in your chair, put your fingers on your keyboard or touch screen, and write. You can’t write 1,000 words in half an hour until you write one word, however long that one word takes. I know saying this is obvious, but I’ve been asked “how can I write fast” by people who struggle to write at all...fast can’t be your priority until you’ve got a foundation of just writing. (Honestly...fast should never be your priority, but it might be helpful to you regardless, which can make it worth learning.)

Start small. Set an achievable goal, and make yourself meet that goal (daily, weekly, whatever) come hell or high water, no matter how long it takes you. Keep the goal small at first; you’re not trying to torture yourself, you’re trying to build a skill. If you set the goal high enough that you consistently fail, you’re not teaching yourself anything. And, if you find the goal IS too high...lower it. There’s no shame in working within your limits. Think of it like starting a new work out regimen: you wouldn’t try to run a 10k at a record time if you can’t run a mile slow. Treat your fingers and your brain the same way you’d treat your legs and joints. Give them time to grow, learn, and improve before you try to push yourself.

Trying to write daily is worthwhile if you want to work on your writing speed, because you’ll be forced to try to fit it in as you’re able - that might be ten minutes in your morning, or an hour in your evening, and it might vary from day to day, but making it daily means you have to fit it in somewhere.

Building skills takes time and isn’t easy. For some people, it will come easier than for others, and even when you’re fast, going from “I can write words fast” to “I can write damn good words fast” takes practice and dedication and accepting constructive criticism - speed alone will never be worth more than writing well.

Having a community can help. Ya’ll will check in on each other, cheer each other on, remind each other that missing a day or a goal isn’t the end of the world, and keep each other’s spirits up. If you don’t know other writerly folks online, I recommend Weekend Writing Marathon ( @weekendwritingmarathon ) as a good place to start (I used to be a mod there). Once you’re trying to work up to larger word counts in a day, remember that even writing fast will take minutes or hours. You can’t write 2,500 words in an hour if you don’t set an hour aside. Make sure you’re giving yourself the room and time you need to succeed.

You will probably never be able to do high, rapid word counts every day, every week, every month. The best runners in the world don’t run marathons every day. Set realistic long term goals.

Work on projects where you have a clear idea of where you’re going. I’m not saying “pantsers” can’t write fast, because of course they can, but if you want to write fast, and well, and coherently, to create a first draft that’s in pretty good shape, you’ll do better if you have a good sense of what you’re trying to accomplish with your story. That doesn’t mean you need to do all your world building up front, or have a complete outline (I never have either). All you really need is what happens next. I tend to plan projects - and write them - one full scene at a time, with only a vague idea what’s going to come after. (I’m personally a “plantser,” and the strategies in this post will likely be most effective to other plantsers.)

Visualize ahead of time what you’d like to write...but don’t get too attached to what you visualize. When I go to bed, I plan the next scene I’m going to compose, often to the least detail. I then forget all of it overnight, at least all the specifics, and I’m left with a general sense and shape of what’s to come. You’ll never be able to replicate the “perfect” dialog you pre-conceive, so give up on trying to. Instead, play through the scene and think about the emotional beats you want to hit and plot points you want to forward. If you keep that in mind, you’ll be able to get the words out faster than if you’re agonizing over every word or regretting the “oh-so-great” idea that you’ve since forgotten. 

Practice different work styles. If writing every day doesn’t work for you, try instead saying, “this is my writing day each week,” and aim for a lot that specific day, and write little or nothing other days. Try writing at different times of day and on different days, fitting it into your schedule. If you’re beating yourself up for not writing when you “should,” it’ll be that much harder to succeed, so instead, as I said for point 2 - set a reasonable goal that fits your life and working style, fitting it around your other responsibilities, and push yourself within that framework, instead of trying to shoehorn into a style that you “think you should” use to succeed. 

Track your word counts, and take notes on how much you did and what project you were working on. If you’re also experimenting with different times of day and different days, make sure you note that too. I personally use a simple Excel sheet (well, Google Sheets, now) - column one is the date, column 2 is “starting word count,” column 3 is “ending word count,” column 4 is “=column 3 - column 2”, column 5 is notes. Pay attention to when you succeed at writing faster, and when you don’t, and consider what factors might have played into your success...and then try to replicate those factors next time you’re doing a sprint. Control as many variables as you can while you’re “training.”

If you find social media distracting, trying getting a web browser extension that prevents you from connecting to websites for a set period of time.

If you find you tend to dither before starting, I find it helpful to run through everything that I might do to procrastinate (check my social media! grab a snack! make some tea! set up my playlist! check my social media again! finish making the tea! check my social media for what I swear will be the last time!), and when I’m done, it’s like, well, I’ve done all those things, I’ve got no choice left, time to write, no excuses left.

If you find you struggle with picking up a WIP, try leaving off in the middle of a sentence at the end of a session, one where you know exactly how it ends - or, leave off mid-paragraph, or when you are positive you know what happens next (and I mean literally next, as in the very next sentence.) It’s much easier to “pick back up” when your first words are super clear. (Do not do this if you think there’s any chance you’ll forget or end up in a situation where you won’t return to your WIP for months!) 

If you find you struggle to maintain continuity across multiple writing sessions, try rereading what you wrote the previous day before you proceed. Resist the urge to edit it!

Avoid stopping when you get stuck, even to do research. Don’t know a fact? Add a comment to your manuscript flagging the relevant text, “LOOK THIS UP LATER.” Can’t think of a word? Put in something you can use the “find” function on easily (I personally use “XX” since there are no words that have a double x in them) and so you can come back later, search for your chosen placeholder, and fill in the blanks. Not sure how a scene ends but know the next scene? Jump ahead.

That said, if you really don’t know what happens next, you don’t do yourself any favors by pressing on. As I’ve said previously, speed alone should never be your writing object. It’s better to slow down, consider your plot, figure out where you’re going, and then write, than to just plow ahead - or at least, that’s better if you want a manuscript you’ll actually be able to use for something at a later point. If you’re truly just practicing, you can also say “screw it, who needs coherence?” and keep going. I’d personally never have finished my first novel if I’d spent a lot of time worrying about making the pieces fit together and yeah, it’s a mess, but it’s a mess I wrote instead of a mess I got stuck on and never completed.

Don’t move the finish line. If you’ve set the goal of 500 words a day, don’t beat yourself up if you get 550 because you think you think you could have done more. If you say you’ll write five days a week, don’t get mad because you DID have time the sixth day but chose to use it on something else. If you make yourself feel like shit when you succeed, what’ll happen when you fail? And when you’re comfortable and really think you’re ready, change the goal - reassess every month, say, and up your goals. While working for speed, trying upping your word count goal without changing the amount of time you allot for working.

Your need to adhere to the above suggestions will change over time. Once, I always had an outline; now I often don’t need one. Once, I wouldn’t let myself stop even to use a thesaurus; now, I find I can look up words without breaking my flow or significantly slowing myself down. This is not an “all or nothing” prospect, nor is it a “do things the same way forever once you’ve found one (1) thing that works” prospect - you’ll experiment, and find strategies that work for you, and then at some point, your needs will change, and you’ll experiment more, and find new strategies that work for you, on and on, as your skills grow. 

To reiterate: writing fast should never be your objective in and of itself! Greater writing speed will come with practice and as a general side effect of improving your craft. Simply being able to write fast is useless; being able to write fast and well will enable you to get more of your ideas out there, so if that’s something you’d like to accomplish, focus on building your general skills and training yourself to be able to use those skills rapidly and in tandem with each other to produce decent writing, in a first draft, at a decent speed.

Once you try, you may find none of this works for you! That’s okay. That’s good! You tried, which means you learned something about yourself and your own writing style, and that too will help you to improve. Keep experimenting, keep learning, and find what does work for you - and accept that no two writers will ever be the same, and one of those differences will be writing speed. Some writers will never write fast, and that’s doesn’t make them any less awesome or valid. And some writers will always write fast, and that doesn’t make them inherently awesome or valid. Only with a suite of skills that suit your individual life, personality, work style, writing capabilities, goals, etc., will you succeed as a writer (for various, personalized definitions of the word “success”); speed is only one of those potential skills, and not one that’s particularly important in my opinion...yet I still get asked about it fairly often, so here we are, these are my suggestions

Go forth, and write some words! <3

[gb-patch]

Ask Answers: May 15th Part 1

It’s been longer than usual since our last answer session, so I’m answering a ton of questions today! It’s so big I split it into two parts. Thank you for the patience on getting a response to these.

Thanks for reaching out to us with your questions and kind words ^^!

Sorry if this has been asked before or isn't something you can say but is there anyway for Cove to confess in step 4? I wanted him to confess in step 3 and followed all the steps to make him do it but ended up texting my family instead of Cove at the end.

Yeah, Cove can confess in Step 4!

Hello! I heard that Cove is on the spectrum, albeit undiagnosed. As someone who is ND, this makes me UNBELIEVABLY happy. I literally was brought to tears! Thank you for that!

Out of curiosity, will Cove be diagnosed in Step 4? I have a strong feeling y’all won’t make it a HUGE deal/make it out to be negative, so I’m not worried about that whatsoever! I’m just curious just he’ll off handedly mention it? Or will it just not be touched upon at all (which is ok!)?

Either way is ok, I’m just curious!

I’m happy it made you happy! Admittedly, Cove simply being someone with autism that grew up not being diagnosed was something I included for myself. I didn’t really think anyone would notice or ask about it, aha. But players did start to have questions about his traits, so I started to talk about it outside of the game. It’s great to see it get such a positive response and now I do feel like having it be a non-topic may have been the wrong choice and bringing it up would’ve been good in terms of having positive representation for that. I don’t know if I’ll find a way to mention it in Step 4 now, with how far along the game is, but I am at least thinking about it when originally it wasn’t something I really even considered.

Hey!  Just wanted to say thank you for Our Life.  It's been a bright spot and a needed escape in what's otherwise been a crummy year.  I know you just did a Q&A post but I figured I'd ask anyway.  Was just curious about Step 4.  Will it be similar to the other Steps in that it consists of several different moments or will it just be one long sequence?

Step 4 is shorter than the prior Steps because it’s just an epilogue rather than a full arc of a story. It’ll consist of scenes that all happen in a set row one after the other. There won’t be a collection of Moments to choose from. But it’ll still be very sweet and fun.

¡hola!, you see, first I want to say that I love Our Life! (°◡°♡) and I have 2 important questions, would Cove cry watching titanic? and what is the saddest part according to him? (sorry for my english) 

Titanic would make him cry. He’d probably think the parts showing people who aren’t able to make it to the life boats/are choosing to stay and go down with the ship were the saddest.

Hello, I wanted to ask how much you earn with creating games? Like is it possible to make a living? Thank you >< <3 

How much I earn varies a lot month to month based on Steam sales, Patreon backers, and how many projects are in full production at the time. It’s also hard to say how much I make historically, since that also changes dramatically year by year. But I do earn enough to work on these games full time! I really appreciate all the support that allows me to do that.

Hey!! I was wondering for the 18+ Our Life moment, will there be an emphasis on safety/comfort for all involved? I feel like there  would be just going off of what the rest of the game is like, but I wanted to ask 

Yes! Cove is a nervous boy himself and also super cautious about doing anything the MC doesn’t like, so clear consent from both is absolutely needed for anything to happen. It’s a conversational sexy times Moment with stops/starts so the two can talk about how they’re feeling, rather than a heat of the moment just going for it kind of thing.

Hey!! I was wondering how long the wedding dlc would be? Will it be broken up into moments, or just one big event? 

It’s one long series of scenes all in a row rather than a collection of Moments to pick from. It’s the shortest and the least expensive of all the DLCs. It’s not super crucial to get and those who aren’t into big weddings can totally skip it without worry.

HELLO AMAZING DEVS 👋 i am hopelessly in love with the worst guy ever (jeremy king) and because of this i have a really stupid question: does he really hate people who are nice to him? TvT he’s too cute to be mean to istg it’s a miracle JB held the urge to be consistently nice to him bc just look at his FACE he is so cute! thank you for jeremy’s route it’s so lovely (and awful bc he’s scum 11/10) it gave me so much laughs LMAO i hope you guys have a good day!! 

Haha, thank you. He doesn’t hate them but he’s certainly not pleased with them. Jeremy is either uncomfortable with or annoyed by people being sweet on him, depending on how they approach it. He’s far more comfortable with jerkiness. It lets him relax and he can be himself without it being a problem, since he’s also a jerk. He feels a level of guilt being such a little punk to kind people, not enough to be a better person but still.

Has Cove dated or been interested in someone other than MC? 

Nope! He stays single over the course of the game if he’s not with the MC.

Is Step 4 more mature? Or it's gonna be set in similar atmosphere as Step 3? 

Step 4 is a similar atmosphere as Step 3. Though, it’s actually kind of less mature-topic heavy than Step 3 since it’s just a ‘hey, let’s check in on the gang to see what they’re up to’ style epilogue rather than a story arc with serious issues.

will there be new music for now and forever?? or will the old our life music be reused? 

It’s gonna be a brand new soundtrack. We’ll be opening up a job position for that soon.

Hi, is it okay if we use the assets in Our Life (like the sprites) for fanworks or fan content content, like edits? 

Sure! Just as long as you don’t use the assets made by those artists to make money.

Quick clarification on Step 3 choices: I hope I didn't come off rude (because I LOVE the game, really!!), I was just curious because the intro threw me off at times. For example, you could choose how you felt about Elizabeth in Step 2 (Dinner), but during the Step 3 intro, it says that you got closer to Liz and I didn't get a choice in it. 

For the example, it can’t be helped that you’re closer to Liz in Step 3 than you were in Step 2 because she’s inherently closer to the MC regardless of whether you liked her or not in Step 2. Her feelings are out of your control and the game isn’t so dramatic that you can push her affection away and not let her bond with you, haha. But ‘being closer’ can still be relative. For some people maybe that means you’re best buds now and for others it might just mean you’re not fighting all the time any more. If there’s other parts you want to mention, feel free to let us know.

Did the illustrator for Our Life change? 

We have many OL artists! The main artists who set the game’s style haven’t changed, but there’s multiple other artists who help finish assets.

So Miranda's type is confident and outgoing, huh? So...does that mean Terri's her type?? 👀 

Haha, sorry for the late reply on this. As you might’ve seen in our post yesterday- yeah that is her type.

Hey! First, I just want to say I've really enjoyed how detailed OL got with gender identity and sexuality and how respectful the topics were handled! It's been so wonderful to play since the experiences could be close to my own (I'd be lying if I said I didn't tear up at parts). Second, I was wondering, would future games explore the topic of polyamory? I'd love to see more visual novels allow room for that and I saw you've explored the topic before.

Keep up the amazing work! ♡

Thank you! We do want to include polyamory in at least some of our future projects. Floret Bond, which might be what you’re referring to when mentioning how we’ve explored the topic before, is on hold unfortunately. So right now I’m not sure when something might release or what will be the first game of ours to come out with poly relationships (we might do something else before FB is done). We’ll have see how things ends up coming together.

Hey um. I feel like im not allowed to ask this on the private discord cuz people will yell at me but why is there so much focus on OL2 and not finishing OL1 stuff? I like the new people but i kind of want to finish cove's story and get derek and baxter stuff first. didn't people pay for it? 

I’m sorry, I don’t understand entirely what’s making that situation a concern. There’s a channel in the discord for critique where no one is allowed to comment back. People can voice things they’re worried about without any way for others to push back on it. And the two teams working on the OL games are different. We try to post pretty often about how we’re hiring brand new people to start on Our Life: Now & Forever. The OL1 team is all still working on OL1 like normal. There’s only more updates on the Patreon for OL2 because the expansions to the first game are mostly script-based at this point while OL2 is just starting to get all its art, which means there’s a lot more to show off as previews.

Also, there was a Kickstarter for the first Our Life, if that’s what you mean by people paying for it. But one of the stretch goals was to start Our Life 2 early, before fully completing Our Life 1, so that the new game could be out sooner. It wouldn’t make sense to stop doing OL2 work because that would be going against what backers were promised. Maybe you didn’t get the full story before and hopefully this clears it up!

Hello! I know it's up to every player but.. What is your recommendation for playing order? Did you ever had any timeline  events planned? 

I didn’t make the events with a planned timeline. The events got made simply as I had ideas for them and then I just kind of organized them from left to right on the screen in an order to space out more dramatic ones between more lighthearted ones. Any order the player wants to go with is totally valid!

Hi! It's Step 4 a paid dlc or update? And how long it's planned to be? Ps. Love the game! 

The Step 4 epilogue is free! The Cove Wedding DLC does cost money, though. Those are planned to be shorter than the usual Steps/DLCs.

Will we have options for what sort of job the MC might have by the time step 4 takes place? 

Yeah, you can. It’s not super exact or detailed, but there are options about it.

Is there a pandemic in Our Life world, or is it just in a better timeline with no pestilence? 

Our Life is pandemic-free! That didn’t exist when we began working on the project and it’s not something we’d like to feature in this story now that it has unfortunately come along, aha.

Hi, you said that you can play tic-tac-toe or hangman with Cove in Boating if you're sick/scared but I keep getting tic-tac-toe. Am I doing something wrong?

After being sick/scared you have to continue to be upset/unwell. If you calm down and decide to just chill you’ll end up playing tic-tac-toe.

Hi, GB Patch! Since Lee was initially commissioned to only appear in two Steps does this mean she won't appear in the Wedding DLC? I really like her character so it'll be a little weird to not have our cousin at our wedding, aha.

She is gonna be in Step 4/the wedding DLC after all! We’re still working with her creator to make sure it fits with what they wanted.

Is Sunset Bird based on a real place? Asking for a friend, not trying to move there or anything. 👀

It’s based on small beach towns in So-Cal, but not one specific town you could go see in real life, I’m afraid. It’d be nice if it was real, though.

—– —– —– —–

We released a new FAQ! It answers common questions and we’ll keep adding more to it. Please check there before sending an ask. FAQ   Also, if you prefer to just see the main posts without all the asks/reblogs, feel free to follow our side account instead: GB Patch Updates Blog

[socially-awkward-skeleton]

OC asks II answered

1.  What are your OC’s best and worst qualities? What  do they think are their best and worst qualities?

Best quality - her altruism. Ava has the ability to show great kindness in someone's hour of need. She wants to help people. It's why she became a doctor, it's her goal in Halcyon.

Worst quality -major confidence issues. On the outside she is charming and flirty and confident in herself. But deep down she questions herself and her choices constantly. She doesn’t have a great deal of faith or belief in herself, so she puts on a brave face at first but then finds her footing the longer she is in Halcyon.

2.  Is there a meaning behind their name, or a particular reason why they have it? (either in the story, or why you as the author decided to give them their name)

Ava's name has several possible meanings: Its roots could be from the Germanic word aval, meaning "guarantee." In Latin, avis means "bird, birdlike." The name Ava might also be another version of Eve or Eva, which comes from the Hebrew name Havva (from the word hayya) meaning "life, lively."

I honestly just chose the name Ava because I thought it sounded pretty.

3.  What does their voice sound like, in a couple of words? (ie soft, scratchy, seductive, high-pitched, etc)

answered here

4.  Do they have any underlying motivations? (ie they seem hard-working but secretly just don’t want to fall back into poverty, etc)

answered here

5.  Does their fashion sense reflect an aspect of their personality? (ie bright and colorful outfits symbolizing that they’re an upbeat person)

Ava likes to wear black, her style would generally be considered alternative, with grunge aesthetics leaning towards goth in some cases. She likes to stand out in the crowd and if having lavender hair wasn't enough, her choice of clothing seals the deal.

6.  Do they have any tattoos? What are they, and why did they get them?

No tattoos on Ava. Not that she wouldn't get one, she just never had the time or interest on Earth and tattoos aren't really a thing in Halcyon.

7.  What is their biggest insecurity?

That the people she loves will leave her. She has a lot of walls to guard herself from people hurting her, so she worries if she let's people in too close she will get hurt. She worries that when people get to know the real her they won't want to stick around.

8.  What is their coping mechanism?

Ava is nothing if not guarded, building walls up for herself helped her survive during her childhood. Learning to rely on herself and trusting only herself made it easier to deal with being abandoned as a child.

9.  What is their main love language? (gifts, quality time, acts of service, physical touch, words of affirmation)

answered here

10.  What is their MBTI type?

ENTJ-A (The Commander)

Commanders are natural-born leaders. People with this personality type embody the gifts of charisma and confidence, and project authority in a way that draws crowds together behind a common goal. However, Commanders are also characterized by an often ruthless level of rationality, using their drive, determination and sharp minds to achieve whatever end they’ve set for themselves.

11.  What kind of person are they most compatible with? (platonic or romantic)

ENTJ’s are most compatible with INTPs (The Thinker).

Ava personally does well with people who are intellectual, who are able to debate her, who can keep up with her keen mind. She also needs someone who is willing to take the time to break down the walls she’s built and who will be there to listen to her for those odd times when she finally does let her thoughts and emotions come out.

12.  How do they feel about romantic relationships?  Are they into casual flings or more serious, long-term romances? Or are they uninterested?

Back on Earth all of Ava's romances were fleeting. Most were one night stands, many didn't last longer than a month. Ava doesn't believe she's deserving of love and has no idea how to maintain a stable loving relationship.

In Halcyon, she has a bit of a wandering eye before her and Max let their feelings be known. Once they are together though she’s very much smitten with him and as far as she’s concerned nobody else compares.

13.  What are their views on marriage? If they want to get married, what would their dream wedding be like?

Ava never thought she'd get married, not until she and Max really got serious. Though it would never be possible until Halcyon was fixed.

Ava’s dream wedding would be something shared with only her closest friends and family. She’s not the type to have 50+ guests, its going to be an intimate affair. She also won’t fork over tons of cash and be extravagant about it, she’s too practical for that. She’s only going to wear the dress once, she’s not going to break the bank.

14.  How is their relationship with their family? Which family member are they closest to?

Ava's relationship with her parents is non-existent. She was neglected for much of her childhood as she was the last child to be born and her parents never wanted a fourth child. As soon as they could send her away they did. She was sent to a boarding school at 9 and after being abandoned there, never heard from them again. They died when she was 12 in a car accident.

Her brothers are the only family she really loves and cares for. They helped raise her. Stephen her eldest brother is the closest thing to a father she has. Elias is the youngest of the three brothers and was the only one to be raised by their parents as he didn't have the smarts to cut it for the boarding school. William is the brother she is closest to. He is kind and gentle and has never looked down on her for the things she has done or choices she has made in life. He understood better than the other two that she was treated differently.

15.  Has their personality changed at all since they were a child? Why?

As a child Ava was raised with the mentality of only to speak when spoken to and that children should be seen and not heard. Her parents showed no interest in her and she was considered a burden on the family. Due to that, she was often very quiet and withdrawn. She put her focus all on her schoolwork to try and win her parents love through success.

In the years after her parents died, Ava was still at the boarding school while going through puberty. She was quick to catch on that she had a pretty face and that boys were interested in her. This resulted in her learning that the easiest way to get attention and for someone to seemingly “care” for her was through her looks and so she quickly started to learn how to flirt and charm. She broke out of her shell and became far more extroverted and wore a mask of confidence.

16.  How do other characters in the story view them?

Generally, Ava is seen as a good captain. She cares about her crew and proves that their needs are important to her as well. She easily makes allies who are willing to help her after she did so much for them. Even the Board for a time is willing to tolerate her as she travels across Halcyon.

Parvati sees Ava as a good friend, they get along easily and Ava is generally much softer and kinder around Parvati as she reminds Ava of her brother William.

Felix starts out having a crush on Ava, she’s fun and fearless and pretty but then of course he susses out that Ava and the vicar are clearly circling each other. He moves past his crush and becomes friends with her, ultimately getting taken under Ava’s wing.

Nyoka respects Ava a great deal, she understands why Ava is the way she is, family is hard. Nyoka sees Ava as a strong leader and as a good friend who went out of her way to help her tie up her own loose ends on Monarch.

Ellie and Ava don't always see eye to eye. She respects Ava and the fact that she went through all the medical school training much the same way she did, but she also doesn't understand Ava’s altruistic side. By the end, Ellie softens up quite a bit, but she would still never admit that she may have learned to be a little kinder thanks to Ava.

Max and Ava have the closest relationship on the Unreliable. He sees her as a friend, a confidante, and also his love. From the first moment he met her he was drawn in, but what really won him over was her smarts and her wit. Few people could match his sarcasm and he was glad to have her as a debating partner. He respects her greatly for the things she did during her time as his captain and also for what she does to save Halcyon. He respects her kind heart and her generous spirit, he also cares deeply for the side of her that has had to fight for so long, who had to build up the walls she used to protect herself. She is chaos and he adores her for it.

17.  How many hours of sleep does your OC get on average?

Ava doesn’t run on much sleep at all, usually 4 to 5 hours max a night. 130-6 would be her optimum sleeping time.

18.  Where do they see themself in ten years?

answered here

19.  If they had a theme song, what would it be?

Working for the Knife - Mitski

20.  What AU would they belong in the best?

For aesthetics alone probably a modern day rock band AU.

[hallothere]

I broke down and wrote the essay. No, I did not and will not proofread it. I don’t waaaannaaaa

There’s Only One Winner For Isengard

In a perfect world, in a world with no meta requirements that could bend to the will of the player, we would roll up to Isengard level-capped, no debuffs, with one quest-marker on hand: Ruin Saruman’s day. But this is a pre-written sequence of events in which we are only along for the ride. We, the player, and a Ranger are shipped off to Isengard with only one conceivable goal: survive. On a meta level we know what Saruman is capable of. At level 70 or 80-something at best, even we are aware that we are no match for a wizard with a canon fate. Not to mention our Ranger companion! The Grey Company has been through enough (though we don’t know the half of it yet) and we are reasonably distraught at the possibilities.

This is why we, the player character, will lose the game of Isengard.

Beyond the meta rules of the game, where quest objectives are whatever the devs wanted them to be (looking at you, Mordrambor) the player character can not defeat Saruman in any way that’s meaningful. And (again on a meta level) in order for us to get to experience the action at Helm’s Deep and Rohan at large, we have to get out of Isengard. We’d get bored of waiting for Theoden and Co. We’d hurl insults or slap fish at Saruman and realistically incur wrath. Honestly, with the set of circumstances presented to us, who could survive imprisonment in Nan Curunir?

Only one of the Company ever could: Lothrandir of Suri Kyla. 

To begin with, none of the Rangers we have any real information on could have done it. Anyone who’s spent time in Angmar is at a disadvantage due to the prevailing dread (game mechanic or otherwise) that can be manipulated by Saruman. Any Ranger that has a major traumatic past is at a disadvantage (sorry Mincham) because if nothing else, Saruman has proven to be a master of illusion. Even Halbarad for all his leadership ability has a pretty exploitable weakness: eventually Saruman can crack the code with a vision of Aragorn’s demise, the one end Halbarad must fear above all others. Or what bond could more easily be exploited than that of a leader and his men? Lheu Brenin’s in the gang now after all. All Saruman would have to do was send for a few more incentives. 

But Lothrandir comes built with a few key advantages that make him the only Grey Company Ranger qualified to come out of this battle of wills on top. His specific strengths, mindset, and personality traits combined with the circumstances that the game sets up going into Isengard make him the clear choice of Rangers- if a Ranger you must have- to stay behind in Nan Curunir. 

Lothrandir wins because he changes the game. From ‘go’ our co-prisoner does something that either puzzles the player character or sends them into an anxious fit. Lothrandir declares himself fearless and sprints recklessly into the ring. Any way you figure it, this seems like a poorly calculated move. He doesn’t stop to survey the enemy. He doesn’t gather intel. Heck, he doesn’t even bide his time to see if he’ll be killed before he even reaches the dungeons. Lothrandir sprints right in without so much as a thought or a plan. Saruman doesn’t know it yet, but from that moment on Lothrandir has him on the back foot. 

Consider for a moment Saruman’s MO. He’s a wizard, and he uses a great deal of magic, sure, but time and time again we are reminded of the power of his voice and his words. He calls down a storm on Caradhras (in the movies for darn sure), he via-Wormtongue whispers poison into the ears of King Theoden. He doesn’t lead with any kind of grandiose display when trying to sway Gandalf. No, he leads with a persuasive argument. Later on, he nearly talks Theoden back around, after failing to wipe out all of Rohan. After killing the man’s son for goodness sakes. He nearly talks himself out of that one!

But Lothrandir has already changed this from a game of wits to a game of wills. There will be no vying for favor, or biding time, or compliance, or even giving Saruman a chance to ‘talk it over friendly’ first. He’s already spitting on the shoes of everyone he sees. The accomplishment in this is twofold, and it makes a major impact on the rest of his time in Nan Curunir. 

Firstly, by establishing a new game, Lothrandir sets Saruman up for a whole lot of assumptions. He does not display any signs of diplomatic ability, wisdom, or even common sense. He very intentionally projects an attitude of reckless disobedience. In the player’s own eyes, it seems as if he ‘doesn’t know any better’. This gives Saruman a clear path to take regarding Lothrandir. He assumes you can’t reason the typical way with someone who has shown zero inclination for listening. The player character demonstrates that the Grey Company (or least their associates) are capable of compliance. For all intents and purposes, this Lothrandir doesn’t appear to be. He’s contrary, fool-hardy, and evidently dumb enough to dive in headfirst and get himself killed. You beat that kind of guy into submission… don’t you?

But Lothrandir has changed the rules of the game. Saruman is no longer fighting with his best weapon, but with a tool to be found in any old villain’s arsenal. When he took the approach of reasoning with the player character and disregarding Lothrandir, he set the victor’s foundation on our snow-pilgrim’s greatest strength. 

Secondly, by establishing a new game, Lothrandir makes this a battle of physical endurance. Unbeknownst to Saruman, this is the one thing that makes him stand out from the rest of the Grey Company. He has walked through the frozen north lands and the fiery south lands and come out unscathed. He has mastered the unarmed combat style of the Lossoth by joining in mid-winter wrestling matches in a place that took down many Elves, Angmarim, and notably one King of Arthedain! Lothrandir has conceivably spent his entire life training for this matchup. Any endurance he has built up, any fighting he can do without access to a weapon, all are assets to the kind of game he just made Saruman play. Lothrandir is uniquely built to survive any physical torment Isengard can throw at him, or at least, better equipped than any of the others. 

To say Lothrandir is the best choice, we also have to rule out the others. Corunir was thwarted by the Rammas Deluon and for all he learned from that, it’s a weak spot in his proverbial armor. Golodir too, resisted a fair degree of torture (palantiri based, even!) in Carn Dum, but it won’t be hard for Saruman to suss that one out and make our old man’s life a living nightmare. Even Radanir, serious and seemingly unattached to any social bonds now that his good pal Elweleth has gone sailing, would be a poor choice. He is too serious, (for lack of a better term) too genre-savvy, and even if he is spitting blood and delivering a witty one-liner, that’s Saruman’s foot in the door! ‘I’ll never betray my friends and kin, you kaleidoscope hack’? You’ve just told him your weakness, Radanir! No, he can’t keep his mouth shut to save his (or Saerdan’s) life. Radanir is the wrong choice too.

We don’t know a significant amount about the others (except Ranger death would move Calenglad to tears, we can’t put him through this) in order to pinpoint their fatal flaws in the Isengard encounter. But, the game puts us in the incredible position of having seen Lothrandir’s Achilles’ heel and letting us take that disadvantage away. 

Lothrandir of Suri Kyla is uniquely equipped to survive any physical encounter that Saruman throws his way. Now, who’s to say the wizard won’t change his tune and go back to his old tricks? In an incredible twist of fate, we are. The game sets us, the player, up to play Saruman’s game from the get-go. We keep our pixelated head down, try and fly below the radar, and express just enough concern over the fate of our fool-hardy pal to get Saruman to cement his estimation of Lothrandir as a pawn in the game in stone. By making ourselves the better target for the words of a wily wizard, Saruman decides that the best way to deal with the spare prisoner is by playing right into his hands. As we all know, the player character escapes. While that might seem bad for someone who Saruman has earmarked for corporal punishment only, it covers Lothrandir’s one weakness. 

Aside from being the only significant unarmed fighter, Lothrandir is also never painted as a loner. He spends his time in Suri Kyla, hanging out with the Lossoth and sharing their campfires. In the new questline in Forochel, he jumps at the chance to make a new Dunedain friend and takes to King Arvedui like a duck to water. They’re instant best pals. It’s minutes before Lothrandir is telling him Aragorn’s life story and pledging to go with him on a buddy adventure to seek peace for a regretful shade. And if that’s not enough canon for you, Lothrandir bears the brunt of the Falcon clan aggression on the way to Isengard. He does it for you, his friend and companion in suffering. It’s a bit meta, but we have to assume in the internal universe he knows you a little. You’ve run your merry adventures to a degree where, were this not a video game, Lothrandir would at least consider you an ally if not a friend outright. 

He exposes his weakness unwittingly to the Falcon clan, but he leaves it at the gates of Isengard in an extremely well-timed move. By sprinting through the gates without a care as to what’s going on with you or anyone else, Lothrandir establishes an emotional distance between you both in the eyes of any onlookers. Whatever affection you have for him, it doesn’t seem reciprocated. This isn’t a major weakness for Saruman to exploit, then. You’re not one of his kinsmen. If he did want to pursue that line, he could always send to Tur Morva for one, right?

This is where the game comes back in to shift the tide in Lothrandir’s favor. We escape. We play the game, we nearly lose the game, and had we not been given an out the power scaling makes it difficult to conceive of an outcome where we the player can win Isengard. Sure, we’ve been released from prisons before (Delossad to name one) but this is the climax of Dunland. We make a daring escape, and move south towards the Gap of Rohan and all sorts of bad times. 

Back in Nan Curunir, Lothrandir is getting the daylights beat out of him, and taking a victory lap. He’s cemented his position as ‘the prisoner we’ll break with violence’. The uruks have seen him insubordinate and disorderly. In the Lothrandir interlude, there’s not only the canon (stated outright!) reality of past and present torture. There’s also zero hesitation in Lothrandir taking that one on the chin. There are no other objectives on his mind than making the next few minutes as miserable as possible for everyone around. He has no other goals. And he doesn’t need them. Nobody is surprised that Lothrandir is signing his death warrant within nanoseconds of being presented an offer to comply. He spits on the offer. He tips over the slop bucket. He beats bloody any orc (and gameplay purposes aside there are very few that dare come forward) that actually tries to kill him for it outright. 

He’s built up a non-rapport with Gun Ain. She talks about killing him and he doesn’t say anything. They’re all playing his game and he’s winning. In the conversation with Saruman, we’re not given the opportunity to watch Lothrandir ‘resist’ in the same fashion the player character did. We don’t need to. Saruman has bigger and better things to worry about- killing a prince, wiping out a nation- than one Ranger who he’s just going to order well-flayed again. By setting himself up as the punching bag, Lothrandir has managed to fly beneath Saruman’s priority threshold. He’s been relegated to the responsibility of Gun Ain, and still with somewhat protected status because they haven’t wormed anything useful out of him yet.

All of these moves have culminated to an impasse. Saruman is not winning points in the game like he expected. One ‘meathead Ranger’ has managed to resist all the torments of Isengard, and he’s gained nothing from this. The other prisoner escaped, word had doubtless reached him that the Tur Morva Thirty-Odd are free and raring to be a thorn in his side again. He has no external leverage to apply on Lothrandir and it’s become increasingly obvious that our Ranger friend is not engaging like the player did. But still, Saruman has his pride. It’s his downfall in the end, and it’s his downfall in his fight against the one Ranger who’s already beating him. Lothrandir can’t be killed outright because Saruman hasn’t won yet. And with that guarantee of protection, Lothrandir can coast all the way to the conquest of Isengard. 

He can keep playing the game and stalling for time. It’s morbid, but what better way to waste someone’s time and energy than convincing them slow, drawn-out torture is the way to go? A little extreme, Lothrandir, but it’s still his game to lose. He wastes Saruman’s time. If he is eventually rescued, total victory. If he’s killed in the end, he definitely didn’t give the wizard the satisfaction, so a less resounding victory but one in the win column nonetheless. 

With a little help from our usually Ranger-cidal devs, Lothrandir reprograms Saruman’s game of chess to a boxing match. He takes out all his disadvantages, gets Isengard to attack from a point of... if not weakness then at least neutral ability, and then devotes his every waking breath to violent disobedience.

Sure, you could have taken any of the Grey Company with you to Isengard. Lheu Brenin could have swapped out for Braigar or Amlan or Mithrendan or Culang- but only one of these guys has the brute strength, commitment, and sheer audacity to pull it off. 

You take Lothrandir to Orthanc. There’s a different prisoner of Nan Curunir when he leaves.

[viroro-kun]

My Review of the Pokémon Sun & Moon Anime (2019)

[The following post is a repost of a thread originally published on Reddit in November 17th, 2019, titled “My final review of the Pokémon Sun & Moon Anime”, which I’m sharing here again for archival purposes. I may eventually do a new one and this post is meant to only reflect my thoughts at the time. It will also not be updated with later information to keep it consistent with the original] About two weeks ago, the Sun & Moon series of the Pokémon Anime concluded after a run of three years, ending up as what's probably one of the most controversial entries of the show, with fans either loving it as a fresh take on the series or disliking it for several issues that cropped up over time. Now, after reviewing the series for the length of the aforementioned three years and at the eve of the beginning of the newer series, I'd like to pass my personal, final judgement of the Alolan series. Now, first of all, I think a preamble is necessary: all of what I will explain is my opinion and nothing else, and this isn't meant to be senseless bashing of the Sun & Moon series, either. I treasure striving to be objective and analytical above all else, and while I of course can't claim mine will be an absolutely perfect and objectively correct review, I will do my best to share my thoughts on the matter, while explaining why I feel this specific way.Secondly, I'd like to address an argument I've occasionally seen brought up, that due to Sun & Moon's seeming focus on comedy and slice of life it's not possible to compare it to previous seasons. And while that may apply for some specific choices it made, I don't believe that's the case: it was still set in a new region of the Pokémon world, still had Ash undertake the local region-wide challenge, still had a structure involving unimportant self-contained episodes (which we could call 'filler' in an useful but technically inaccurate definition) surrounding the plot-based ones, and still ended up with a League at a climax for it all. Therefore, at least on a structural and plot standpoint, there are enough commonalities to make a comparison possible, and that's where I plan to dig in particular to explain my stance.

Before I move to the meat of it, however, I want to spend some words of praise for some things I feel this series did right or at least deserves some compliments for, overall. First of all, I think that Sun & Moon does great in mantaining a chill, comfy atmosphere which to a degree makes it stand out from previous seasons, and I understand why this was appealing for some previous fans of the series. Most of the cast is pretty likable on the whole with particular props to Ash's Alolan Pokémon team managing to mantain lots of expressivity in all situations, and the series has a decent willingness to explore some concepts previous seasons only lightly touched on. The show also foregoes a lot typical Team Rocket shenanigans for different kinds of plots, making it great for people who find their usage stale and played out by now, and the simplified art style allowed for some pretty good sequences both in battle and out. At its best, the series can produce some of the best moments of this Anime as a whole, and it was at least the first series to let go of some limitations that were just weighting the show down at this point. While I think several of these pros also have indirect cons attached to them (especially in terms of tone and character usage), these are all things I feel need to be pointed out in positive for the series.With that said, I'd like to begin my proper dissection of the Pokémon Sun & Moon Anime.

Pokémon Sun & Moon - A Pokémon Anime in an Identity Crisis

1. Plot Pacing and Development: The Problem of the Stationary Setting and the "Happy Bubble"

Everyone who has heard of the Sun & Moon Anime is probably aware of its biggest break from tradition: rather than being an adventure series, this entry in the long-running Pokémon series decided to take place in a single location with occasional detours by having Ash enroll in the Pokémon School, shifting the general tone of the series towards a more slice of life approach. This had a significant effect on how the story developed, but in my opinion, if there's a fundamental issue of the Sun & Moon series, it's probably this one. Because rather than committing to the change, the writers appeared to want to have their cake and eat it too.

Specifically, adventure series and slice of life have radically opposed mission statements: for the first, progression and rising action are an important, consistent story engine moving the plot forward; the second is instead far more laidback, focused more on enjoying the moment and offering low stakes and drama more often than not, especially Sun & Moon's chosen brand of it that's closer to a sit-com than a proper slice of life. Pretty much, adventure series have a degree of development in them, while slice of life is defined by the lack of said development.

Now, I'm not saying Pokémon characters were always amazing examples of character development, or that every series prior was well-written. But the structure itself was sound, as you had Ash embarked in a defined goal of winning the League as part of his vague dream to become a Pokémon Master, having filler adventures on the way, but always undertaking rising action from the first to last Gym and occasional rivals, until the climax of the journey at the League (and in Kalos' case, the Team Flare arc). We see Ash, and occasionally his friends, actively train, fight or improve on the path to their goals, while the narration itself always reminds us of what the current major objective is. Even when the episode doesn't actually contribute to the larger story, the viewer always has a reassurance that the next objective will be reached eventually.

The structure of Sun & Moon, by comparison, is inherently more passive more often than not, as you have Ash and the others waiting for the plot to happen to them. Instead of having Ash actively seek a new challenge, you see him sitting down and wait for something specific to make him go and progress, and so does everyone else, with only rare exceptions. The characters are effectively static until the plot decides to move them, and while this could superficially resemble the previous structure (as both have a progression that could be defined as arbitrary), the Sun & Moon series barely, if ever, reassured the viewer to still remember the goals it set up, or even what the next one to come is.

Now, inherently, the characters being passive recipients of plot isn't a bad thing, it's just how slice of life stories tend to work. The problem of Sun & Moon, however, was that beyond the vague and SoL-friendly concept of Ash at the Pokémon School they still had Ash pursue the Island Trials (and in fact, he's impressed by the concept of mastering Z-Moves before he even enrolls in the school), which gave the show a problem: it wanted to be a chill story focusing more on small time hijinks than big adventures, while still taking on a structure that demanded to follow the rules of an adventure series, creating an inherent contradiction.

What I mean is that, since the Island Trials were still part of Ash's stay in Alola, the show was still supposed to abide to the rising action leading to a climax, giving the show a direction that it had to fulfill by its end rather than have an open premise with occasional plotlines (example: GeGeGe no Kitaro, where the open premise is 'Kitaro deals with evil Yokai' with every other longer plotline spinning from there). It's something that pretty much prevents the viewer from fully enjoying the more quiet romps, because in the mind of a viewer expecting progression, these are just a diversion over the more important goal Ash has in the region. Now, in fairness to Sun & Moon, the show seemed aware of the tension and made sure to tie each Trial Ash did into either school trips or wanting to get specific Crystals, but beyond making it seem like Ash didn't care much for something he claimed he wasn't interested in (especially with wanderlust being a previously estabilished character trait of his), this ran into another big issue of Sun & Moon: rather than a sense of rising action, pretty much every Island Trial Ash did was narratively unrelated to each other, especially once it was revealed that Ash didn't need to complete any of them to access the Alola League, in contrast with how every badge was important and necessary in previous regions.

This specific issue wasn't however unique to Ash, but rather a persistent problem in pretty much every element and story arc of the series: be it Ash's quest, Guzma's struggles, Rowlet's rivalry with Hau's Dartrix/Decidueye, Lycanroc's rage issues, Lillie's goal to be able to touch every Pokémon again, the Necrozma and Aether arcs to even the Alola League and anything in between, almost all of them had only the bare minimum of buildup and either ended as soon as they got teased or happened to be sidelined for a large amount of episodes before they got their due focus, if not both at once. While some of these arcs ranged from alright to pretty great (Litten's pre-capture arc dealing with Stoutland's passing, or the Guzma-related segments of the Alola League), there are quire a few (chiefly Necrozma) that were ruined by a combination of lacking setup work and the feeling that, simply put, nothing mattered that much. Sure, the arcs could be mentioned here and there, and some can set up things for the future (like how Aether leads to the Ultra Guardians), but on the whole, the arcs are effectively done-in-one in terms of lasting impact. Unlike how in previous shows you could've had stuff like Ash's and Dawn's intertwined journeys, here you have Stoutland lose relevance in terms of influence to Litten as soon as he dies, where save for Stoutland brief cameo as a spirit on Poni Island his storyline got shifted in the unrelated rivalry with Kukui's Incineroar.

This last example, in particular, brings up another of the big issues of Sun & Moon, one that can be divided in three parts: plot pacing, plot segregation, and the "happy bubble".

In regards to plot pacing, one of the most notorious problems brought up for this series is the fact that, to put it simply, each plotpoint will only progress when the show decided they have to, which led to things like Lillie going almost an entire real time year between getting her Z-Crystal and then her Z-Ring, or Ash doing absolutely nothing about his Lycanroc's raging issues for getting dirty for close to thirty episodes before they happened again in the Ula'Ula arc, during which neither character gave any hints of even thinking about these lingering elements in any way even if it was clear setup to be followed on. This, coupled with the aforementioned lack of a constant reminder of the next destination, just made for a frustrating waiting game in terms of the next major point of progression.

A related issue is the plot segregation, or specifically, how each major arc is effectively removed from the others, from Kiawe and Sophocles' occasional focus episodes to more important stuff like Lillie's Pokémon phobia, her and Gladion's later interest in finding their father, Lana's desire to create a balloon to explore the ocean with, Ash's Island Trials, and so on. It made these characters feel like they exist in their own separate paths, never to intersect, something the evolution episode in the Poni Island arc somewhat exemplifies since Sophocles' and Lana's efforts happen on completely distinct plotlines and locations. As I explained above this also happens with major arcs, like how the Necrozma arc's only contribution to the wider narrative was sending Poipole home (and given its later offscreen evolution and power up, one could make a case the arc had a negative impact on the series). The segregation also had the effect of having the plot act like something flat out doesn’t exist unless it has been directly showcased, leading to such goofiness as Kukui's best friend Molayne not being invited at his wedding in spite of being Sophocles' cousin, or how absolutely no one was in Poni Island during the Manalo Festival buildup. A good example of the difference, I feel, is this: in previous series, we could've had Serena relate to Ash with her Master Class loss at a significant point of his character arc during the Winding Woods episode; in this one, Mallow only revealed her mother issues after Lillie's entire arc revolving around her mother was resolved, with the two never comparing notes. The closest we get is Ash relating to Lana for his problems with Lycanroc using Continental Crush in Ida's first episode and Lillie trying to help out Ash during his fallout with Rotom, both of which refer to things that happened to them either mostly offscreen or entirely there.

The plot segregation was, in particular, noticeable with the decision to associate three of Ash's Alolan Pokémon (Torracat, Dusk Lycanroc and Rowlet) to specific characters as rivals, with the Pokémon driving the rivalry rather than Ash himself (who had otherwise rather civil, mostly friendly interactions with Kukui, Gladion and Hau). On paper, this should've guaranteed that every Pokémon had their moment to shine, but effectively, it meant that each of them were restricted to mostly their specific rival in terms of focus post-Aether. Lycanroc got Olivia's Grand Trial, the Ula'Ula arc to itself and then the rivalry with Gladion's Midnight Lycanroc, but no other significant usages; Rowlet got roles in the first two Grand Trials, but then spent almost one hundred episodes before its second focus episode, and beyond his friendship with Meltan it only got Hau's battle and a part against Kukui to itself; Torracat was the one absolutely done dirty here, as beyond the Stoutland appearence in Poni Island and the Totem Lurantis battle pre-Aether, all his following focus moments rely on the rivalry with Kukui's Incineroar, with only occasional minor scuffles to its name and a bit of the Guzma battle to its name. That would already be bad enough, but the fact that until the League there's no battle that requires Ash to involve more than two Pokémon (with most of them requiring him only one), Ash's team never actually gets to act as a team until the very final battle of the series, furthering the lacking sense of cohesiveness. Year two of the series was particularly bad in this sense, as most major battles were fought with either Pikachu or Lycanroc while Torracat and Rowlet barely did much.

And lastly, one persistent result of both the plot pacing and the plot segregation was a phenomenon I like to refer to as the "happy bubble," or the tendency of the Sun & Moon series to confine major conflicts and bad moments for the characters only to their specific focus episodes. In previous shows, you could have moments of self-doubt or worry linger even outside dedicated episodes (Dawn's depression for her losing streak, Ash's rivalry with Paul affecting him, and his increasing worries in the latter part of XY being clear examples), but due to Sun & Moon's commitment to fun times before everything else, it means the characters aren't allowed to have any conflict or moments of darkness to later conquer unless they're the focus, and even then resolving them quickly. See how bubbly Lillie is even when she's scared of Pokémon unless the episode is specifically about her, how she never even thought about her father until Gladion reminded her, how Ash's confidence and his relationship with Lycanroc are only focused on in Ula'Ula and then never again, and most noticeably the fact Mallow's dead mother was treated as something that tore her for years but it was only ever directly dealt with in one episode, to the point she's the only family member on Bulbapedia listed under characters of the day. The problem of this bubble is that it pretty much makes it hard to invest in the emotional struggles of these characters because they end up feeling like throwaway moments which are then functionally forgotten, with no sense of constant growth. Characters get their moments, the audience gets invested, and then it's forgotten, with only few and far-in-between moments of exception, and that's another thing making each conflict feel segregated from each other.

If I could sum up everything in one sentence, I'd say this: Sun & Moon is composed by a myriad of pieces, some excellent, some average, some awful and everything in between, that all exist mostly in a vacuum. I'll return to this topic in a bit, as there's another important aspect to touch first.

2. Characters and Their Development: Too Many, Too Little, Too Late

Another aspect of Sun & Moon that's often brought up is the decision to have a main cast of six counting Ash, with the game Trial Captains Mallow, Lana, Kiawe and Sophocles alongside plot-important character Lillie turned into Ash's classmates. These characters have been as much a point of praise as they were of criticism, with some fans absolutely loving this group while others couldn't absolutely stand them. I feel the best way to tackle this is to first list how I feel each character was handled in terms of planning and development, before going into their relationships and the rest of the cast, starting with the humans and then going through Ash's Pokémon before closing on Ash himself. I will say to start with, however, that none of these characters is inherently unlikable the way they started as, and most of their later issues came solely from their handling down the line or flaws in how they were approached.

2.1) The companions

Among the companions, Sophocles was probably the one that made the poorer first impressions, as beyond sharing the same type specialty, his game background as an inventor and his Anime presentation as a programmer that sometimes built things gave him a number of unfair comparisons with Clemont, not helped at all by an introduction episode that ranks among the worst ones of this group. That said, I feel by the end he actually ended up being one of the best characters of the group in spite of heavily scattered focus, for one major reason: he's one of the few characters of this group to have a consistent character growth that plays in his dream and that's easily noticeable as the story unfolds. Early on, he starts as the timid, insecure kid that gets easily scared of the dark and needs people and Pokémon's support over everything, but between his first few episodes and the later clarification of his interest in space, it's clear that his development was actually aimed towards him growing into a more independent and confident person and trainer. He goes from being unable to tell his friends that he's not actually leaving Alola after a misunderstanding and only getting his second Pokémon as a gift from Ash to slowly take an interest in rising Charjabug, first with a race and then by evolving it, then deciding to gain a Z-Crystal and a Z-Ring, learning to use it, and ultimately take part in the League in spite of knowing to not be on the same level of his friends, yet still putting his all, with a nice interlude where he takes things into his own hands during the Celesteela mission, and with the race he does to gain his Z-Crystal leading him to confront and surpass his fear of the dark. While still pretty scattered and sidelined, I feel he's a character that's been developed well-enough and that in his post-series aim is actively working towards his dream in a new but productive way by visiting Mossdeep City's Space Center, and definitely my favorite of the Alolan kids as he clearly developed into a better person by the end through a straightforward, traceable progression.

Lana is probably up there with Sophocles in terms of being one of the best characters of this group, and I'd go as far as saying she's probably the best non-Coordinator/Performer Pokégirl out there. While Sophocles ranks high due to getting good personal development, Lana ranks high because, while on paper her dream of creating a big balloon to explore the ocean with is simple and a tad silly, it is something she puts clear effort into and that she never loses track of through the whole series, even with a fairly noticeable void of attention in the mid-series stretch. Between being the first of the non-Kiawe classmates to get a Z-Ring and a Z-Crystal, learning how to use Hydro Vortex, then evolving Popplio to Brionne and then Primarina (while dealing with a Kyogre along the way) while also getting Oceanic Operetta, she's consistently focused on her improvement, and always the best female battler of the bunch. The only thing that really penalizes her is that while her dream is technically achieved, she ultimately gets Oceanic Operetta with offscreen training and they never make a point to highlight that as a big moment, and while her skill development is solid, she remains exactly the same character throughout the series from the first and last episode. An entertaining character for sure, but one that just gets stronger and not much else. Still, she's easily one of the best female leads this series ever had, and a good example of how to make a non-Coordinator-esque female character work well after the pitfalls Misty and Iris fell into.

Kiawe is not far from them, with a pretty solid run slightly marred by a few issues. Specifically, he's probably the best battler of this group that isn't Ash, but he's distinctly characterized as having two "modes" as a character: either the serious, spiritual follower of Alolan traditions, or the one that started popping out more often later in the series where he's an overreacting ham to rival Cilan. I personally feel Kiawe's better moments tends to come from the first mode, not only because he stands out better in a funny sense by being the straight-laced guy in a cast of wacky people, but also because he's the best character to explore the more spiritual angle of Alola, the element that truly makes the region stand out compared to previous ones featured in the series. Unfortunately, beyond the fact the slice of life romps tended to favor his wacky angle more than the serious one, Kiawe is penalized by not quite having a true arc to develop through: he wants to become a stronger trainer and claims so, but all his episodes ultimately end up involving unrelated matters: he catches his Marowak, learns to use a Z-Move with him later on, and ends up getting his Charizard back into working shape after he undertakes Fini's trial to save Ash, but while each of these are overall good showings and he's probably got the best League run of the cast in terms of prowess and skill, they tend to remain isolated instances. It also doesn't help that while his hot-blooded rivalry with Ash can be fairly entertaining and it's teased from episode 2, it ultimately culminates into an underwhelming showdown in the penultimate episode that barely feels like an afterthought. I'd hardly call him a bad character and he still does pretty well even with his issues, but one that could've been handled better on the whole.

A far different story is Lillie, a character that, I feel, suffered from several different issues all at once. To address the elephant in the living room first, let it be said that while they share traits, Anime Lillie and Game Lillie end up being fairly different characters by the end, and while I think Game Lillie is probably one of the best creations of GameFreak, my opinion on her Anime self couldn't be more different, and it's not due to straight comparisons between each other. Now, Lillie doesn't actually start badly: the fact that she has a phobia of touching Pokémon from an unknown source at first actually gave her a nice direction as a character in a way similar yet different from Lana, but it didn't take long for Lillie's major issue to show itself: things happen to her rather than her working towards stuff proactively, and the majority of the time her struggles are resolved by feeling sad or believing really hard with extremely few exceptions. This started already before the Aether arc, where while her episodes were good, they all relied on the exact same formula of Lillie unable to touch Pokémon, being unable to do so and feeling sad about it until she can in a spur-of-the-moment situation, which started to make her episodes feel stale.

The Aether arc seemed to finally change things as it heavily revolved around Lillie, but to anticipate some things I'll delve into more detail later, the changed circumstances ended up weakening both the conflict and her character, making her come across as too unlikable. But beyond that issue, the problem of the Aether arc is that it ensured that Lillie was completely healed of her phobia due to the actions of others rather than herself, which killed off all her character potential and left her with nothing to do for the rest of the series (while the conflict with her mother was completely brushed under the rug after this arc introduced and hastily attempted to resolve it). Sure, she 'grew stronger', and got a Z-Ring and Z-Crystal, but the majority of important things of the Mohn arc were actually dealt with by Gladion, while her own help ended up amounting to still, once more, feeling really hard rather than active work. But the biggest problem of her character is that all of her major achievements derived from either someone else (Silvally healing her phobia by saving her, Gladion actually defeating Totem Kommo-o, her Z-Ring being borrowed from her father, Gladion finding Mohn's Zoroark) or facilitated by outside assistance (her one victory in the League's Battle Royale coming from effectively killstealing a Salamence Kiawe weakened, her battle with Tyranitar having the assistance of a Totem Sandshrew) which made it hard to think she earned her development or truly grow stronger when she ultimately always ended up relying on someone else, especially given her tendency to never act unless prodded (see how she seemed perfectly fine not touching Pokémon for years until Mallow and Ash actively tried to get her to do it, nor try to learn why she has the phobia in the first place, nor thinking about where her father may be). This, alongside the tendency of the series to play up game moments like the Lillie and Solgaleo moment or her change in dress and hairstyle to show her resolve while sapping all the meaning they had in the source material and the habit of the characters to praise Lillie for anything she does no matter how minor or trivial, ultimately made her a character that was borderline insufferable to follow, especially for the classmate pushed as the most important beyond Ash.

The worst of all main characters, however, is without a doubt Mallow. While I have several issues with Lillie's handling as a character, at least her faults come with how the show decided to approach her, while I feel by contrast Mallow was only allowed breadcrumbs of just about anything, something already shown by how she had to wait until episode 18 for her first true focus episode. Back in the earliest episodes I thought her interest in making Aina the most popular restaurant in Alola could've given her a drive as a character similar to the one Lana and at the time Lillie had, only for the story to be content with leaving her where she is. Between the fact her Bounsweet evolved twice in ways that were respectively too sudden and rather unrelated to her and the habit of her focus episodes past her first to focus away from her more than on her (having to share screentime with her brother 'Ulu and Oranguru, specifically), it felt like she was added to the cast because they had to, and while the last year of Sun & Moon tried to put a patch on the problem by giving her emotional moments with her mother and her League match with Lana, said patches had the effect of not feeling very genuine since her mother, as I mentioned above, only really figured in one episode, while Mallow suddenly being afraid of Tsareena getting hurt when she fought in Ultra Space and in other instances just fine just feels like an awkward attempt at giving her an emotional moment that doesn't gel with her characterization too well. If we add onto it that she only mastered her Z-Move during the League itself, her Z-Crystal was gained just by making a burger, and the Shaymin she cared for after meeting her mother effectively did nothing afterwards until its deal was resolved at the last possible second during the final credits of the series because 'Ulu found some Gracidea with no input from Mallow proper, Mallow ended up feeling like the most mishandled characters of this crew, whose character and development felt more like isolated moments than anything cohesive.

The Pokémon of the cast outside of the major ones don't really warrant much talk, the best of the bunch being Kiawe's Marowak for his vibrant personality and good feats, while everyone else ranges from pretty much not too focused on (Turtonator, Charizard, Tsareena, Togedemaru), useful for development but otherwise kinda dull more often than not (Primarina, Vikavolt, Snowy), cute but pointless in spite of heavy buildup (Sandy), and pretty much useless (Shaymin, Magearna outside of being a McGuffin), mostly getting occasional cute moments than anything substantial or productive for their trainers.

2.2) Ash's Pokémon

Beyond the classmates, there's the matter of Ash's Pokémon as well, and I'd like to spend a few words on the Rotomdex. On the whole, he was never the most important character, but I'd say the best way to describe him is that he's a likable character that happened to star in some rather poor episodes: while his overreactions could get annoying sometimes, for the most part he was likable enough, and his existence ensured that Ash would lose his oft-criticized trait to scan Pokémon he already saw that made him come across as dumb, and some of his moments and hobbies made him pretty endearing. His only real problem is that his focus episodes usually tended to focus on rather stupid plots aimed only to comedy, and while three of them are at least arguable, his last true focus episode happened to be one of the worst episodes of the series due to how out-of-character Ash acted under the possibility of Rotom leaving. None of the issues of these episodes were Rotom's fault, but as a minor character, it was somewhat unfortunate for him to receive such a short end of the stick focus-wise.

Going back to Ash's actual Pokémon, beyond the eternal Pikachu, I'd say the one most worth of consideration overall is Torracat (or Incineroar, but he never fought under the form), both in terms of praise and criticism. I say so because, before his capture, Litten seemed to be given unusually large focus, including being the first of Ash's Alolan Pokémon to debut and appearing for several episodes even between his major pre-capture arc, which being among the most tragic and involved capture circumstances seemed to point towards Torracat being the 'ace Pokémon' of the region, only for things to change once Lycanroc entered the picture. To put it simply, Torracat has some rather solid episodes and a personality that very much matches Ash's own, but he often feels like he's only given breadcrumbs of focus. Between only taking part in one minor trial and no Grand Trials, not getting his own associated Z-Crystal until right before the League and having it used only twice counting the test run of it, and his rivalry battle being the only one in the Alola League to happen in the middle of a match rather than at the end of it (which lead to a rather goofy division of him getting declared winner and then fainting after evolving just so it couldn't technically be considered a tie even if it functionally was to preserve his triumph), it feels like the poor Pokémon is never given enough of his due, and while I enjoy his drive to surpass Kukui's Incineroar and especially the way the plotline was figuratively used throughout the Ash VS Kukui battle, it just seems like Torracat is always last in priority in terms of Ash's Pokémon, which makes even his good moments feel like afterthought even with nice bits like his relationship with Lycanroc, especially with how, as touching and well-executed as it was, Stoutland's effect on Torracat is forgotten as soon as it happens, between Fire Fang being mastered exactly one episode later and Stoutland himself only being brought back twice, once as a thought by Ash and only in the second with Stoutland meeting Torracat again in Poni Island, mostly for the purpose of teaching him another move. So, in my opinion, Torracat is a case of a conceptually solid-enough character, that's however penalized both by how little the narrative gave him focus, and the fact that his arc with Stoutland and his later rivalry with Incineroar are pretty much unrelated (for why I consider this a flaw, consider that fellow Fire starter Infernape was able to have a memorably tragic backstory that did dovetail into his major rivalry perfectly, so just asking for a degree of connection isn't outside the realm of what this show can do).

And then there's Lycanroc, the Pokémon that the series wants us to consider the regional ace, which had several issues associated with him. To put this simply, I feel like he was a much better character as a Rockruff than he was after his evolution, mostly for being the perfect mix of adorable, focused, and having actually pronounced rage issues that occasionally popped up but were treated completely seriously, alongside having a pretty good showing in the Olivia battle as a rare final bout to completely not involve Z-Moves in a period where their usage was starting to become excessive. However, after the evolution (which is treated as a rare, one-of-a-kind event due to Rockruff evolving during a rare green flash yet is never actually remarked on beyond very occasional comments that he looks odd that are never treated as much), his handling changes for the worst, specifically for two of his rather ace-worthy moments: its rage form arc, and the way his rivalry with Gladion's Dusk Lycanroc was handled. The first is overall the biggest issue, because it's also symbolic of Sun & Moon's tonal issues since his major challenge to overcome as a Pokémon is the fact that, whenever his fur gets dirty, he goes on murderous rampages, always after acting goofily shocked in a way intended to be humorous, creating a whiplash effect that doesn't make clear how the viewer should find the scene given it first asks us to laugh at Lycanroc and then to be scared of him. This is also only introduced once in the middle of the Aether arc and then never revisited until the Ula'Ula arc, where it's ultimately solved by Ash bringing back memories of how Rockruff used to act about getting dirty that happened completely offscreen, only for the writers to then milk the drama some more two episodes later by now handling the rage mode completely seriously in terms of reactions and using actual rage as the trigger instead of just specifically the fur, in an episode that ultimately relied on Ash not trusting his Pokémon (when he was already somewhat out-of-character by being scared by Lycanroc's rampage after he was willing to hug his blazing Chimchar to calm him down back in Sinnoh). It's all handled in an extremely brief arc and then never again, feeling like an arc that takes elements from both the Infernape and Ash-Greninja arcs while missing the slow buildup and non-regressive development that made those two arcs work (and I'll elaborate more on it in a bit). Beyond this, his rivalry with Gladion's Lycanroc suffers of being extremely sidelined in spite of being the 'major' rivalry of the series: while the two Pokémon did fight three times, the first time was interrupted by Team Rocket (something they stopped doing for major rival battles for quite a while beforehand), the second relying on some very weird resilience by Midnight Lycanroc by not only tanking completely Dusk Lycanroc's Splintered Stormshards to seemingly no damage but also snapping out of confusion to deliver a finishing Z-Move of his own, and the third relying on a battle that was overall not too bad, but felt more like a mid-series squabble than Ash's victory at the Alola League (which is then completely outclassed in spectacle by Ash VS Kukui). Dusk Lycanroc's rivalry isn't actually too bad, but considering how Gladion's Lycanroc is the only major opponent Ash's ace got to fight post-evolution outside the Ula'Ula arc, Kukui's Pokémon (none of which he defeated) and occasional training bout, it did restrict a lot of his feats and ended up with him feeling more like an okay Pokémon than the powerhouse the writing wanted him to seem like. Coupled with a lackluster personal arc, this makes him closer to the Krookodile tier of 'possible aces' than one of the major ones like Charizard or Infernape.

And then we get to Rowlet, the last of the major Alolan four counting Pikachu, and probably the most problematic of the bunch. Much like Torracat and Lycanroc, Rowlet isn't inherently a bad Pokémon, with the first episodes neatly estabilishing two things: yes, he is dopey and loves to sleep a bit too much, but he's also a serious and competent fighter in battle that never fails to impress, making sure that neither side ultimately hurt or diminished the other. His problem is ultimately revolving around two things: he's spent a long time out of focus, and his later focus didn't exactly paint him in a good light. The first is probably the major issue at hand: while both Rowlet and Torracat were heavily sidelined midway into the series, Torracat did at least get a few token episodes to himself, while Rowlet's first real focus episode after his capture one only really comes almost one hundred episodes later. While in the early series this was mitigated by having Rowlet take part in two minor trials and two Grand Trials, this focus is all but forgotten by the second year of the series, with Rowlet reduced to solely a gag Pokémon whose greatest achievement ended up being learning Razor Leaf by sitting on a magical tree. This had the adverse effect of making his gag tries, which previously only showed either in minor matches or not during serious parts of battle, to slowly become more and more prominent. The other issue is that Rowlet had without a doubt the weakest rivalry set up and buildup of the three major Pokémon Ash obtained in Alola, as Hau and his Dartrix only appear in one episode before the League and two of the three battles Ash had with Hau involved major, non-strategy related writing contrivancies to reach the desired outcome (Ash slipping his Grassium-Z and getting distracted to fetch it for Rowlet to lose for the first one; Rowlet's Decidueye hoodie tanking a Z-Move, the overturned loss, and the sudden learning of a Feather Dance that doesn't act like the one Rowlet was trying to master for Rowlet to win in the final one). The way Rowlet acted in the Ash VS Hau battle is kinda emblematic of this, as the oft-debated overturned loss moment involved him falling asleep in the middle a match he was supposedly fired up for just for the sake of a joke and nothing else; regardless of how one wants to justify it, it doesn't change that such a thing never happened before in the series, and it ultimately involved Rowlet betraying the trust Ash put in him just for a scene the writers deemed funny, in what was supposed to be his finest hour (while Rowlet fell asleep in the Hala Grand Trial, it was only after his part of the match ended). Considering also that two of the moves Rowlet learned required the help of his adoptive flock without as much input from Ash and he ultimately ate an Everstone just for a variation of Seed Bomb that turned out to be more a liability than asset throughout the series, not even a cute relationship with Meltan and the fact that he won his last important matches of the series makes up for some of the worst excesses of tonal imbalance and inability to let jokes go in a context that absolutely have no space for his brand of incompetence-based humor.

With the major Alola captures gone, there's just the other two latecomer to discuss, and I'd like to start with Poipole/Naganadel, specifically because he's probably one of the worst handled Pokémon Ash ever owned. While the second year of Sun & Moon had several issues, none are as glaring as Poipole being the major Pokémon of the period, only to not actually do much of actually important. Starting with the fact that Ash only bonds with Poipole by proxy to begin with since Poipole interacts with and loves Pikachu before Ash even actually enters the picture, Poipole's biggest contributions to the series afterwards are acting silly for the majority of episodes and never actually getting involved in serious fights beyond one small bout with the Team Skull trio (which is estabilished as even more pathetic than the Team Rocket trio), making the fact that Ash captured him feel like a waste, especially when his focus episodes dealing more with his emotional side end up being just two, and ultimately not doing much of helpful during the Necrozma arc except leaving at the end in what at the time felt like a rather permanent farewell (as he was stuck in another dimension rather than somewhere Ash can readily access). Now, if Poipole's story ended there, he would've been odd but not too bad all things considered, but the problem comes from the fact that Poipole eventually returned right at the end of the series for no adequately explained in-universe reason during an unrelated Guzzlord attack, not only evolved but also presented as a competent and useful battler in spite of the fact none of it happened either onscreen or by Ash's efforts (unlike how Gliscor and Goodra, Pokémon in similar situations, did prove their worth onscreen before being put aside for a time), making this turn come across as an undeserved boost for Ash just so he could have six Pokémon, alongside removing the beauty of the permanent farewell Ash had with Poipole because the sheer coincidence of Naganadel's arrival and then his departure means that they may as well see each other again in the future. Among Ash's Pokémon in Alola, Naganadel is probably the crowning example of the series wanting its cake and eat it too in terms of wanting to be cute and fun and then rushing to make battles matter without the required buildup.

Meltan shares a lot of issues with Poipole, but overall to a lesser degree, mostly because his biggest problem is just coming way too late in the series and, much like Poipole, he only really bonds with Ash by proxy due to starting to like Rowlet first. Much like Lycanroc, his existence is supposedly important as a new discovery but this trait of his is barely called to attention, and coming too late in the series he only gets a few battles to his name with his contributions mostly amounting to gags rather than skill and serious fighting, alongside having the dubious honor of being the only Pokémon of Ash's Alola team to never use Z-Moves in spite of Ash fetching a Steelium-Z as a result of his final Grand Trial for no other reason than the out-of-universe one that Melmetal has never been in a game where you could use Z-Moves. Adding to the fact that Meltan only evolved right before the League finals for reasons outside Ash's guidance or influence conveniently before the last match for the victory, only to give indirect help at best and then winning a battle against a Pokémon with no feats, it's hard to consider Meltan's power boost earned and even harder to tell if he even had a significant power boost to begin with considering how little feats we have for both him in particular and Alola battles in general. All in all, a Pokémon that's been more shortserved by how late he came than actually any inherent issues.

2.3) Ash, Pikachu, and the Team Rocket trio

And with all those characters breached, we have to move on to the Sun & Moon take on Ash himself, which is, to put it simply, rather complicated to discuss. Another one of Sun & Moon's biggest talking points was the decision to amp up Ash's typical childishness to higher degrees than usual, with even his voice actress Rica Matsumoto confirming in an interview for the next series that she was explicitly instructed to play Ash as younger than usual for the Alolan series. Now, yet again, Ash having a goofier and more relaxed personality is neither unprecedented (as he was always silly to a degree, even in XY) nor inherently bad, and the problems mostly came from how the series decided to handle him later. One good thing at the start was that the take this series seemed to go for was Ash being a battle shonen-esque hero stuck in the wrong genre, with his typical behavior clashing with the more relaxed nature of the setting, which actually worked well in ensuring he didn't feel reset while fitting the new mission statement of the series. The problems really came up with how, ultimately, Ash became the series' biggest target of butt monkey-related humor (with the rest of the cast either being treated far more seriously or only occasionally being given the same treatment) and his initial competence in battling lead the way to an overabundance of 'silly regular kid'-related humor with even battles treated as mostly laughing matters, something later battles and important matches overturned to a degree that started to make Ash's handling feel arbitrary.

And arbitrary is the best way to describe Ash in this series: he can either be as good a trainer and master planner as he always was (Ash VS Olivia, Ash VS Misty, Ash VS Kukui), a heroic young man willing to go to good lengths for people he cares for (Tapu Koko rematch, most of the Guzzlord arc) while being scared and intimidated by his own Pokémon (Ula'Ula arc), a regular kid screwing up on daily tasks and willing to cheat his homework (Sophocles' early focus eps, the open school episode), a whiny little kid (the Stoutland treasure hunt episode, the Rotom farewell episode), a surprisingly thoughtful and serious boy (Stoutland's death episode, Minior episode) and everything in between, with the changes being so jarring that it feels less like this show is attempting a nuanced take on Ash and more like the show is simply not caring to stick to any portrayal depending on what the episode requires, especially when as I said above the entire premise of the show hinges on Ash not falling for his typical wanderlust (which is the inability to sit still for long and explore the world, so 'school and daily life adventures' doesn't cut it) without ever adequately explaining how, and seeming strangely uninterested in looking for new chances to grow stronger unless they happen to come his way. Arbitrary is also a great way to describe his impact on both his friends and the region, where in spite of appearing in every single episode, it often feels like Ash is irrelevant to his own show: he has nothing to do with either of Lillie's family deals, nor Sophocles' growing independency beyond occasional sidelines support and kickstarting it indirectly with the Charjabug gift, he barely did anything to support Lana's achievements beyond being there when they happened, his rivalry with Kiawe was nice but ultimately wasn't given his due, and Mallow and him barely got to have significant interactions throughout the story. Most of his rivalries in the region were carried more by his Pokémon than himself as he only shared amicable relationships with all of his supposed rivals with no real competitivity at their core (aside from Kiawe, which as mentioned was done dirty), and even when he got to be a hero it was either as part of an effort by everyone (Necrozma arc, both Guzzlord instances, technically most Ultra Guardians episodes), relying on questionably justified plot devices (Aether arc, and once again the Necrozma arc), or ultimately moving the focus away from him and his influence when you'd think the story would do the opposite (Guzma's parts in the Alola League). Adding onto that that the amount of times his Pokémon gained moves in the heat of the moment without training (a series staple that previous series tried to downplay with more onscreen training) and how his Pokémon ended up learning moves more for the actions of someone other than him than because he helped them, and Ash's handling in this region really adds up to strangely inconsequential, which is particularly bad considering how the League tried to go the other way, making his eventual achievement at the end feel hollow in the face of lacking buildup in the region and the several boosts and narrative aids he got to get there.

There's also the elephant in the living room that is Ash's development. Early in Sun & Moon I've seen people claim this series was more about Ash developing as a human being than as a trainer, which would be true... if not for the fact stuff like Ash doing chores was also alluded to and shown in previous series like AG and DP, and that during the Alola League (which should be the culmination of the series) none of it is actually remotely involved except for Ash talking of his love for the region during the final attack, while it never actually showed in previous matches (even against Guzma, which should be where this should come up given Ash's declaration at the start of it, the narrative wants us to stay in Guzma's head instead). The 'love for the region' thing also seems weird to bring up to me considering he actually spent less time exploring the region and more being holed up in one city with very occasional detours, with most of the plots ensuing around him being the sort of thing you'd see in "filler" episodes (like taking part in some competitions, taking part in a play, etc). It feels more like the series wants us to pretend the typical filler hijinks now are part of character growth rather than being just small adventures for fun. If we consider that learning to love the region, then Ash didn't really do much of different from previous series beyond sitting still this time around. And ultimately, the fact that Ash is back to adventuring now in a similar way to previous series means that if Ash ends up winning a League again in the future (which is not unlikely now that the ceiling was broken through), none of the reasons given to make his stay in Alola significant would really age well. The only arc that I feel actively tried to develop Ash as a trainer was Ula'Ula, and that still relied on some very significant moments of out-of-character behavior from Ash.

2.4) Relationships, and Everyone Else

I think at this point one recurring issue has cropped up: specifically, there are so many supposedly important characters that none of them truly got their due in terms of focus, either having to be satisfied with a number of focus episodes that barely amount to an arc or with their involvement into things reduced to just their specific deals and barely little else, especially with how this was the first series to not have all of Ash's friends necessarily involved in every episode. I feel this had a pretty adverse effect on the series' dynamics, as the already diluted interactions between the cast due to the large group ended up being even less focused on given that not all the characters were always there. As a result, we barely know stuff like Mallow's or Sophocles' relationship, or Lillie's and Kiawe's, and so on, with their own relationships to each other mostly falling into basic friendship (the ones with Ash in particular mostly falling into respect, friendliness and occasional snark at his expense), with only a few like Kiawe's competitiveness with Ash or Lana and Mallow being revealed halfway in as childhood friends having particular focus, otherwise being content with splitting the cast into 'the boys' group' and 'the girls' group' whenever they needed focused attention, and the rare occasions where the characters had some interactions. For the most part, perhaps emblematically of this series, characters mostly shared moments rather than actual relationships.

All that's left to discuss in this area is the rest of the cast, and let it be said... for a series supposedly about exploring the people of Alola, the majority of the non-main cast ranges from forgettable to rather dull, especially once we move to the lesser recurring characters. Lusamine's reduction to an overworked mother who only gets involved in matters explicitly tied to her children and occasionally the Ultra Guardians missions was a rather noticeable waste of an interesting game character, and while Kukui does have a nice presence and good usage throughout the series, the same can't quite be said of his wife Burnet, who beyond some good presence in the Aether arc and minor bits of exposition when dealing with Ultra Beasts (and in particular Necrozma) is effectively sidelined in housewife position for most of the series as Ash's 'second mother' (a position that, unlike Kukui who actively acts the part, mostly seems to come from cooking for him and being married post-Aether) with most of her funny moments coming from being a Royal Mask fangirl. Wicke has very little going for her, while Faba is probably one of Sun & Moon's worst misfires in that, after making his villainy far worse than his game self, the story acts like he should be forgiven while never actually learning his lesson, in spite of the show telling us he caused trauma to Lillie for years and how most of his contributions to anything end up boiling to minor help at best, and attempting to cheat his way to what he wants (the League) at worst. It's a horrible lessons for kids to have, and I'm not sure what the writers had in mind with this aside from keeping him around because the games' more snively and heinous Faba (even accounting for his more evil USUM iteration) also did.

Then we have the Kahuna, which are for the most part okay bit characters (even if Olivia's take was pretty weird, coming from her game self), with Nanu as the obvious standout even between the issues of the Ula'Ula arc as a jerk trainer with a point that doesn't really get 'taught his place', close enough to his game characterization, and Hapu having a decent track to development in the Poni arc (even if much like Olivia, it sacrificed her game characterization along the way). The other Trial Captains not part of the main cast run the gamut between nice to see but not particularly deep (Acerola, to a degree Ilima) and pretty much borderline pointless (Mina). Ash's rivals are a similar deal, with Hau being nice but having not too much to himself with how late he enters the series, while Gladion is an alright character whose rivalry with Ash mostly suffers of being a tad vanilla: they're on friendly terms, are strong, and like to battle each other, but beyond that Ash doesn't have much of a reason to be a rival (something even Alain had by being interested in facing Ash even if he was as separate otherwise), like the student-teacher relationship Sawyer had, or the foil status Paul shared with him, or simply being an old friend he wanted to surpass the way Gary was. Their lack of connection alongside the fact that Gladion would barely think about him unless the plot required him to only contributed to them feeling a tad distant from each other, and why their final bout at the League felt for many viewers just 'okay' rather than the earned culmination of their relationship.

And then there are the lower tier recurring characters, ostensibly Sun & Moon's selling point as, unlike previous series, only rarely did the series happen to introduce 'characters of the day' that never came back afterwards. The biggest problem is that, ultimately, all of these lower tier characters are still as flat as the characters of the day of yesteryear: in spite of appearing several times, all we know of Anela the old lady is that she used to be a dancer and likes Litten/Torracat a lot, Ulu is pretty much an even more flanderized Brock that seldom pops up, Anna the reporter mostly stuck to that role, most of the parents and relative of the classmates that weren't Lillie's remained minor characters with little of note to themselves, and so on. The only noticeable recurring guys among the bunch are probably the Skull trio (which mostly acted as a second rate Team Rocket while was even less recurring than they were in this region) and Viren as a recurring antagonist, mostly for being the kind of villain you usually saw punished at the end of the series in previous series (like Dolan the Pokémon merchant) except made recurring in spite of being arrested in his previous appearence, with no real explanation beyond 'kids' show logic'. Even supposedly important characters like Ida and Horatio mostly remain rather regular mentors and rivals with not much else to them, and are unlikely to stick to anyone but the most diehard fans. There are of course some good characters among this bunch, especially the borderline characters of the day like two-episode-wonders Dia and the Kanto weaboos in the Malie City arc, but overall, if Alola truly wanted to make this a lived in and more developed region than previous series, its inhabitants didn't give this aim any real favors, in my opinion.

3. A Dissection of the Series: What Went Wrong, How, and Why

With the biggest parts of important elements of the series analyzed, I'd like to use this final part of the review for some extra analysis of how the series went down and why, in my opinion, it ended up changing for the worse as it went along, since there's one important thing to point out: Sun & Moon, conceptually and fundamentally, wasn't a bad series. But what it does have is, beyond some big flaws, several small ones that continously added up.

Now, let's start to dissect everything, dividing everything by their year of airing.

3.1) Year One: Beginnings, Akala Island, Aether Foundation

When I say that, I have to start with saying that my opinion of Sun & Moon wasn't initially this negative, and in fact, the first twenty-to-forty episodes were actually pretty nice: while the setup is slightly different than usual and humor is definitely prevalent (in particular the oft-mentioned 'funny faces', which would go on to become one of the defining elements of this iteration, far more than any prior series), there's a steady influx of plot-important episodes, development and setup for the future to help making the series a breezy watch, with each slice of life romp feeling either productive or simply fun diversions. Among the good things estabilished here that stand out as good even at the end of the series there's definitely the spiritual angle of Alola, an angle that whenever explored truly does make the region feel different than previous ones and like Ash is effectively experiencing something he never did before, and with stuff like the first trial and Grand Trial alongside Litten's capture arc and Gladion's introduction help keeping ther pace going even in the absence of a more overarching goal in the League. Now, this stretch is hardly perfect, considering that it already shows several cracks that later expanded: Ash only decides to move to the Island Challenge when he happens to remember about it in episode 9; a lot of battles end way too quick and barely get focus except for Trial and Grand Trial (which still have a somewhat lethargic pace); Gladion's decent rival setup is ruined by an unnecessary Team Rocket attack; some Idiot Plots and empty episodes that are just dull to watch happen; certain setups and developments are rushed to the finish way too fast; and, most importantly, the removal of Trial Captains from the lore and Team Skull as a consistent presence beyond occasional moments ended up removing tentpole parts of Alola's nature in the games that the show barely fills adequately, and it opens the door to call anything the show wants a trial, no matter how unrelated to battling it is, giving a feeling that the Island Challenge is hapzardly put together. But, during these early episodes, the problems are negligible or made up for, and even nowadays, I'd heartily reccomend everything up to Stoutland's death as legitimately good.

The first crack, overall, comes from the Akala arc. At the time of its airing, it looked to be a breath of fresh air as it finally moved away from Melemele Island after a rather noticeable dip in plot important events for more filler-y hijinks, and due to prior experience with the series, it was easy to assume the cast would've remained there for a while. However, that didn't end up happening, the arc ending mere episodes after it began, after rushing through equivalents of the three in-game trials (with Ash only effectively taking part in the Grass Trial from the games while Kiawe and Lana ended up gaining his Marowak and her Z-Ring and Waterium-Z instead) until it culminated in Olivia's Grand Trial, with one extra episode dealing with evolution-related issues for Lycanroc culminating into Dusk Lycanroc. This arc already started on a bad note by only allowing Ash one of the in-game trials for a Z-Crystal, which while to a degree understandable on the reasoning of wanting him to only have Z-Crystals he'd effectively use and the seeming decision at the time to not have overlapping Z-Crystals among the main cast, ended up solidifying the 'whatever counts' feeling of the Anime Island Challenge, and a first proper episode that seemed to relish into making Ash into an even larger butt monkey than usual, including him crying like a baby upon losing in a way that would've been immature for his OS self. Kiawe's episode was the standout of this batch, as it focused on him confronting an opponent he couldn't beat and with Ash giving him support into improving, estabilishing a good challenge to overcome in a way that had become rare for the series and was good to see again. Lana's own Trial wasn't bad either, but suffered of having more challenge put into it during the fishing part than the battling part, and Ash's Grass Trial being a battle that suffered of both misplaced comedy (an example of tone imbalance I'll address more later) and an opponent that barely even moved in Totem Lurantis. Olivia's Grand Trial was also probably one of the best battles to come out of Sun & Moon, putting a focus on strategy even in an extremely slow battle and with a more-than-decent finish, with the only blemish being that Rockruff's signs of evolving only really come one episode before they develop further into him evolving, and the already-mentioned problem of Dusk Lycanroc being supposedly a new discovery that nobody paid much attention to, after which we moved back to Melemele to resume the rhythm of seeming slice of life (with at least three episodes of good importance and one nominally important).

After another brief stretch, we moved briefly to Kanto for an arc that was ultimately just nostalgic fluff for old fans bringing back Misty and Brock, which was nice even if transparently OS-pandering (to the point Misty's Azurill and even Tracey were not even as much as mentioned during the episodes), with the only really important contributions to the series beyond two cool fights in the second episode was the first mention of the Alola Pokémon League (with Kukui being reminded he'll need badges, something he seemed to not pay much attention to later) and Misty and Brock getting a promise of a visit to Alola that didn't really do much for the series beyond further fluff. After this, however, we finally moved to one of the first truly major arcs of the series: the Aether Foundation arc, or, in my opinion, where the series really started to fall apart.

At first, the arrival of the Aether arc seemed to be rather promising, seemingly keeping the slice of life nature of the series but starting to delve into the elements of the games for what people presumed to be a slow burn to a payoff loosely covering the game events. Except... that's not really what happened. Instead, this entire arc turned into about a dozen of episodes harshly abridging the entire villain arc of the games and cutting everything they couldn't fit, while seemingly following the conflicting mission statements of making the arc as loosely close to the games as possible while trying to be as different from them as possible, and this was clear from the very beginning, with the introduction of Lusamine as an overbearing mother with none of the deviousness of her game counterpart. This, however, isn't necessarily a problem as the Anime has often rewritten game characters before, but what the problem is is the fact they changed the conflict of Lillie dealing with the emotional abuse Lusamine inflicted upon her into Lillie simply being annoyed at being treated as a child and, most importantly, being annoyed at how her mother evolved her own Clefairy, something Clefairy itself didn't have a problem with, that makes her come across as a spoiled brat and losing most sympathy (especially when no one but maybe Burnet reprimand her for her callous behavior), especially when Lusamine is treated as legitimately loving her and just being too busy rather than having any malice. The problem is also that, throughout the arc, the only one blaming Lusamine for never wondering how did Lillie develop her phobia of Pokémon is Gladion, while true to form Lillie doesn't seem to hold her mother accountable for it, and in fact, only wants to uncover the truth after Nebby teleports her near Type: Null by sheer coincidence, reverting her development from her focus episodes. Nebby is another big issue, as its ownership moved from Lillie to Ash for no reason other than giving him a reason to be involved in what would've otherwise been 'the Aether family show', yet the episode wants to still play into the game by implying Lillie and Nebby have a special relationship when they share their moment.

What I feel was the biggest issue of this specific arc, however, was shuffling the actively villainous role of the plot towards Faba, where he actually manages to be menacing for a brief while before the show decides to fully portray him as a silly villain hard to take seriously (including a magical girl routine to activate an Ultra Wormhole-creating machine) even as he's responsible for Lillie's trauma in his attempt to make Lusamine happy and finding an Ultra Beast for her and tried to wipe out Lillie's memories when she seemed to be able to reveal what happened. In the midst of a sea of confusing plot holes by adaptation (why was Type: Null fitted with the mask when as Silvally he did exactly what he was asked to do and Lusamine seems unaware it even exists? Where did the RKS System ROMs come from? Why the heck did a random Solgaleo and Lunala entrust their child to Ash to begin with?), the biggest problem of this arc comes from how, in Faba's aborted attempt to wipe out Lillie's memories, Silvally's attempt to save her reminds her of what really happened when she developed her phobia (a mere two episodes after it was revealed what caused it), giving her back the ability to touch all Pokémon again, making her previous attempts to do so feel retroactively pointless and only there to milk viewer sympathy for when she lost the ability to again, alongside ensuring to keep her development path directionless after this episode barely one third of the way into the series.

The biggest problem after this, however, comes from Faba's subsequent plan that ends up with Lusamine defending her children from a Nihilego and ending up dragged into Ultra Space due to her act of selflessness, with Lillie, Gladion, and subsequently everyone else moving on to Poni Island to rescue her. Along the way, Lillie changes into what the games called her 'Z-Powered Form', which in the games symbolized her moving away from her mother's shadow, while here it means... pretty much nothing, voiding it of its significance and making it come across as either a game-pandering move or something just done because the source material did it. Another significant issue of this stretch is Ash's upgrade of his Z-Ring into a Z-Power Ring, under the absolutely important reasoning of his Solgalium-Z not fitting in his regular Z-Ring. Meaning that Ash needed a magical, seemingly important ritual to obtain something whose usefulness boils down to borderline cosmetic reasons, especially as we later see Z-Power Rings doled out regularly like they're nothing important (including one to Team Rocket and Gladion's regular Z-Ring turning into a Z-Power Ring with no one remarking about it), which is probably one of the most blatant cases of marketing dictating plot flow in the history of this series.

We then moved on to the final battle, which was admittedly decent enough beyond some strange issues of power creep (like Sophocles one-shotting Lusamine's Milotic) and some occasional bits of tonal imbalance (Teether Dance hula in the middle of a serious mission by Sophocles, Mallow and Lana), but was marred by two issues of significance: one was the decision of having Lillie's big moment with her mother possessed by Nihilego involve her giving a speech of how she hates her and how she allowed herself to be possessed by an Ultra Beast for how self-absorbed she is, which while definitely meant to come across as "the mother I respect would never fall for it" has the problem of Lillie and Lusamine never getting a softer reconciliation before this moment (with said softer reconciliation seemingly happening offscreen after everything was over, which we never heard of until almost episode one hundred), which just further makes Lillie unlikable. The other problem is the grand debut of 10,000,000 Volt Thunderbolt, a move that was only used three times that was either poorly explained or never actually received an explanation depending on how you interpret the part where it's employed in the very last major battle of the series, completely out of nowhere except for perhaps Ash's Electrium-Z shining briefly a lot of episodes ago, which was never fully explained, as is the fact Ash's Pikashunium-Z reverted after use.

And thus, after a wedding between the four-times-dated Kukui and Burnet and with Nebby deciding to leave for no adequately explained reason, with Lusamine estabilishing a task force for Ultra Beasts which involves the classmates and Lillie in the closest thing this series gave them to an onscreen reconciliation, after an arc where Lillie supposedly grew... things returned to be for the most part exactly like they were in previous episodes, almost like this arc never happened, including Lillie reverting to her regular clothes. Pretty much, this supposedly character-focused arc ended up coming across as ultimately not so important, especially when Lillie's personality remained roughly the same with the only real problems she developed from being the ones this arc itself introduced, except for now being able to touch every Pokémon.

Things seemed to just return to normal, even if this was just a prelude towards the structure of the series completely collapsing on itself.

3.2) Year Two: Ultra Guardians, Ula'Ula Island, Necrozma

Year two is the one to which I, personally, trace most of the problems of the Sun & Moon series, as the major focus of the series throughout this period ended up being the 'Ultra Guardians', a Sentai-esque team formed by the main cast under Aether Foundation supervision tasked with dealing with Ultra Beasts, and the biggest problem of this arc is that it really wasn't an arc so much as it was a loose connection of monster of the weeks plots that occasionally was brought up outside of them, but was otherwise completely separate from everything not just in terms of structure, but also in tone, as a parody Sentai with barely threatening monsters clashed heavily both with wanting to be a chill slice of life Anime and with wanting to be a battle-based Pokémon Anime. It's an arc that never fully gelled with everything else (the only I'd save being Celesteela, a good Sophocles episode and a rare character-driven Ultra Guardians romp) and ultimately ended on a pitiful note with a rather dull episode with no real oomph to it, but ended up taking the 'main arc' position and leaving the rest of the series pretty much directionless, with several major arcs stalled and, beyond Lillie obtaining her Icium-Z and an Ice Stone that then disappeared completely, Torracat and Steenee evolving, and the Ula'Ula arc for Lycanroc, and Poipole leading to Necrozma, pretty much little of major happened. Teams remained frozen, and development seemed to hit a dead end, beyond officially introducing the Masked Royal.

Between the Ilima episodes (which felt like a waste considering his main purpose at the League ended up being effectively jobbing to Guzma) and the beginning of the Ula'Ula arc proper, the viewers and the students were properly acquainted with the idea of Alola soon getting a Pokémon League, with both Ash and Kiawe expressing interest in it. This didn't send any weird looks yet, as Kiawe was estabilished as the other major battler and to have taken the trials, but this was in hindsight an important omen of things to come. In the meantime, however, Ash departed for Ula'Ula in what turned out to be a solo arc, and one that started up promising only to run into big issues along the way.

I already mentioned part of it when talking of Lycanroc, but the problem of the Ula'Ula arc is that it works on the assumption that Ash would be scared of Lycanroc's rage issues to the point of not acting, with Tapu Bulu's training giving them a moment to surpass those issues that, even with Rowlet suddenly learning Razor Leaf by sitting on a magical tree, could've even worked if it wasn't for the fact that to calm down Lycanroc and reaffirm his trust in him Ash ended up involving a flashback to Rockruff that we never saw before, making the whole affair come across as insincere. After an interlude where Ash undertook a 'Trial' that was technically the in-game Ghost one but was effectively a phony one involving Team Rocket (just furthering the 'whatever goes' sense of the Anime Island Challenge) that resulted in no Z-Crystal, the debut Electroweb, and a strange appearence of 10,000,000 Volt Thunderbolt again in spite of the whole thing being a relatively down to earth affair even with Team Rocket about to win with Mimikyu's Z-Move, this arc reached its conclusion with Ash VS Nanu, a battle that's been in equal part praised and mocked, and which I had a friend describe in the most accurate way as a well-written and interesting battle... for anyone but Ash Ketchum.

Seeing a battle taking on a more psychological bent with Nanu toying with Ash and trying to force him to give in to Lycanroc's rage mode is an admitedly interesting choice and Nanu is absolutely the best part of this battle for it, but the problem is that this requires the assumption that Ash would unconsciously not trust his Pokémon after they put the rage mode under control with trust to begin with, alongside the battle being rather visually boring and with a 1 VS 3 set up that makes it more seem like Nanu is weak than Ash being strong (especially with Tapu Bulu tossing in a Sitrus Berry mid-match). This is supposed to be Ash's big development moment as a trainer in Alola, but it requires Ash to have a regressive mindset that doesn't fit how far he's come (something Sun & Moon does in quite a few things big and small, like completely forgetting Jennies and Joys are families of clones after the Kanto episodes) and, much like the Aether arc before it, begins and ends in the few episodes it takes to happen, I already covered Poipole's issue in his character dissection, so I'd like to move on to the most important part of this year: the Necrozma arc, which among the major arcs of the Sun & Moon series it's probably the most irrelevant. Coming in after only minimal foreshadowing (including a fairly interesting hint of a connection between Nanu and Giovanni that the show never really dealt with adequately), this arc was effectively as standalone as it gets, involving events that were only briefly mentioned after it (Rotom depositing the data of Necrozma in the Stufful episode, Naganadel's return, the stadium where the League was held being called Manalo Stadium), and that tried to make a big dangerous deal without actually having much happening: beyond the biggest damage of the episode being adults feeling comedically down as a result of absorbed energy, the introduction of an Elite squad of Team Rocket led by Giovanni's secretary Matori (here revamped as a Team Rocket trio hater in spite of originally being the one reccomending them to Giovanni in DP's last episode) that ultimately did nothing significant except maybe causing injuries to Nebby that wasn't clear if they happened or not with how stiff the animation was, the baffling and unexplained return of Nebby alongside an out-of-nowhere Lunala, and a general sense of big deal where nothing much of dangerous for the cast happened (and that bafflingly replaced the Ultra Recon Squad and Ultra Megalopolis with a talking Naganadel and a generic quarry that achieved effectively the same purpose), this arc ended up feeling like a snoozefest that only resulted in Poipole staying behind in his now healed world in an overall beautifully permanent-feeling farewell, except that, in the light of future events, this choice felt like one that effectively harmed the show in the long run. Also, with Matsui being the headwriter, one might think resolving the arc with everyone sharing their energy borders on self-plagiarism considering she was also the headwriter of Dragon Ball GT, which had a similar climax (itself inherited from Dragon Ball Z).

Thankfully, even if this year was really not the greatest, the following one brought as much improvements as it did other problems to deal with.

3.3) Year Three: Poni Island, Hints of Mohn, Alola Pokémon League

The third year of Sun & Moon did not start on a good note, as after the Necrozma arc the show ended up on a shortage of things to look forward to, with several arcs still stalled and only the still no show Guzma and the League left to check out. During this period, perhaps to lead into Let's Go marketing, we started getting some shorts at the end of each episode dealing with an Eevee getting to Alola, which everyone assumed would eventually go to Ash, only to unexpectedly go to Lana in a move that made some fans sour. Sandy didn't end up doing much else but being cute and possibly allowing Lana's arc to resume by giving her another cute Pokémon to hold in Popplio's stead, but that was it for a while alongside Hau's debut as a character, in an episode infamous for being at the same time an okay rival introduction where Ash lost a fight by fetching his Z-Crystal and getting distracted to take it back, and where Rowlet ate an Everstone for a move that turned out to be more trouble than it was worth.

Beyond Misty and Brock visiting an Alola (which involved an episode where Brock's womanizing gag was blown even further than ever before) and an actually pretty decent arc starring Ash tossed into a post-apocalyptic alternate Alola to deal with Guzzlord in a rare instance of an Ultra Beast being presented as an actual force of destruction, the show finally started to move again with the Poni arc, or as some people called it 'the ultimate development arc', as the focus of this arc seemed to be the opposite of Ula'Ula being an Ash solo act by putting the focus back on the neglected companions, giving them either a new character direction, Z-Crystals evolutions, new Pokémon or in Ash's case his final Grand Trial, all tied together by Hapu opening up to the crew after starting standoffish and distant. Overall, Poni isn't on paper a bad arc, and there are quite a few episodes that are actually pretty good (Kiawe's trial among them for sure), but cramming all this development on the same island one after the other only had the effect of feeling jarring (unlike how Akala was not only still early enough, but only gave significant new things to Ash, Kiawe and Lana), most noticeably by cramming two completely separate evolution plots in the same episode in a move that slightly hurt both of them (Sophocles' feeling a tad impersonal, while Lana's lost the actual training part of it), Shaymin was effectively even more irrelevant than Sandy in the series, the Mohn arc estabilished here had some problems I'll get into soon, and the Hapu Grand Trial ending up as one of the worst 'Gym battles'-like matches Ash ever fought by utilizing the same strategy to victory as the extremely derided Brock battle by dousing Mudsdale and using an Electric attack on it, only adding the patch that 'it was just like Soak' even if no Pikachu can access that move. Ultimately, a well-intentioned arc that felt a bit too little, too late, and came at the expense of Ash's own focus before his final Grand Trial (to the point unlike the previous islands he didn't even do any unofficial trials before this one).

Following this, the next major episode (excluding a two-parter introducing Ash's Meltan that arguably ran one episode too long) was one that was both long awaited and caused some issues and improvements for the series going forward: Guzma's debut episode, alongside the formal announcement to the world of the Alola Pokémon League... and more specifically, the fact that it would be open to everyone with no requirements whatsoever, on the justification that it's not important who wins. Now, I've seen way too many debates on the topic, so I'll put it simply: regardless of if you think an open League is a good idea or not, it does mean that the various trials and Grand Trials Ash took on lost a lot of their meaning since they became self-sustained achievements that don't mean much outside their bubble if Ash didn't need to do any of them to enter the League, and this structure did cause several problems that lowered the general quality of the Alola League for a decent part of its length. When Guzma is being painted as the bad guy for considering the League just a schoolyard fight between weaklings, the viewers shouldn't be inclined to agree with him.

Another big issue of this decision is that, otherwise, it caused the structure of the series to come under scrutiny: before, and usually, since Ash is the only character taking part in the League, it's only his growth in skill that is under scrutiny, and everyone else is free to be as strong or as weak as necessary, but opening the door to everyone to join in also meant that everyone in the series came under scrutiny, and to put it simply characters like Mallow just weren't made to be involved in it even under the guise of a League for fun, something that showed in the actual execution of the Alola League and that I'll get to in a bit.

The episode after this one started the further estabilishment of the Mohn arc, and let me just say... this arc is, on the whole, probably the most disappointing of the various arcs of Sun & Moon, and that's saying something after everything I explained so far. Specifically, the biggest purpose of this arc was for the Aether family to find out about the whereabouts of the seemingly dead patriarch of the family, and supposedly show Lillie as being 'strong' after the events of the Aether arc, but in actual concept, it was just a convenient way for her to get a Z-Ring after conveniently ignoring the possibility for almost one real life year, getting it 'on loan' for almost getting a Z-Move to work in spite of everyone else requiring to pass a real trial to get theirs, and with her contributions effectively ending up still needing Gladion's help and amounting, once more, mostly to feeling sad to catch audience sympathy, while Gladion gets a Zoroark to be only used in one round of the League. But the worst part of all is that this arc, to put it simply, doesn't end. After Magearna finally wakes up and we get the not explained reveal that it knows where Mohn is, the Aether family embarks on a journey to find him... only for the series to end at that point. After spending six months teasing this storyline, just leaving it hanging like this is poor storytelling, and even with the justification that Pokémon 2019's world-hopping premise would mean the new show can end it for Sun & Moon, the series shouldn't have to rely on another one to resolve its own plots, especially one on which supposedly significant moments of the late series hinged on.

The rest of the series, however, does gain something from the open League premise, and that something is a consistent direction by having everyone get boosts in preparation for the League, which at the very least leads to some alright moments for Sophocles that play nicely in his arc and the technical resolution of Lana's arc, among a sea of strangely persistent legendary appearences that only got more and more contrived as the series went on considering they were entirely separate from each other, even the ones that led to ultimately good episodes (like the one where a Celebi led to Ash and Torracat meeting a young Professor Kukui), since it felt like a move to ensure attention that was wholly unnecessary to the story being told. But over time, everything came to a close with the start of the Alola Pokémon League, probably the most talked about arc of Sun & Moon, for good or ill.

The Alola League is unique in several aspects, both in terms of the Sun & Moon series and the Anime as a whole: for the former, it's a battle-focused arc in a region that didn't want battling to be the focus as the climax of it; for the latter, it's the longest League arc in the series' history. clocking at roughly sixteen episodes. Being a tournament arc, you'd think such a good length would benefit it, but the way the series decided to execute things left a lot to be desired, most specifically because Sun & Moon has a very mixed track record in terms of battles and for the decision to show every battle of the tournament even if just partially. There is a lot that could be said about this arc, but I'll try to aim for the big ones first: for starters, beginning the League by reducing the contestants to just sixteen using a Battle Royale was a rather poor choice, as not only that's a format that allows characters to reach high positions by just surviving rather than being strong (as seen by how James got to the Top 16 even if he explicitly didn't face anyone), but confining it to just one episode meant that pretty much every battle of it was reduced to just a series of one-hit KOs from every major characters, with all of them ultimately surviving. After that, another problem was how a lot of the early rounds of the arc ended up averaging between okay to poor battles, with the dubious honor of having Ash's first battle being completely for laughs against Faba, the only character beyond Jessie and James to get one in this League in spite of being the eventual winner. I already mentioned the specifics of Mallow's attempt to quit her match coming out of nowhere from a character standpoint and the issues of Ash VS Hau, so I'll just say that Lillie's battle against Gladion was okay but done dirty for what was supposed to be a huge moment for her in terms of development, and that Sophocles', Lana's (sans Mallow's) and Kiawe's battles ended up being okay to great on the whole. However, the fact that the first two rounds of the League only used one Pokémon each didn't help the sense of escalation at all, nor the sense of Guzma being correct in describing this League as 'a schoolyard fight between weaklings'.

From the Semifinals onward, the League improves in quality due to only good battlers remaining, though it does run into problems of a different sort: Guzma, which was built up as the major threat of the League with Ash vowing to stop him due to what Alola did to him, is not only dealt with in the penultimate round rather than in the finals, but in a battle that makes that statement ring a tad hollow since the perspective we follow during the fight isn't Ash's, but rather Guzma's, shedding some light into his confidence issues and his Golisopod's habit to use Emergency Exit whenever scared (which beyond being only halfway foreshadowed, also ends up with the bad side-effect of giving Ash a free win through Torracat, turning Ash VS Guzma into a 2 VS 1 in Ash's favor), but effectively making Ash interchangeable as a result. It's a good fight with some nice moments, but it just makes his build up as possibly ruining the League for everyone ring hollow when his presence didn't seem to ruin the League for anyone in any way, and the threat wasn't even considered worthy of the finals. Kiawe VS Gladion, by contrast, is mostly a good fight with not much else to it. However, one thing that starts to be noticeable in this part of the League is the sheer reluctance of the show to start any matches before the halfway mark or close to it, padding the airtime as much as possible with not always necessary scenes and stretching the battles along two episodes even when not necessary.

The finals having three Pokémon each meant that Ash VS Gladion ended up having a bit more meat to it in terms of battling, but Ash once again ended up getting another boost in the form of Meltan's evolution into a supposedly powerful mythical Pokémon, which would already be bad since he shouldn't be getting these kinds of boosts at the very final stage of this story (and yes, just to be clear, Kingler's deal was poor writing back in OS as well) but also comes after a gag battle rigged in his favor, a battle that required several contrivancies on his side to be won with Rowlet, and another battle with a facilitated victory in Guzma, making it feel like Ash ended up getting into each of these matches with the writing rigged on his side. The Gladion battle has some fairly good moments both from a character and battling perspective, but between the unearned evolution right before it and just the way they built up to things, Ash's victory here ended up not really feeling as impressive as you'd think this first League Conference victory should be, all things considered. A battle that just ends up as 'okay' rather than the amazing it should've been.

However, after a somewhat dull interlude involving a Guzzlord attack that's probably comprised of more stock footage than action just so Naganadel can come in to make number, we moved on to Ash VS Kukui, probably one of the best battles of this series. That said, while it is pretty good and better written than the majority of them, especially in terms of how Torracat is handling for its first three episodes, it is knocked down by being an exhibition match, meaning that beyond 'fun' and offering a good fight, Ash doesn't need to win this battle (unlike how every other major battle at this stage usually comes with adequate stakes), and most importantly how Tapu Koko forced his way in in place of Kukui's last Pokémon (after Kukui allowed Naganadel in on the pretense of being part of the family, ignoring that three-to-four of Kukui's Pokémon in this match were never seen before and his supposed Pelipper was completely excluded just because the local deity wanted some fighting), which given how Koko wasn't part of this particular equation comes across as scrunching two battles to save time. It also doesn't help that then Tapu Koko interrupts the match again just to allow Kukui and Ash to use Z-Moves again, with Ash ending up using 10,000,000 Volt Thunderbolt for the final time while praising the region, which while making for a cool finisher it ultimately makes Ash's supposed aim to master Z-Moves to defeat Tapu Koko resolved in a poor way when he only won using the Z-Crystal he never actually trained to use and that only conveniently showed up whenever it needed. Accounting for yet another boost in the form of Naganadel's return, this battle is ultimately marred once again like most of the League by the writing apparently wanting him to win at all costs and look good while doing so, strategy and skill be damned along the way.

After this followed two episodes of closure, that had some good moments (especially in regards to the Team Rocket trio) but ultimately involved a lot of contrived instances (like an Ultra Wormhole for Naganadel to return home coming just above Kukui's house) or poorly executed moments, most importantly the completely offscreen adventure of Ash and Nebby in Ultra Space, the way Mimikyu decided to let go of his killer instinct towards Pikachu, and most importantly the fact that Ash decided to leave his Alolan team behind for reasons the viewer wasn't made privy to, and which ended up having negative implications for either the Alolan team or the previous Pokémon depending on how you read it.

And that's ultimately how Sun & Moon ended up feeling for me, with several small issues that kept adding up, until the show just couldn't handle them anymore.

3.4) The Problem of Themes and Other Technical Issues

Before to move on the closing statement, I'd like to quickly address something I've often seen brought up in Sun & Moon's defense, generally its themes justifying a lot of what it does alongside exploring the region of Alola by having Ash live there. Usually, the biggest themes I see brought up about this is that Sun & Moon is about family and meeting a world and learning from it... but while the first might have some merit, the second is very much what the show has always been about, arguably moreso than Sun & Moon has been since Ash actively travelled to meet said world rather than wait until the world came knocking at his door, and there were a lot of family-oriented moments in previous series, be they siblings or relatives. I'm sure there are other, different themes that one could bring up here, perhaps some that are indeed unique to the Sun & Moon series, but there's something important to say about themes: no matter how good the message you want to spread or explore is, if the narrative has issues, you can't excuse them on the pretense of themes, especially if it starts to be applied to every single imperfection one finds in a story. Themes are embellishments that make stories better, not substitutes for good writing.

And in terms of narrative issues, Sun & Moon has, in my opinion, quite a few of them, not just the ones I explained in the first paragraph but also some important ones involving both the way episodes are written, and how battles were handled, including the way the generational gimmicks were used. In regards the way the episodes are written, there's the fact that several of them end up involving a strange structure where the plot doesn't actually begin until the halfway mark, and while this may perhaps help with a slow pace and relaxed atmosphere, it does have the side effect of making quite a few of them feel dull to watch, especially older fans used to the rhythms of the series before this iteration.

Bigger, and most pressing, are the problems of battle writing this season ran into, which go deeper than just the absolute downgrade in battle presentation, but go straight into how the battles were written. One noticeable thing that feeds into how slow the battles ended up being is the fact that commentary became just as commonplace as it used to be in the earliest series, constantly breaking the action on a regular basis rather than letting the scenes flow more often than not. Beyond that, the biggest problem is that, more often than not, the battles aren't decided by skill or strategy (though there are occasional skill-based bouts), but rather who feels a bigger drive to win or happens to fire their Z-Move last, which coupled with the removal of most of the minor battles that could go either way to mostly focus on the big ones that have to absolutely be resolved a certain way, leading to such gems as the already mentioned battle with Hau where an otherwise good Ash ended up slipping his Z-Crystal just so he could be distracted and lose due to it, or one where Gladion managed to completely tank a Z-Move only to reply by his own, out of nowhere new Dragon-type Z-Move. It made battles dull to follow more often than not, especially with battles often falling more on shows of strength or exchanges of moves with no real rhyme and reason rather than giving the impression that the trainers had any real plan behind their orders (Ash constantly falling back on relying on an incompletely learned move in Ash VS Hau being a particularly blatant case of it showing).

And relatedly, another major issue of the series overall is the way it choose to handle Z-Moves. Compared to Mega Evolution being a fairly consistent 'have the stones + have the bond = Mega Evolution' in the previous show, Z-Moves depend on several factors, from getting the pose right to having a correct amount of focus and bond with the Pokémon to if the Pokémon used them before, and as a result, the entire idea of mastering Z-Moves feels wholly inconsistent: sometimes you can have characters with perfect relationships with their Pokémon completely failing at using their Z-Moves, sometimes characters like Mallow that first chided others for not getting the Grassium-Z pose right and then ended up unable to master Bloom Doom well until the League match, sometimes you can have characters that get Z-Moves right with Pokémon they never even saw before, and everything in between. It feels extremely arbitrary, and makes 'mastering Z-Moves' feel less down to the characters' agency and more down to whether the writers feel like having them master them or not.

But, if I may say, the real biggest problem of the series is that, simply put, it often raises questions it never manages to answer satisfactorily, just creating a situations were things are left so vague everyone has to either remain confused at what happened or supplant it with their own headcanons. Counting just some of the important questions: Why did Ash choose to go to school instead of a typical journey? Why was Tapu Koko so interested in Ash? Why did Ash receive Nebby from that Solgaleo and Lunala? Why did Nebby leave at the end of his arc? Why do Giovanni and Nanu know each other so personally? Where did that Lunala come from? What's the deal with Dusk Lycanroc and Meltan? Why does the Pikashunium-Z manifest? Why did Naganadel return? Why does Magearna know Mohn's location?

I have no clue. And frankly, I'm not sure if Sun & Moon knows, either.

4. Conclusions

And with this, I reached the end of this long dissection. It probably got pretty ranty, and it may sound excessive considering this is all the result of overanalyzing what's ultimately a kids' show, but I think I covered most of everything I wanted to. So, in the end, with so much said, what are my final impressions of Sun & Moon? Well, I'd say the amount of fun you'll have with it will depend exactly from what you want of it.

In spite of all my critiques, I'm fairly aware of how people just looking for a good time to cheer themselves up with occasionally emotional moments will find definitely stuff to like. Less critical-minded viewers will also definitely find something for everyone in there, and perhaps enjoy what the series has to offer. My personal opinion is that, ultimately, at its best Sun & Moon can be one of the best entries of the Pokémon Anime, while at its worst, it can be even worse than entries like the Best Wishes series. And as someone who likes consistency in terms of what a series has to offer, I found Sun & Moon a quite irritating watch to do, and probably my second least favorite entry of the series even with its good moments.

Overall regardless of which opinion you will have ended this read in, I hope you found my thoughts interesting to read about, and whatever opinion you hold of the Sun & Moon series, I respect it, and, in case you enjoyed it more than I did, I'm glad you did.

As for me, I officially consider the Gen VII Anime a closed book. With the new series starting soon enough, I'm optimistic that things will only look up from there. Not just for me, but for every other watcher as well.

So, regardless of what the future may hold for this show, I'm looking forward to continue my journey reviewing it with all of you, hoping in better stories to be told.

[warsmith-38]

How I would do RWBY pt.4

World Travel Arc.

Season Four.

Cinder was found by Salem after fall of Beacon.

Missing arm and eye.

Salem helps her and even rewards her.

She accomplished her goal of shooting Ozpin with the arrow.

It didn’t take, sure, but that’s not Cinder’s fault.

Arm is replaced with grimm arm.

An eye was also offered but Cinder refused because she wants a visceral reminder of her failure.

Translation: Because chuunibyou.

Cinder spends her time training to compensate for and overcome her new disabilities.

Has massive grudge against Ruby.

What should have been two easy wins were stolen from her by sheer dumb luck and circumstance.

She has made it her goal to prove that she is more powerful than Ruby and will do so by tearing her heart out and turning it to ash.

Salem decides that Ruby will be an issue to her long term plans and sends her best assassin, Tyrian, to kill her instead of Cinder.

Just like Summer.

She doesn’t want to send Cinder on the grounds that she thinks that homegirl REALLY needs to chill.

Ruby is full murderhobo.

Killing grimm and taking whatever freelance bounty money she can on her way to Mistral.

Fuck if she knows what she’s going to do when she gets there but she hasn’t planned all that far ahead.

She just wanted to not be stuck at home again.

Finds JNR, who had volunteered for general assistance in the areas around Mistral.

JNR says that there’s both a grimm issue and a bandit issue in the area.

Ruby wants everything to do with it.

Blake is on her way back to Menagerie.

Encounters SSSN who are on light duties and are being sent to putz around in Menagerie.

Sun asks her ‘what the fuck is your plan?’

Blake says that the only place for her in the world is back home with her family.

Weiss is also back home with her family but is far less into the idea.

Dad is distant and detached.

Mother is drunk and miserable.

Winter is the only one she properly interacts with, training and sparring to keep herself in shape.

Winter offers a position in the military, a cushy one at that (Can I get an amen for nepotism?)

Weiss ignores the offer, is depressed, misses her friends.

Yang is stuck at home, also depressed, dealing with deepening abandonment issues, and constantly fiddling with the trinket Raven gave her.

Having Ruby run off only made things worse. Combining her abandonment issues with the feeling of letting her sister down when she needed her most.

Tai barely pays attention to her outside of his constant worrying about Ruby but eventually sees the trinket and tells Yang about Raven.

Is very clearly bitter about the whole thing but is pretending he isn’t.

VERY rose (ha) tinted glasses about Summer.

Not that she was secretly a piece of shit or anything, but to hear Tai talk about her she made saints look like goatfuckers.

Ironwood shows up and gives Yang robo-arm as an apology for saying he’d help her after the fight with Mercury and then letting her down.

Ironwood helps break Yang out of her funk, offers some military style counseling, helping her work off the muscle atrophy, even teaches her some spec-ops chokeholds and the like.

Yang says it’s nice to have an actual male role model/father figure in her life.

Ironwood rips Tai’s shit in for being such a bad parent to Yang.

Tai has no real counters to what Ironwood is saying.

He realizes that he’s been a neglectful asshole and starts helping retrain Yang too.

Weiss makes a scene at an event her father is putting on.

Jacques sits her down after it and says that they’re going to have a completely frank conversation.

Topic shifts to their viewpoints and life choices.

He’s fine with his daughter disagreeing with him, he just wants her to understand him and he her.

Weiss calls him out on the blatantly bad shit the SDC has done.

Jacques defends his points, saying that he tried to make things better for the faunus and the White Fang just made everything worse for everyone.

Weiss tells him that passing the buck is bullshit.

Agree to disagree.

Jacques gives her a spiel laced with double meanings about freedom and making your own path.

Weiss leaves that night. (keikaku doori (Translation: All according to keikaku (Translators note: Keikaku means plan)))

Jacques might be a dick but he does want his family to be as genuinely happy as he can make them.

Blake gets back home.

Gets royal reception on the grounds that she’s the daughter of the chief of the kingdom.

Sun sends SSN to get on with their mission, he’s gonna be a while, faunus business.

They understand, they’re hip to this sort of thing, and tell him that if he needs them they’re just a phone call away.

He calls Blake out for being one of the most privileged faunus alive while lecturing others on said topic.

Blake and Sun walk in on White Fang people trying to recruit Ghira.

Notices Blake in the process of telling them to leave.

Ghira shoves everyone out of his way to embrace his long believed dead daughter.

Emotional reunion.

Sees Sun, makes joke about ‘Adam’s cheerier replacement’.

Blake gets sad.

Ghira assumes Adam died or something and doesn’t press the matter.

Calls for a royal banquet to celebrate the return of his daughter.

Sienna is present.

Sienna is overjoyed to see Blake alive and well.

Blake is happy to see ‘aunty’ Sienna but is apprehensive to talk that much with Sun glaring at them both.

Ilia is there (as head of local White Fang cell) and is happy to see her old friend is alive.

She already knew but has to keep up appearances, especially after The White Fang was seen at Beacon.

Very poor publicity to be seen operating at a place like that.

Ilia had been reassigned to Menagerie before the fall happened so she’s not guilty of taking part.

Later has small meeting with Blake, Sienna, Ilia, Sun, Ghira, and Kali.

Sienna tries (again) to bring Ghira into the White Fang.

His joining would bring all of Menagerie and the connected resources into the conflict.

This is opposed by everyone else present barring Ilia.

Ghira says that he has washed his hands of the problems in Atlas and has local stuff that he believes is more important in the long run.

Supporting Wild Call is how he helps the rest of his people.

Kali’s been running Wild Call since Ghira stepped away to run Menagerie.

Sienna talks about how faunus are treated in certain parts of the world.

It really is nowhere near as bad as she says it is.

Blake brings up terrorist acts in places completely innocent of any faunus abuse.

Sienna ‘condemns’ these acts and blames them on ‘bad apples’ like Adam, citing the fall of Beacon.

Says that Adam was acting alone and without official endorsement.

She’s lying through her fucking teeth, but the only other one who knows that for sure is Ilia.

While taking part in the fall was technically unsanctioned, Sienna knows all about Salem and was okaying Adam’s efforts working with her.

Ilia suddenly feels very guilty for some odd reason.

Ghira is very confused, doesn’t keep up too much with world affairs, generally too busy.

Blake rounds on Sienna for trying to shift the blame to Adam, cites all of the bullshit attacks she was involved in, letting it be known that she herself was in the White Fang.

Ghira and Kali both become enraged at Sienna, who told them that Blake was killed years ago at a protest gone south.

Sienna tries to make excuses for the cause.

Is escorted with Ilia from the palace at gun point.

Kali and Blake reconnect as Ghira has a sit down with Sun, telling him to tell him everything he knows.

Weiss is stowed away on airship bound for Vacuo/Mistral (doesn’t really matter which, ship gets taken down either way).

Ship gets attacked by grimm and gets splashed.

Weiss makes it to shore and travels southward, realizing that maybe she should have planned this a little more than not at all.

Wonder who she picked that up from.

Ends up surrounded by bandits who see the pretty girl from Atlas who might just be worth a lot of cash.

Weiss kicks the shit out of them.

Raven shows up.

Weiss loses.

Yang decides enough of her sulking and gets ready to set off to find Ruby and either 1. Bring her home 2. Look after her and keep her safe on her personal quest 3. Kick her ass for running off and making everyone worried 4. Some combination of the above. (Maybe hit up where Raven’s map leads along the way if she gets the chance)

Tai acknowledges that he can’t always protect his girls.

Tells Yang to not be too hard on Ruby, realizing that she would never have been happy with a calm, sheltered, life.

Summer was the same way.

He also apologizes for neglecting Yang for as long as he did.

Yang gets a hug from Tai, a salute from Ironwood, and a slobbering from Zwei.

Yes, the dog is still here. He’s a good dog. Every story could use a good dog or twelve.

Gets to the continent that Mistral is on. (I do not care about the name)

Starts biking in the direction that the conflict zones are, hoping to find word about Ruby along the way.

Gets accosted by bandits along the way.

Kicks the crap out of them.

Raven shows up saying that she expected nothing less from her daughter.

Yang realizes that she is indeed around where the map was pointing her.

This was supposed to be a test to see if Yang was resourceful enough to track her down.

Didn’t really mean to come this way just yet, but sometimes things just work out that way.

Raven happily takes her daughter to the main camp.

Yang is apprehensive to get comfortable and seems a little disappointed that her mother is just some asshole bandit.

Raven gives her a speech all about survival of the fittest and might makes right and all that jazz.

Yang wants to know why she left her in the first place and why she is suddenly wanting to be back in her life after all this time.

She’s got a lot of questions and Raven has very few answers.

Raven avoids Yang’s questions and says that she’s always been watching her from behind the scenes.

Yang actually dislikes that even more because it means that she could have been there for her the whole time, yet wasn’t.

Raven continues by saying that if Yang’s so weak that she couldn’t beat a pissant like Neo then she really needs mama to teach her what’s what.

Offers Yang a position in the tribe and even offers to make her second in command.

Yang then sees Weiss in a cage.

Raven explains that she’s going to be given to Salem to use as a hostage in Atlas.

Yang had already given up on getting answers and was already going to tell Raven to eat shit but now...

Demolishes the camp, takes Weiss away on the bike, and leaves the trinket Raven gave her in the dirt.

Would have taken the time to kick the shit out of Raven, but she needed to get Weiss out of there.

Raven is livid.

In Menagerie, Ghira and Kali have very upfront conversation with Blake.

They are upset with her that she ran off with terrorists but are happy she’s alive.

They also admonish her for running/taking the easy way out of every problem she’s had.

Blake is exasperated that the last place she could run off to is calling her out for running off so much.

Adam is all like ‘what up bitches, imma kill ya’.

Has sizable team of White Fang commandos with him and some grimm Salem sent.

Ilia shows up with her own commandos to counter his.

Both sides duke it out with the Belladonnas (Nightshades technically) getting pissed and telling all of them to get off their lawn.

Blake fights Adam.

Starts losing.

Sun calls SSN in for the assist.

They help but not all that much.

Sienna shows up to break the stalemate.

Starts kicking the shit out of Adam’s posse.

Officially denounces and attaints Adam for his crimes.

Adam leaves and swears vengeance, telling Blake that if he can’t kill her, he’ll kill RWY and make sure they know it was her that sent him to them.

Blake finally learns her fucking lesson.

Start to pack up to stop Adam before he kills RWY and, either afterwards or in the process, find and reconcile with RWY.

Takes the time to actually explain why she’s leaving this time.

Ghira understands.

Sienna takes partial blame and offers Blake the last known location of a red hooded huntress with a big fucking scythe her spies found.

Blake thanks her, but refuses an escort, hitching a ride back to the mainland with SSSN.

Ghira and Kali thank Sienna for the help but still tell her to get the fuck out and that the White Fang and their war are both not welcome in Menagerie.

In the name of their past friendship, they don’t just shoot her.

Blake has parting conversation with Sun about justifications and personal growth.

She and Sun amicably part ways.

SSSN go back to their usual shit and Blake starts hunting for Ruby.

Her logic is that, as far as she knows, Weiss is surrounded with SDC security and Yang is probably somewhere safe-ish, while Ruby is actively in a dangerous locale and ripe for predation.

Speaking of…

Ruby and JNR are clearing out local grimm around Mistral as expected.

Include sad scene or two there they find the ruins of Nora’s home village, destroyed by bandits.

Tyrian is all like ‘what up bitches, imma kill ya’.

Ruby is actually very eager for a fight against one of the important bad guys.

That excitement is curbed when Tyrian lets her know that he was the one to kill Summer.

Ruby is now more scared than anything.

R+JNR fight him and get their asses handed to them.

They try running but Tyrian isn’t giving up the chase.

Turns into cat and mouse game.

Jaune is pushed to his tactical limit against an incredibly intelligent and just as unpredictable enemy.

Everyone is scared out of their minds.

The cat (Tyrian) is just playing with his food (R+JNR) at this point.

Could have killed them at any point but he’s a sadistic animal that gets off on this shit.

Nora flies into a fury, bellowing that she will never lose anyone close to her ever again.

This creates an opening in Tyrian’s style.

Jaune’s planning manages to exploit this enough so Ruby gets a good hit on him, severing his tail.

He is very unhappy at this development.

Decides that he’s done playing with his food.

Wrecks R+JNR.

About to kill Ruby when Qrow ex machina runs him off.

Jaune discovers his semblance is healing and uses it on everyone that needs it. Which is everyone.

Qrow is annoyed that Ruby ran off on her own but understands.

Says that there’s an abandoned chateau that can serve as a pit-stop.

Been in the Branwen family for ages.

They abandoned it after they lost their fortune and it got overrun with grimm in the past.

Grimm have since moved on but the building is still there.

He’ll explain everything he can when he knows they’re out of danger.

Raven contacts Salem and tells her which direction Yang and Weiss are going.

Salem barely cares about what one of her least important agents is up to.

Notices that Ruby is in the same area and gets wind that Tyrian failed.

Sends Cinder and company to meet up with Raven and get hunting.

Salem makes a point of ordering Cinder to let Tyrian take on Ruby and not get involved against her.

Cinder just happens to ignore that order.

Blake does a little extra tracking but heads in the right direction.

Yang and Weiss hear about a red hooded huntress with a big scythe and follow the rumors.

Everyone converges at the chateau at the same time.

It’s a very all over the place scene.

Ruby is happy to see Weiss and Blake but is a little wary of Yang after how their last conversation went.

Yang is eager to make things up with Ruby but more than a little scornful of Blake.

Blake is scared of everyone’s rejection but understands their anger and is more than willing to work through it if they’d have her.

Weiss is happy to see everyone but her happiness and excitement is curbed by how everyone else is reacting to each other.

The tension explodes when Cinder and co. arrive.

Ruby and Cinder lock eyes.

Ruby goes quiet for a moment-

And then goes completely Broly BERSERK!

Group of boss fights.

Ruby madly charges Cinder in a rage.

JNR, Qrow, and Weiss begin fighting Emerald, Mercury, Tyrian, and grimm they brought.

Blake fights Adam. (again)

Yang fights Raven, constantly calling her on her shit.

Abandoning her and Tai to be some asshole bandit, siding with Salem, being a coward, et cetera.

Says that she has figured out that the reason Raven left was because she’s just a chicken shit coward who can’t deal with the world.

All of her issues and traumas have manifested into a sort of nirvana of wrath that gives her a one-time, ‘fuck you, mom’, power up that puts her at Raven’s power tier level.

Ruby vs Cinder takes them away from the others.

Ruby is in berserk, adrenaline filled, wrath fueled, fugue state, taking hits that should be stopping the fight but aren’t.

Cinder is also not fighting at her best due to A. missing eye, B. her grimm arm having a built in weakness to Ruby, and C. the fact that she had no idea that Ruby would go fucking mental like this.

Ruby eventually knocks Cinder down a pit and promptly passes out from blood loss.

Blake beats Adam and tells him to fuck off, saying that she will not stoop to his level of murder.

Yang overpowers and beats Raven, but barely.

JNR is busy with the grimm and Qrow is busy with Tyrian, who has a freaky grimm tail now.

Weiss is fighting both Emerald and Mercury.

Is losing pretty hard.

Yang shows up to fight Mercury.

WY have their first proper rival fights against E+M.

And proceed to lose.

Raven has heel-face turn and bails them out.

Tyrian is killed at the same time. Small justice for Summer.

Qrow reunites with Raven.

The Branwen siblings intimidate E+M, faking not being fuckoff exhausted.

Dare they stand against this deadly alliance?

Nope.

Emerald and Mercury cheese it.

Raven explains that since Yang beat her, Yang is now in charge of the bandits.

Raven says how proud she is that her daughter is such an ass kicker.

Yang is about to tell her off but then realizes that Ruby is still gone.

They find her in a widening pool of her own blood.

Jaune heals her.

Everyone wonder just what the fuck that was that Ruby did.

It’s not its own power or a sub-power of her new semblance.

She was just that fucking angry at seeing Cinder.

RWBY has a big ‘we beat the middle to high tier bad guys’ group hug.

Ruby affirms that she senses that Cinder is still alive but accepts the hug anyway.

Raven says that Salem’s next target is Mistral itself with Adam’s White Fang hardliners.

Yang says thanks for the info and then tells her to do what she does best and fuck off.

Literally everyone mirrors the sentiment.

Raven leaves in a huff but starts to question her morals.

RWBY is now reunited as a team.

They’re not quite back to normal, but they’re all together again.

Reunited RWBY, JNR, and Qrow now on course to Mistral proper to recoup and make new plans.

Season four done.

[drinkthehalo]

Macro perspective on each Lymond book

I've been listening to the Lymond Chronicles audiobooks, which has given me a different perspective than reading them. With audiobooks, you’re less inclined to stop and dive into the details, to look up an interesting word or obscure historical fact; instead you get swept along with the larger arc of the book.

So, I thought it would be interesting to look at what each book is about from a macro perspective.

Spoilers for the entire series follow.

The Game of Kings

In genre, it's a mystery told in a historical adventure style; it asks the question "Who is Lymond?" and gives us a ton of contradictory clues, then finally reveals the truth - in a psychological sense by stripping away Lymond's defense mechanisms and revealing the human being underneath, as he breaks down in the dell, "the guard was down... every fluent line and practised shade of Lymond's face betrayed him explicitly"; and in a narrative sense via the trial, which examines each "clue" we received throughout the story and tells us what it really meant.

Thematically, it's mainly about "serving honesty in a crooked way" - that morality isn’t simple and that sometimes you need to break the rules to do the right thing.  Nearly all Lymond’s acts are apparently bad things done for a goal that is actually good. We see the theme also in Will Scott (who learns that the world is more complicated than the "moral philosophy" he learned in school) and the various characters who help Lymond, breaking the rules of society by aiding a wanted outlaw (Christian, Sybilla, the Somerviles). 

It is also about the balance of looking out for self vs the obligation to the greater society - Lymond is not completely selfless (after all, he is back in Scotland to clear his own name), but when forced to choose, he always chooses the greater good above his own goals. He is contrasted with Richard, whose great mistake is to put his obligations to Scotland at risk in pursuit of his personal vengeance, and Margaret Lennox, who is purely and grotesquely out only for herself.

The historical context is part of this theme, as we see the various border families playing both sides between England and Scotland, with the heroes being those who ultimately stand up for Scotland, even as we understand that some have no choice but to profess one thing while doing another.

Queens Play

In genre, it's a spy novel; thematically, it's about what Lymond will do with the rest of his life. The question is asked explicitly several times (most obviously, "You have all your life still before you." / "The popular question is, for what?") It's important that Lymond loses his title at the start of this book; he has to figure out who he will be without it.

The main characters all represent possible paths Lymond could take -

O'Liam Roe, who sits back and laughs at the world with detachment, while abdicating all responsibility to use his mind and position to change the world for the better.

Robin Stewart, who loses himself in bitterness about the ways the world has been unfair to him, and in fixating on how he deserved better, fails to take any action to improve himself.

Oonagh, who works passionately to change the world for the better, but whose ideals have become corrupted because she has attached herself to a leader who is more out for himself than for their cause.

And of course Thady Boy and Vervassal, two extremes of himself that Lymond tries on, and (by the end of the series) must learn to reconcile.

The recurring imagery of the first half is the carnival, the masks, the music, the parties, and our hero in danger of losing himself amidst the debauchery. In the second half the imagery every time Lymond appears is of ice, the ultra-controlled, hyper-competent version of Lymond at risk of losing himself by denying his artistic soul. (There’s a wonderful essay here that explores these motifs.)

In the end, Lymond comes to the conclusion that he must not withdraw into detachment or bitterness, that he must find a way to make a positive difference in the world, but that he also must not attach himself to a powerful figure who may be more out for themselves than for Scotland (ie, his refusal to attach himself to Marie de Guise). This sets up the creation of his mercenary army in the next books, as a way he can exercise independent influence in the world.

The Disorderly Knights

This book couldn't be more relevant to the world today. It's a portrait of cynical hypocrisy in pursuit of power; it lays out step by step the tactics of propaganda and manipulation used by despots to build up themselves and tear down their rivals: pretend to be pious, accuse of others of your own crimes, tear down straw men instead of engaging in real debate. It tells us to "look at his hands"; what matters is what a leader actually does, not what he professes to believe.

It shows us how leaders use charisma to manipulate, and, in showing the battle between Gabriel and Lymond for Jerott's loyalty, shows how Lymond takes the harder and more ethical path, by refusing to use his charisma to seduce (a lesson learned from his experience with Robin Stewart) and instead guiding Jerott to come to his own conclusions by means of rational thought instead of hero worship.

At every level the novel advocates for tolerance and internationalism, and against petty sectarianism, as Lymond questions whether the Knights of St John are really any better than the Turks, and as he tries to get the Scottish border families to abandon their feuds in favor of the greater good of the country.

In terms of genre, it’s a pure adventure novel. I never get bored of the masterful action sequences with the battles in Malta and Tripoli, and the extraordinary duel at St Giles in the end. (Also in terms of thematic imagery, there is some crazy S&M shit going on in this book, with Gabriel and Joleta's sadism and Lymond's self-sacrificial masochism.)

I love Disorderly Knights so much. It is nearly perfect - well structured, thematically coherent, witty, fun, breathtaking, and heartbreaking.

Pawn in Frankincense

In genre, this is a quest novel. In several places it explicitly parallels The Odyssey.

In theme, it explores -

Do the ends justify the means? How much sacrifice is too much? Lymond gives up his fortune, his body, and his health; Philippa gives up her freedom and her future; we are asked often consider, which goal is more important, stopping Gabriel or saving the child? We even see this theme in Marthe's subplot, as she gives up the treasure, her dream to "be a person," to save her companions. Perhaps the most telling moment is right after Lymond kills Gabriel; despite all his claims that Gabriel’s death mattered more than the fate of the child, he’s already forgotten it, instead playing over and over in his mind the death of Khaireddin. If you do what is intellectually right but it destroys your soul, was it really right?

The other big theme is “nature vs nurture.” What is the impact of upbringing on how people turn out? In its comparisons of Kuzum vs Khaireddin, and Lymond vs Marthe, it seems to fall firmly on the side of nurture.

It’s also a kaleidoscope of views on love, with its Pilgrims of Love and their poetry, and the contrasting images of selfless, sacrificial love (Philippa and Evangelista for Kuzum, Salablanca for Lymond, Lymond for Khaireddin, perhaps Marthe for Lymond as she helps him in the end) with possessive, needy “love” (Marthe for Guzel, Jerott for Marthe or Lymond, arguably even the Aga for Lymond).

This novel is also a tragedy. Its imagery and the historical background complement the themes by creating an atmosphere lush, beautiful, labyrinthine, overwhelming, and suffocating.

The Ringed Castle

I have to confess this is my least favorite, in large part because I find the historical sequences (in Russia and in Mary Tudor's court in England) go on way too long and have only tangential relationships to the themes and characters.

It seems to be primarily about self-delusion as a response to trauma.  Lymond spends the entire novel trying to be someone he isn't, in a place he doesn't belong, because he is too damaged to face reality. (His physical blindness as a manifestation of his psychological blindness; the sequences at John Dee's, surrounded by mirrors, forcing him to see himself.) 

Lymond convinces himself he can build a wall around his heart to block out all human connection, that he can be a “machine,” but despite his best efforts, he cares for Adam Blacklock and develops a true friendship with Diccon Chancellor. And of course, by far the most important moment is after the Hall of Revels, when Lymond's heart unfreezes and he suddenly sees one thing VERY clearly. (And then tries, desperately, to escape it.)

The only reason I can think of that the book lingers so long on Mary Tudor (so boring omg) is the parallel with Lymond, her false pregnancies as a manifestation of her desire to see the world as she wants it to be, and her failure to see reality as it is. Ivan of Russia also is a parallel: delusional, unable to trust, and dangerous. Their failures, and the failure of Lymond's Russia adventure and relationship with Guzel, tell us that you cannot hide from reality forever.

The book spends so long painting the backdrop of 16th century Russia that it makes me think that Dunnett got too caught up in her research and needed a stronger editor, although there is also a parallel with Lymond in the idea of Russia as a traumatized nation struggling to establish itself, and of course, Lymond subsuming his need to deal with his own issues into a goal of building a nation.

It's also about exploration, about the intellectual wonder of discovering that there is more to the world, as we learn about Diccon Chancellor and the Muscovy Company. It’s wonderful imagery, but I struggle to how this fits coherently into the overall theme of the novel, and am curious how others reconcile it.

I like the idea of this book more than the reality. If you’re going to do to your hero what Dunnett did to Lymond in “Pawn,” there has to be consequences. But hundreds of pages of our hero in such a frozen state is difficult to read.

That said, the Hall of Revels is one of the best things in the series, and I’ll always love this book for that.

Checkmate

Checkmate is about reconciliation of self and recovery from trauma, as Lymond is forced (kicking and screaming) to accept who is and what he's done, and to allow himself to love and be loved. Philippa is his guide, as she discovers the secrets of his birth, understands his childhood, hears his tales of all the terrible things he's done, and loves him anyway. As far as genre, this is definitely a romance.

There are villains in this book (Leonard Bailey, Margaret Lennox, Austin Grey) but they're all fairly weak; the true antagonist is Lymond himself. From the beginning, he could have everything he needs to be happy (he's married to the woman he loves, and she loves him back!); his true struggle is to stop running from it (by escaping to Russia or committing suicide) and to break through his own psychological barriers enough to allow himself to accept it.

The primary parallel is with Jerott and Marthe, who also have happiness almost in their grasp, but never manage to achieve it.

The heritage plot looms large and is (IMO) tedious; it's so melodramatic that it takes some mental gymnastics to get it to make thematic sense to me. It ultimately comes down to Lymond's identity crisis and childhood trauma. His “father” rejected and abused him, so he based his identity on his relationship to his mother, but his suspicion that he is a bastard means he lives in terror that he doesn’t really belong in his family and that, if his mother isn’t perfect, he is rotten. (I love him but, my god, it is juvenile. The only way I can reconcile it is that his fear about the circumstances of his birth is really just a stand-in for his self-hatred caused by his traumas.) He also continues to struggle with his envy that Richard was born into a position with power and influence that Lymond has spent the past six books struggling to obtain, and that Lymond’s terrible traumas (starting with the galleys) would not have happened if he had been the heir. The discovery that he actually IS the legitimate heir is what finally snaps him out of it, since his reaction is to want to protect Richard, and this also reconciles him to Sybilla since protecting Richard was her goal too.

There are some other parts of this book that I struggle to reconcile (Lymond's inability to live if he can't have sex with Philippa; the way the focus on heritage seems to undercut the nature vs nurture themes; that no one but Jerott is bothered by Marthe's death, which undercuts some of the most moving moments in "Pawn”; and I mostly just pretend the predestination and telepathy stuff didn’t happen). On the other hand, I do sort of love the way this book wholeheartedly embraces the idea that there is no human being on earth who will ever be as melodramatic as Francis Crawford.

In terms of the historical elements, in addition to providing the narrative grounding for the character stuff to play out, it sets up the idea that Scotland has troubles coming up (the religious wars, the betrayal of the de Guises) and that Lymond needs to go home, let go of France and Russia, and focus on Scotland where he belongs. I’m sure there is also some political nuance in the fact that our Scottish hero, after spending so much time and energy in France, ends up with an English wife.

The conclusion in the music room is perfect - it brings us back to the amnesiac Lymond who innocently played music with Christian Stewart, to Thady Boy whose songs made the cynical French court weep, and fills the “void” Lymond described to Jerott where there was no prospect of music. The aspects of himself are finally reconciled and he has a partner to share his life with.

I am curious what others see as the macro / thematic big picture meanings of these books. :)  And if anyone can find the key to make “Ringed Castle” and “Checkmate” make more sense to me...

[twentiethcenturymoviesandtv]

The Princess Bride: Facets of Film

Movie-making is a tough and complicated business.  Once you have a studio sold on your pitch and script, there’s changes to be made, casting to be done, lighting choices, changes to the script, sets to find, costumes to make, special effects to prepare, more changes to the script, camera set-up, studio supervision, and then, possibly, more changes to the script.

In a business populated by that many people all working on the same project, every film is a minor miracle that it got made at all.  

As you may have gathered, making a movie is a huge undertaking.  There’s a lot that goes into it: cameras, music, sets, special effects, costumes, and more, managed by a lot of people who are very good at their jobs.  All of these little elements, which don’t seem that important on their own, all go into piecing together a coherent narrative in a way that makes sense, and looks good, to an audience.  

These elements, cinematography, lighting, costuming, special effects, etc., are the elements that can catch the attention of an audience, taking a ‘good’ film, and turning it into a ‘great’ film, thanks to the powers of movie magic.

See, movies are a very visual medium.  You can have a good story and characters in a book, but you have to imagine what it looks like as it moves along.  In a film, you have to watch what someone else made up.  This can be either an advantage or a disadvantage, and the difference is made entirely thanks to production design.  These ‘facets of film’, the trimmings that make a movie a movie, are vital to visual storytelling, enabling casual movie-goers to interpret what the framing of some scenes is trying to tell them.

Most audience members subconsciously internalize things like thematic costume changes, or a musical cue, without putting thought into figuring out what exactly was getting that point across.  The point is, these ‘facets of film’ are not only for filmmakers or movie critics to think about and fawn over: This storytelling shorthand is an important tool that gives the audience all of the information they need to have, without spelling it all out in dialogue.  Westley as the Dread Pirate Roberts wears all black as visual shorthand that he is dangerous, Humperdinck wears fine clothes to establish status and style, even Buttercup, whose clothing is plain when she is with Westley and uncomfortably bedecked when she is with Humperdinck, is dressed in a way that conveys something to the audience.

In other words, it’s very useful.

A good director knows to use these aspects of ‘storytelling shorthand’ well, as opposed to competently.  Too often, directors can decide to focus the production crew, and the movie itself, in the wrong place, attempting to garner praise for production design rather than substance.

There’s nothing wrong with looking good and being a well-done movie from a technical standpoint, but the balance is necessary.  A good director knows that visual storytelling accentuates its story, rather than overshadows it, intended to get the plot across in the most effective way possible, focusing on what is important: the story and characters.

Much like The Princess Bride does.

The Princess Bride isn’t exactly a blockbuster-style film.  There isn’t a huge budget spent on special effects or huge setpieces, but what is in there is done so with a remarkable touch.  Every inch of this film is designed to look like it takes place in a fairy-tale story, not exactly ‘real locations’, but looking like pictures you’d find in a story book.  That extends to the camerawork.

Camerawork is a pretty big deal in film for obvious reasons.  

The way a director uses a camera can tell the audience a lot, using some shots to emphasize different emotions, or even to get across different feelings to the audience.  Filmmakers use editing of these shots together to tell the story, to move the audience’s line of vision so that it is always centered on the action while also helping to set the mood or leave a visual impression on the audience.

So, does The Princess Bride manage that?

Most of the camerawork in The Princess Bride is fairly standard stuff, wide-shots for action, close-ups for dialogue or emotion, establishing shots for a new location, etc.  However, there are a handful of tricks that are notable: natural lighting used in the shots to make them feel open, spacious, and real, contrasting with artificial levels of darkness in the Fire Swamp, or the upwards-facing shot of Fezzik’s impersonation of the Dread Pirate Roberts, seeming to increase his size and formidability.  Other shots, like the coming-into-focus of Westley rising to point his sword at Humperdinck, are equally effective, in uses of ‘subjective camera’.  There are other, more traditional examples: shots of Buttercup’s abduction from above to make her seem even smaller, and establishing ‘relationship’ shots of people on the same level in the same frame, such as the sunset-lit kiss sequences bookending the film.  Even the editing, while being mostly standard, is given a few moments to shine, such as when the Grandfather is trying to find his place in the story after interrupting to make sure the Grandson isn’t frightened by the Shrieking Eels.  

Still, overall, it’s a fairly simple film in terms of visual style.  The cinematography is aimed at one goal: creating a charming, warm, comforting atmosphere that translates well and correctly conveys the mood of the audience.

This is even more so aided by the film’s score.

It’s fairly obvious that a movie’s soundtrack is integral to its success: a good movie can be elevated to iconic levels thanks to a good score (i.e. Jaws, Psycho, Star Wars, etc.).  In other cases, music can be passable, serviceable, without being bad or fantastic.

In the case of The Princess Bride, the score is….interesting, to say the least.  Instead of a traditional ‘fantasy’ score, the soundtrack was composed by Mark Knopfler, the front guitarist for the band Dire Straits (Money for Nothing, Walk of Life), using synthesizers and acoustic guitars to get the sound of the film.  The score, especially both the instrumental and vocal covers of ‘Storybook Love’ (sung by Willy DeVille) is memorable, overall, if nothing to write home about.  The soundtrack does what it is intended to do: set the scene, notably in the scene ‘The Chatty Duelists’, where Inigo and Westley fight to the stings of the music.  The music overall accentuates the grand, sweeping visuals as well as the tense, exciting sequences, keeping the audience in the story very well.

Speaking of grand, sweeping visuals:

The sets of The Princess Bride overall aren’t really ‘sets’ at all.  The ‘Cliffs of Insanity’ were in actuality the Cliffs of Moher in Ireland, and even Humperdinck’s castle was actually a real medieval manor house.  From Miracle Max’s shack to the Fire Swamp, to Rugen’s torture chamber, the rest of the settings of The Princess Bride do their job very well, creating a fantastical atmosphere that serves the story admirably.  These aren’t the vivid, magical sets of The Wizard of Oz, designed to create an atmosphere of dreamlike fantasy, rather, the settings of The Princess Bride are more intended to create a feeling of Magical Realism, that it is a storybook, but that the locations look and feel familiar and realistic.  This is helped somewhat by the fact that the film itself doesn’t rely on special effects much at all: aside from the Shrieking Eels and the (rather unrealistic looking) ROUSes (saved by the storybook feel of the entire film), there aren’t any real fantasy-specific special effects that other films might utilize.

There’s more to an immersive movie experience than sets, costumes and music, though.  In the end, no matter how impressive, the special effects, sets and costumes don’t really mean anything if the characters aren’t believable.  The movie really rests on the shoulders of the performers: it’s on the actors to try to sell not only their surroundings and story, but the characters themselves, everything from the personality to the emotions.  

In the case of The Princess Bride?

Cary Elwes’s performance as Westley is lighthearted, emotional, and extremely sincere.  He’s charismatic, charming, and makes you believe that he’s exactly as skilled as the story needs him to be.  He also manages to convince an entire audience of the genuine love he has for Buttercup, and is distinct as both his Westley persona and his ‘Dread Pirate Roberts’ persona.  In other words, he’s perfect.

Cary Elwes balances the ‘indestructibility’ that most protagonists seem to possess, seemingly in control of dire situations, as well as the vulnerability necessary for an audience’s sympathy and concern for his well-being, for his goal.  In other words, he manages to pull off a character that seems designed for an earlier time, updating it with a sense of humor and charm that perfectly suits the rest of the film.

Robin Wright is similarly well-suited for Buttercup, as she’s written.  I’ve discussed elsewhere the potential problems presented by Buttercup’s rather uninteresting personality and role in the story, but Buttercup’s Defrosting Ice Queen tendencies are very well conveyed, especially early on.  As I mentioned in other articles, her chemistry with Elwes makes the romance element of the film convincing in the few scenes they have together.  She does a good job with the material given to her, it’s just a shame that there wasn’t more for her to do.

On the other hand, Mandy Patinkin as Inigo Montoya, despite the unconvincing accent, is inspired, with Patinkin bringing both warm humor and ice-cold vengeance and formidability to the role.  Both he and Elwes brought great physicality to their sword-fight sequences, training hard in order to do as much of their own fighting as possible, and it shows in the performances in the final product.  Inigo’s inner conflict is showcased well, with Patinkin providing both the comedic highlights as well as the intense emotional ones, especially his final duel with Rugen.  It is Inigo’s lines which tend to be the most memorable, owing a lot to Patinkin’s iconic delivery.

All three of the main trio play their parts perfectly, but they are only the chief standouts in an entire film full of them.

André René Roussimoff (better known as André the Giant) despite not being an actor in the same vein as the rest of the cast, is iconic as Fezzik.  The instant likeability present in the performance carries strongly throughout the film, with his own fair share of memorable dialogue (which, granted, nearly every member in the cast has).  His physicality isn’t really what makes him such a distinct part of the cast, rather, it’s the character’s heart and humor that makes this performance such an integral part to the film at large.

Similarly (though in the opposite direction), Wallace Shawn is a wonderful choice for Vizzini, his distinct voice and mannerisms giving the character plenty of funny dialogue without entirely removing the threat he poses.  Despite not having a lot of screen time, Shawn manages to make the role iconic instantly, with inflections that make the word ‘inconceivable’ memorable to this day.

Chris Sarandon is perfectly cast as Prince Humperdinck, playing arrogance and control that all come crashing down in the final scene.  Humperdinck is all bark and no bite, appearing confident and competent until he is met by someone who might pose a challenge.  He’s conniving, cold, and disinterested in anything other than his war, making it especially rewarding when he is defeated.

Similarly, Christopher Guest plays Count Rugen with a sophisticated coolness, never really invested in what’s going on or terribly worried about it until that ‘little Spanish brat’ comes for revenge, very well equipped to deliver it.  He plays the final duel scene notably with an increased losing of composure, cluing the audience in to his inevitable demise for the sake of vengeance.

The other characters perfectly hit their mark as well: Billy Crystal and Carol Kane are a comedic team to be reckoned with as Miracle Max and Valerie, with other special standouts including Peter Cook as the Impressive Clergymen (a scene stealer with only one appearance), and Peter Falk and Fred Savage as the Grandfather and the Grandson, respectively.

Every character in The Princess Bride comes across exactly as they should: as characters in a fairytale, fondly looked back on from a place of adulthood.  Each performance is perfectly suited to each character and the type of movie that they are in, with every performance hitting a mix of sincerity and drollness.  These performances aren’t necessarily subtle, but they aren’t supposed to be.  They are heroes and villains, giants and master swordsmen and princesses, acting out a fairy-tale that knows exactly what it is, with tonal consistency that never seeks to outdo the material the actors are given.  These performances are the final piece to cementing this film as a true classic, bringing entertainment to people decades after it’s first release.

In short, the filmmakers of The Princess Bride knew what they were doing.  Everything from the performances to the camerawork gets across every emotion and aspect of the story instantly, with the sets and costumes working to explain simply what’s going on as quickly as possible.  It’s a storybook set to film, both comforting and exciting, and the ending feels right, no matter how many times we revisit it.  

The Princess Bride has long been considered a cult classic, a hidden gem that was looked over by a public who never really knew it was there in the first place.  Even if it never reaches the high peaks of fame as other fantasy classics, it may not be a stretch to hail it as one of the greatest fantasy films (or films in general) ever made, through simple (but not simplistic) substance, if not bombastic style.  

Of course, no movie comes around accidently.  There had to be some work done behind the scenes for this film to have come about.

Join me next time as we discuss the Facets of Filmmaking: the Behind the Scenes of The Princess Bride.

Thank you guys so much for reading!  If you have something you’d like to add or say, don’t forget that the ask box is always open!  I hope to see you all in the next article.

[wuyifankris]

Kris Wu in Harper’s BAZAAR, July 2020 Issue

“Only when there’s improvement, will you feel alive.”

"A person with his own way of thinking" - more and more people see this in Kris Wu. From starting off with films to continuing on with variety programs, he has skilfully executed his roles with a sense of control, clear self-recognition and steadiness. We see a young man who goes along the path set with his own rules, has definite goals, is dedicated to work, and is constantly improving. In several months' time, Kris Wu will be thirty years old. BAZAAR invited him to share more about his story, and discuss about the past twenty nine years of his life.

In this world, one must be full of vigour

If this is a letter for myself, I think I'll say: For the past twenty nine years of my life, I've lived a life with no regrets. Every task I've done, every decision I've made, the experiences at at every stage of my life, the honour, the applause, the slander... are all indispensable in my journey of growth.

Regretting is painful, and it's hard not to regret. I am well aware that I'm lucky in this aspect. But whether or not I regret, in the end, it all depends on myself.

I have a very straightforward attitude when it comes to my life. I will only do the things that I'm sure I want to do, anything else or other less than ideal alternatives simply do not exist in my field of consideration. Only little kids will have endless choices and dilemmas, as an adult one should set their goals at the highest standard and focus on accomplishing it well.

Therefore, there was never a "Plan B" in my life. I would never prepare a second plan for myself. I feel that this trait of mine is typical of Scorpios, as long as I am set on doing something, I will make sure it's done to the best that I can.

You'd ask, what kind of preparations will I make? Everything. I'll do every kind of preparation that comes to mind. I will be deep in thought about it every moment, every minute, every second, and even in my dreams. This is the kind of focus and effort I give towards my goals.

Before turning thirty, I have already found a very good balance. I'm getting closer towards it, and my goals in life are clearer.

But the "most important things in life" are not set in stone, and change at every phase. I will set long term goals and short term goals. For example music - music is very important to me, it's something which I have invested a lot of time in that I love and am passionate about. At the same time it's my career, my job. So of course, I will continue pursuing it. However, at the same time, this doesn't mean that there aren't any other parts in my life with new directions and new goals. Like racing, it's something that I really enjoy now. I will also continue to set new goals for  myself for small things such as this.

I have always strongly believed in setting and following goals, and it is because of them that I am motivated to constantly improve. But thinking about my life as a whole, I'll refrain from prematurely setting an ultimate aim for certain things. Instead, I will maintain an open mind and allow myself to constantly aim for new goals. Also, at any point in time I will not allow myself to become someone without any goals.

Persistently setting goals for yourself and ceaselessly moving forth is the way one can continue to live youthfully and enthusiastically. I think that this is also a good way to maintain a positive mindset. Only when there's improvement, will you feel alive. Otherwise, there may not be much motivation in your life, and it could become very dim.

Since we are in this world, let's live this life with vigour! This has always been my attitude towards life.

Amidst all the recognition from others, your inner voice is what matters the most.

You have to take control of your life

As one gets older, they will gradually realise that although judgements from others may affect a person externally or mentally, this is merely the icing on the cake.

When you work hard, you will receive honour and recognition. But amidst all the recognition from others, your inner voice is what matters the most. Whether you believe the things you do are meaningful or not, whether through doing them you can obtain value, it's your opinion that far outweighs other matters.

So I feel that for many situations, regardless of the outcome, regardless of how much honour and success it brings to you, what's even more important is whether you have enjoyed the process or not.

To me, music is a very good way of expressing myself and allows me to make a mark in history. It allows me to express certain things that cannot be put into words, which can invoke an emotional response from the listener. Listeners who resonate to the song will be drawn towards it, and as a result of our shared similar experiences, bring about "us".

Perhaps one day I'll get old, or not be in this world anymore, but throughout my whole life, all the music I've made will remain, and will still continue to reach people, whether they're still young or already aging. This is really meaningful and important to me. This is a joy that I have found in music, it's a motivation that will spur me on to continue to improve in this area.

Furthermore, you guys will be able to see a very clear storyline and path of growth in my works, which includes my passion towards hip hop now, as well as my love for traditional Chinese style. As I move forth in life, I continue to incorporate my observations and thoughts [into my music] progressively. When you guys look back on my works, you'll be able to find the answers in them.

My love for music has led me to be deeply immersed in related industries as well. Why do I like fashion? It's because fashion is closely linked to music. When I like one industry, I'll pick up all the skills that I can that are possibly linked to it. From singing to dancing, acting, fashion, producing music, writing lyrics, and even taking up directing roles at times. I hope that I can pick up all sorts of skills that are associated with the things I like. After all, it's always good to have more skills.

The more you know, the more you will want to treat the things you're most interested in with the greatest detail of effort and professionalism, as well as open explore new possibilities. Even if one day I am no longer a "popular celebrity", I will still find a place for myself in this world. I can also take a step back behind the scenes and lead the life that I want to live. I feel that this defines a person's values and worth. With such skills and confidence I feel that I can continue to navigate on this path towards the unknown. This is probably why I don't get anxious too easily too.

So you see, it's your interests that will carry you along to further places. These interests are a part of life. Your life is still in your hands, you have to take full control of it. Do the things that you want to do, let the things you truly believe in lead your way. This is what matters the most.

So if you ask what I'm chasing, I'll tell you that I'm chasing the lifelong mindset of non-stop improvement.

I constantly feel as if I'm in the middle of the ocean, not knowing when deadly waves will arrive.

30 is just a number

Actually I don't think that just because I'm turning 30, I've matured a great deal. There are many stages in life from birth till now that have made me grow. Perhaps every two years I'll encounter a somewhat major life problem or unforeseen circumstance.

I constantly feel as if I'm in the middle of the ocean, not knowing when deadly waves will arrive, nor knowing when it will turn calm and tranquil. Perhaps in the blink of an eye the waves become rough and choppy at night, and the next moment at dawn the skies are clear. This is already the norm in my life.

As a result, this cultivated my mindset from very early on in life. My moods wouldn't fluctuate that much, perhaps starting around 20 years old I was already pretty calm and stable. It also wasn't because I was at this age that I began to treasure time even more and work extremely hard, as I had always put in so much effort all this while.

30 years of age is just a number. I'll tell myself, I'm already 30 years old, I have to be more stable. But in fact, I did not define what I wanted to do in certain stages of my life merely because I reached a specific age. I feel that I shouldn't be affected by a "midlife crisis". At age 30, it's still early, after living for another 10 years it probably won't be considered middle aged. Even at that age, one should not use terms such as middle aged, youth, elderly, young person and such to define the stages in your life.

You should define what you want to do at each stage in life. Continue doing what you want to do according to your own pace and you will be fine. As for the things beyond our control - I used to dream of being a professional basketball player, but due to an injury it was not possible. Let it go if it can't work out, there will always be regrets in life.

Gains and losses, strengths and weaknesses are all often experienced in life. Missing something or messing it up it also part of life. When life isn't perfect, you don't have to beat yourself up over it. Because when you begin to do so, your whole system may break down and you won't be able to efficiently think of ways to solve the problem, and things may end up spiralling downwards.

If it's not done well, then continue to try, or switch to an alternate route. Don't rashly choose to berate yourself.

This isn't vanity or arrogance, but a form of self-awareness. If you wish to lead a happier life, you must possess a sense of self-awareness. No matter where you go, you have to stand behind yourself with utmost support, and be your number one fan. You have to say out with confidence: I think I'm still not bad.

Actually, I feel that during this stage in life, I am most curious about the things that I can't do well. The more I can't do something well, the harder I want to work on it. Once I've accomplished it through further determination and actions, I have once again levelled up.

But before that, I definitely have to be interested in the task. If it's something I don't like, no matter how good it is, I won't be envious of it.

This is a form of respect towards myself. Life is short, we shouldn't make do with too many compromises, nor should we waste it.

No matter how good an era is, if you're not in it, it can't be considered good. An era that doesn't include you is meaningless.

There are blazing flames in my heart

There are some people who may think that since debut I was a super idol, a big celebrity that's worlds apart from my peers. But that's not the case, my personal life isn't too different from other young people. I enjoy going out on my own, without a driver, bodyguard or babysitter... and I'll also go out with non-industry friends to shop, eat, and play basketball. I was able to lead the life that everyone had, there was just a little gap due to my career.

Setting aside career, I am someone who is very close to the era of 90s kids.

I feel that this is a very good era, of course, it's not because this era is a certain way that makes it good or not. I believe that: As long as it's an era that I exist in, it's a good era. No matter how good an era is, if you're not in it, it can't be considered good. An era that doesn't include you is meaningless.

Obviously, I still maintain this mindset with blazing flames in my heart. I still believe I'm a simple and pure person, otherwise I won't be racing cars at this age all of a sudden.

However there are many ways to define "pure", and many people believe that when a person is said to be pure, it's because they are good - have not encountered much, is a good boy, a great kid - then I'm obviously not someone who appears to be one.

But I believe that the meaning of pureness extends beyond this.

True pureness exists within your heart, it's whether you have undivided focus towards the things that you are passionate about, leaving behind all other reasons, whether you are still able to put in effort into the things you love, whether you are able to understand this world simply, whether you can treat every person you meet with sincerity, and whether you can face the world with a childlike gentleness and curiosity.

We all feel that once we step into the adult world, everything immediately turns boundlessly complex. But true pureness is understanding all of your past experiences. With such events and turbulent times, if you can continue to maintain pureness in your heart, you are pure.

This is the kind of pureness I possess. 

Perhaps it's because my goals in life are constantly changing, and small goals are constantly emerging, so I have always lived a life that's pulsing with vitality, and my galaxy is still blazing. Perhaps it's because I have gone through certain experiences, which surprisingly widened my heart.

Looking forward in life, perhaps I may encounter some stress when I reach 40 years of age. But I feel that even if I'm 40, I'll still be a very cool person, still continue to take part in car racing, and stay immersed in my studio making music. I also think that at that time, I'll probably slow down my pace in life.

Perhaps I'll spend more time to really feel this world at present, travel to places I've never been before, explore more and see more, discover life, experience life.

I believe that [when I reach] that time I will have an entirely different mindset than what I do now. I'm still nervous now because there are certain aspects that I am lacking in. I'm looking forward to having that mindset.

But right now, at 30 years of age, I'll take my blazing flames along with me and race forth!

translation: @wu_yi_fan