#Because the antagonists covered up what really happened with their story

[amplexadversary]

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[theliteraryarchitect]

A Word of Advice About Critique Groups, Beta Readers, and Other Peer-Based Feedback on Your Writing

In my time as a professional editor, I've had many writers come to me with stories they've been trying to improve based on suggestions from critique groups, beta readers, or other non-professional feedback sources (friends, family, etc.). The writers are often frustrated because they don't agree with the feedback, they can't make sense of the comments they've gotten, or they've tried their best to implement the suggestions but now they've made a big mess of things and don't know where to go from here.

If this happens to you, you're not alone. Here's the deal.

Readers and beginning writers are great at sniffing out problems, but they can be terrible at recommending solutions. For that reason, critique groups can be a disastrous place for beginning writers to get advice.

Here's a good metaphor. Imagine you don’t know the first thing about cars. Someone tells you, “There’s oil leaking onto the driveway. You should cover the car with a giant garbage bag.” Alarmed, you oblige, only to be told the next day that “now the car smells like burning plastic and I can’t see out the windows.”

A mechanic would’ve listened to the critic’s complaint and come up with their own solution to the leaking oil, ignoring the amateur’s ridiculous idea, because they know how to fix cars and can use their skills to investigate symptoms and find the correct solution.

Critique groups actually aren’t bad places for experienced writers, because they can listen to the criticism, interpret it, and come up with their own remedies to the problems readers are complaining about. Beginning writers, on the other hand, can end up digging themselves into a deeper hole.

There's a great Neil Gaiman quote about this very conundrum:

Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

So what to do?

First, try to investigate the reader's complaint and come up with your own solution, instead of taking their solution to the problem. Sometimes, in the end, the reader's solution was exactly right, which is lovely, but don't count on it. Do your own detective work.

Second, take everything you hear with a huge grain of salt, and run the numbers. Are 9 out of 10 readers complaining about your rushed ending? It's probably worth investigating. Does nobody have an issue with your abrasive antagonist except your cozy mystery-loving uncle? Then you might not need to worry about it.

Third, give everything you hear a gut check. Does the criticism, while painful, ring true? Or does it seem really off-base to you? Let the feedback sit for a week or so while you chill out. You might find you're less sensitive and open to what's been said after a little more time has passed.

Lastly, consider getting professional feedback on your writing. Part of my job as an editor is to listen to previous feedback the writer has gotten, figure out whether the readers were tracking the scent of legitimate problems, and offer the writer more coherent solutions. Of course, some professional editors aren't very good at this, just like some non-professional readers are amazing at it, so hiring someone isn't a guarantee. But editors usually have more experience taking a look under the hood and giving writers sound mechanical advice about their work, rather than spouting ideas off the top of their head that only add to the writer's confusion.

Hope this helps!

[the-witchhunter]

DP x DC: Dash

I just realized I haven’t seen a lot of things that actually utilize Dash as a character

Like, there’s things that have a character named Dash who is in it to some degree, but I don’t think I’ve seen something that uses the character

What do I mean by that?

Look at the character of Dash in Danny Phantom, he’s an archetypal popular high school quarterback bully type. He’s the Flash Thompson to Danny’s Spider-Man. His purpose in the show is as a minor antagonistic force, not really an antagonist on his own, he sets up Danny as an underdog “unpopular” kid, and a source of comedy

But he also has a tiny dog named Pookie and fanboys hard over Phantom despite bullying Fenton, and he really likes football, has his best friend Kwan, he struggles with his grades, and dislikes feeling small and weak, something he explicitly says in an episode. There are some genuinely interesting character traits a person can use in a story

And I think that any of the few times I’ve seen him used in this crossover, besides 1 or 2 fics, you could have covered up his name and I would not have been able to tell who the character is because none of his actual character traits were used

Which I think is a shame because there is utility to having him as a character. There’s personal conflict and growth regarding him bullying/having been a bully to Danny

Plus the classic “is a bully because of internalized homophobia and has feelings for the one he bullies” it’s the entire dynamic of “swagger bishie” Dash and Danny’s ship. You could just as easily transpose that to another character

Or even just “makes things more complicated by being involved in a situation where Danny has to protect him” Imagine how tempting it would be to just let something happen to him? The conflict, the desire to just not save this one person

And of course

“Jason Todd breaking into Dash’s room and threatening to end his football career by shooting him in the kneecap, all because Dash bullied Danny”

There’s utility in using Dash’s actual character traits and I think we really undersell him as an interesting character that can add a little something to a story

[queer-ragnelle]

Why do you hate the Once and Future Knight? I decided not to pick up the book because of personal preference but I’d love to hear your rant on it

Hi anon!

I’m assuming you mean The Once and Future King by TH White?

There’s nothing I could say that hasn’t already been said before I’m sure. But I didn’t read the series until I had already read many other Arthurian tales and I really don’t understand the love the series gets. The negatives don’t outweigh the positives, and worse, the lasting impact of TH White’s characterization choices on subsequent retellings is a stain on the literary tradition that set us back too far to comprehend. Putting my rant below a cut because I went off and the subject matter is disgusting.

First and foremost, the bigotry is astounding. The racism, the misogyny, the ableism and every other prejudice and cruelty you can think of are staggering in their variety and magnitude. It’s vile. It’s inexcusable. I don’t read modern Arthurian retellings to be bombarded with that in every single chapter. TOAFK is not “a product of its time.” It’s a product of a deeply unhappy and hateful man. Plenty of earlier writing is vastly kinder to Palomides and Guinevere and Morgause and Mordred and Lancelot or any other character unlucky enough to be depicted by TH White. Literally the Medieval source material is more nuanced than that. Morgause get behind me.

Secondly, the anachronism is an annoying stylistic choice at best and yet another tool for bigotry at worst. Why are Mordred and Agravaine likened to Nazis? Like seriously what the hell? It’s not enough for them to be antagonists, the text has to invoke the Holocaust? It’s so extreme it rips the reader right out of the story and calls to mind the most horrific parts of history for no narrative benefit whatsoever. Baffling and bad.

Thirdly, the prose just kinda sucks. It’s rambling and TH White will pause the narrative to stand on a soap box to talk at the reader about his views. He’s anti-war. Fine. But of all characters to use as a mouthpiece—King Arthur? The warlord King Arthur? Make it make sense.

Fourth, most tragically of all, so much of what TH White did in his series is reflected in stories told to this day. Every other retelling has a cover quote comparing it to TOAFK. (It’s supposed to be a compliment!) To put it in perspective…

You ever read a retelling with evil neglectful parent and rapist Morgause/Morgan? TH White’s fault.

How about added incest between one of the Orkney bros and their mother (which sometimes results in someone other than Gaheris killing her, say, Agravaine or Mordred)? Thanks, TH White, that’s just what Arthurian Legend was missing, more incest.

Ever see disabled, crippled, bad seed Mordred? TH White started that trend.

What about Guinevere assaulting Lancelot when she learns about Elaine getting him drunk and raping him? TH White really said “Lol what if Guinevere hits Lancelot and spits in his face while he’s crying?”

And the racism! TH White walked so Thomas Berger could run (derogatory). Discussions of race are so intense and so frequent and so random like one minute the narrator has paused the plot to talk about how war is bad and now it’s slandering Native Americans? Brother this is Medieval England what is even happening right now? Oh, look, another N bomb. The antisemitism! Weren’t you just comparing Mordred to Hitler? What do you mean the Orcadian/Scottish characters are evil because of *checks notes* “the incalculable miasma which is the leading feature of the Gaelic brain?” [Queen of Air and Darkness chapter 5] Thanks TH White for stripping Lot, Morgause, Gawain, Agravaine, Gaheris, Gareth, and Mordred of all nuance, a condition from which they have, literally, never recovered. Of course there are some retellings since that write one or two of them with a crumb of nuance, but they’ll never be like they were in the Vulgate. Not all at the same time. I feel sick.

It goes on and on. I have to stop listing examples or I’ll get pissed off. But frankly, more people should be pissed off about it! I’m tired of seeing five star reviews on storygraph and goodreads accompanied by a review excusing the most bigoted garbage I have ever read in a children’s book. It’s vile and everyone should feel bad about defending it. It’s inexcusable. This wasn’t a case of good-intentioned inclusion with dated language, this was an author going out of his way to be hateful. Period.

Big names in the fantasy book community like Daniel Greene should not be awarding five stars and leaving an uncritical review.

Far too many readers acknowledge the racism and then rate it five stars anyway. Go to Hell, Spencer.

Here’s some from storygraph with, of course, praise for Marion Zimmer-Bradley’s pedophilic power fantasy Mists of Avalon, another piece of hot festering sludge everyone should stop talking about. Kill the legacy already. The real life victims have suffered enough.

There also seems to be a trend in these reviews that excuse the texts bigotry by referring to how “old” it is. Which is crazy to me for many reasons. TOAFK in its final form was published in 1958. That wasn’t that long ago. Also racism has always been racism, misogyny has always been misogyny, ableism has ways been ableism. Plenty of authors came before this and really make TH White look like a clown.

Let’s promote them. In reverse!

John Steinbeck wrote The Acts of King Arthur and His Noble Knights in 1956 (published posthumously in the 70s, don’t go by that date). His depictions of Morgan and Guinevere are nuanced and fascinating, not to mention some original characters including an old granny who teaches Owain to be a warrior! This book also has a morally gray sun-powered Gawain without insulting his heritage, an emotional and thought-provoking Lancelot without marking his sin with a facial deformity, and a really sweet Marhalt who doesn’t often get much spotlight!

John Erskine wrote Restoring Palamede in 1932. He does exactly what the cover says, and writes a story about the Muslim knight Palomides beginning in his own country, living with his parents whom are both named, and follows him as he learns the ways of the world and finds an ally in his friend Brangaine! Tristan and Isolde are compelling here and while Tristan can still be a jerk to Palomides, it’s not the mask-off bigotry we’ve seen…elsewhere.

Howard Pyle wrote one, two, three, four books between 1903-1910. Two thumbs up from me. No notes. He drank his respect women juice, drew them with loving care, named so many previously unknown, and gave them voices. He was kind in his portrayal to Palomides and even some other knights of color from India. Morgause survives the narrative! We love to see it!!!

Henry Newbolt wrote Mordred: A Tragedy in 1895. A fascinating examination of family ties, all five Orkney brothers here AND their wives Lyonors, Lynette, and Laurel! (Minus Ragnelle bc life is unfair.) Guinevere and Lancelot are tragic and heart wrenching. Arthur struggles against his son Mordred and their destiny in a way that doesn’t outright demonize either side. It will rewire your brain.

Richard Hovey wrote his poetry between 1891-1900. A complex and interesting Guinevere and Elaine who are not enemies, Lancelot close with Galehaut during the war, destroyed by his torn loyalties between Arthur and Guinevere, Gawain who loves his friend Lancelot with all his heart, and so much more without tearing anyone down!

Oscar Fay Adams wrote his poetry between 1886-1906. Here we get a wide variety of character focus, with title-featured names from King Lot to Dagonet to Lamorak to Lionel. Each one is more fascinating and nuanced and fresh than the last, from a tour of Lot’s castle and meeting each inhabitant to Lamorak on Grail Quest learning to forgive himself from “sweet” Sagramore.

William Morris wrote his poetry between 1856-1910. All of it is on the Camelot Project but I also have this scanned book. Here we delve into Guinevere’s trial as she calls out those who have wronged her, lonely Galahad on Grail Quest relating to his father Lancelot and praising Palomides in his steadfast hunt of the Questing Beast, there’s even a poem named for Palomides himself!!!

Anonymous wrote Moriaen in the 13th century. It follows Aglovale’s illegitimate son Moriaen, who is of African descent. As he travels around Britain looking for his father, Moriaen meets many people who are afraid of his dark skin. BUT! All the Knights of the Round Table leap to his defense, even threatening townsfolk who try to demonize Moriaen for the way he looks and refuse him service. It is, essentially, an anti-racism story from the Medieval era. Not to mention healer Gawain’s care and attention given to the sick and disabled. That’s not even the moral/focus of the story so much as Moriaen’s journey, but it’s there and worth mentioning.

So here we are with a whole list of stuff to read that predates TOAFK and surpasses it. The last one is only sort of a joke. But it’s there to make a point about how inexcusable TH White’s racism really is. If Anonymous could give a black knight like Moriaen the narrative respect he’s entitled to for existing as a representation of real human beings that look like him, then TH White was capable of it too. Progress is not linear. This is not to say Medieval times were “better” than society today. But to write off any problematic story of the recent past as “a product of its time” as an excuse to make oneself feel better about liking it, well, I don’t know what to say. Maybe reflect on that. And while that marinates, read something else.

[ennn]

I expect Billy is going to be an antagonist for a while and that's OK

Anti's for either Agatha or Billy are probably going to get more intense as I predict our boy Billy's gonna be antagonistic for a bit. And let's be clear, I'm not hating, or saying either are evil, or in the wrong.

That's way too simple a take for this show. In the words of showrunner Jac Schaeffer:

...we populated the show with similarly flawed individuals who are also selfish and self-serving, who are self-sabotaging, who are constantly standing in their own way. And then they were just in conflict.  Everybody is kind of an anti-hero in the show. That was really fun and felt very truthful there. 

No one here is meant to be a pure "good guy", which is I think kind of Billy's arc -- but more on that later.

And when I mean antagonist I'm talking about the characters roles in the story. An antagonist isn't necessarily a villain. Agatha is the show's protagonist as well as its main antagonist: as much as she claims she wants only power, deep down she wants a coven, a community, a family. But she is as Schaeffer puts it, "in the way of her own thing."

Billy being an antagonist simply means that his goals – or some of them at least – conflict with Agatha's. Rio has been described as a "romantic antagonist" as well because some of her goals are also in conflict.

Long text speculation post and mild promo spoilers under the cut:

Let's first get this out of the way: Why do I think Billy's going to take on an antagonist role? Aside from well, all the things that happened at the end of Episode 5, there's some clues Billy's not all who he's been saying he is:

There's a promotional video with audio lines, and you can hear Billy saying things like "Agatha Harkness can never be anything but a covenless witch" and "I do not trust you".

Billy claiming to be "obsessed" about Agatha and her biggest fan and going on the road for power should know that she is the world's most notorious witch-killer – why is he appalled about her killing and so against it? And if episode 5 is any indication, power is not what he's lacking.

Joe and Schaeffer have mentioned that Billy will be different in the back half of episodes.

A quick clip from a trailer has Agatha (covered in mud) telling Billy "Last one there is a nice person", implying that Billy at this point doesn't want to be nice. I assume, at this point, he wants Agatha to pay for her misdeeds. The yellow tint of the clip also matches with the current Road area they're on.

Now at this point I do not know if Billy was involved in what I believe is a fake trial in episode 5. I'm inclined to think it's the Salem Seven, and we get this truth of Billy as fallout. I believe he definitely didn't want Alice dead.

Now for reasons why I think it'll be okay–even interesting–to have these two in conflict and everyone should put away their pitchfolks:

They are going to come to an understanding

You know how in Hawkeye series Yelena wants to kill Barton because she blames him for Natasha's death? I think we'll get a broadly similar arc or vibe for Agatha and Billy here. And they will design it in a similarly emotionally satisfying manner.

Right now Billy's basically like everyone–including the rest of the coven–who believes that Agatha is truly what her reputation says. And that's not surprising! Agatha is masks and layers and theatrics and she's not opening up unless she absolutely has to.

It may take a few episodes but I expect we'll get that before the series end, with this sobering exchange we have from a trailer:

Why do you let them believe those things about you? Because the truth is too awful.

I don't think Billy will be the Big Bad simply because I expect at the end Agatha's going to have to choose between wanting her coven, her community of witches, and something else—power perhaps, or her son, and go back to her old ways.

And for that to happen Agatha will need to have formed enough bonds with her coven, including Billy, to make it a difficult choice.

Power, darkness, and anti-heroes

Look, Agatha is my babe and she definitely needs a win after all that awful that happened in episode 5, but if you think about it Billy being a lot like his mom is really interesting? More interesting than him just being a cute innocent fanboy.

Because if he is an anti-hero, with some darkness in him, it's an opportunity to explore some of the themes or ideas we touched on in Wandavision with Wanda and her power, and her sense of self.

Heroes don't torture people.

Agatha recognises the darkness in people, delights in it even: as touched on in interviews, it's one of the reasons why she saw herself as Detective Agnes in that spell, as an investigator exploring the darkest aspects of humanity. She's seen the worst in people, and knows how to play the villain.

For Billy to avoid making the same mistakes as his mom, he needs to understand not just his power, but his potential for darkness.

Power corrupts, and when you're born with that reality-warping level of power, it's dangerous. It's so tempting to make people do what you need them to. And it's a slippery slope once you start killing, even if it's for good reasons.

Agatha never wanted to kill her first coven, in that moment she only wanted to live. But she did, with a power she never asked for, that made it so easy to keep taking and taking.

It is kind of tragic given the circumstances that Agatha couldn't have been a mentor to Wanda at the end of Wandavision, given the events of Multiverse of Madness, because she made some valid points and they could have been a coven, given Agatha's deep-deep-buried desire for one.

And looking at all the mentor-kid pairings we've seen in the MCU so far (Parker and Stark, Clint and Bishop, Strange and Chavez, etc.), I don't think we've ever had this kind of dynamic.

Interesting power dynamics

I think Agatha is at her most interesting when she's on the back foot. As we've seen in episode one, she's not one to give up when physically outmatched, quite the opposite. She's a survivor, she's stubborn, and she's a performer.

Billy has been revealed to have the magical equivalent of a gun, and is capable of taking this entire coven hostage.

They're going to have to interact in new ways now. But now it's going to be more of a dance.

It's new danger, new complications, but also new ways to connect, and also the opportunity for a more honest relationship.

Knowledge, history, community

This point isn't specific only to Agatha and Billy but I'm reminded of Billy taking it out not just on Agatha but Lilia and Jen as well.

It's not surprising that Alice and Billy, the two youngest coven members are also the most idealistic and noble. The world has not been kind to witches over the centuries—Lilia's been chased out of villages for her visions, Jen has been attacked—and the older members of the group have done what they can to survive: How much can you blame them for being selfish in a cruel world?

Power isn't your problem, it's knowledge.

In this case I mean not just the knowledge of witchcraft, but lived experience as well.

Younger witches have to learn their community's history, and the older ones have to be challenged in their set ways of thinking, in how they've adapted, because they're not always good.

I wouldn't be surprised if there was an allegory to be made here to the queer community as well. Schaeffer has mentioned there is a large overlap between the history and persecution of witches and that of the LGBTQ community.

--

Good lord this post ran away from me. If you actually read all of that you do deserve a cookie.

[kanansdume]

Andor is honestly one of the only pieces of more mainstream Star Wars media (so none of the little comics and very very few of the novels) I've seen since the Prequels that REALLY encapsulates the themes of non-attachment and everything that means in the way George Lucas truly intended. The only other thing I've seen that is its equal is the Obi-Wan Kenobi show.

And this makes me want to discuss Timm Karlo.

Yeah, Timm, the character everybody remembers most from Andor right?

That's what I thought.

This is Timm. He was Bix's boyfriend in the first three episodes of Andor. He seems to be pretty normal but he gets jealous when Cassian shows up because Cassian and Bix used to date and he can tell the two of them are cooking up some kind of secret together that he's not involved in. He decides to cover up his jealousy with fear for Bix's safety because Cassian is clearly in some kind of trouble and eventually ends up ratting Cassian out to PreMor security behind Bix's back. This results in PreMor invading Ferrix and getting Bix captured and beaten. Timm himself is murdered when he tries to help Bix.

All we ever get to see of Timm is that he's an insecure little asshole whose actions nearly get Cassian and Bix killed. He's an antagonist in this story.

But Bix loved him. He seems like a fairly average dude before this and presumably treats Bix fairly well outside of this particular incident. He's not a villain, he's just... a dude who lets fear of losing the woman he loves consume him to the point of making a REALLY stupid choice and it costs him everything. But that choice turns him INTO a villain for Cassian. Cassian will now always remember Timm as the man who betrayed him and wanted him dead. Cassian will always remember Timm by the selfishness of his final choice. That's the legacy Timm leaves behind in the end. Bix mourns him, but even Bix recognizes that Timm fucked up and nearly cost herself and Cassian their lives.

And if any of that sounds kind-of familiar, it's because it should. It's Anakin. Timm makes the Anakin choice. He wasn't a villain by default. He wasn't a villain his entire life. He was a normal dude who made one really awful choice out of fear and it ended up being the choice that defined him. He had the capacity for both good and bad in him and he chose to act on the bad and it was the last choice he ever made.

And this choice is what really screws up Ferrix, it calls down PreMor security on them which is what causes the massive screw-up when they try to capture Cassian and Luthen and that gains the attention of the ISB agent in charge of Ferrix as well as Dedra Meero who ultimately brings an entire battalion of stormtroopers and officers to occupy Ferrix. Ferrix gets far far worse as a result of Timm's one choice made out of insecurity in his relationship.

But it also ultimately leads to Ferrix realizing that enough is enough and they rise up and riot and throw the Empire out of their home. It helps push Maarva into joining a rebellion at the end of her life and making that recording that inspires the people to fight back. Maarva says that the Empire has been creeping in like a disease while they slept. And if Timm hadn't made the choice that took their situation from tolerable to intolerable, maybe Maarva and the people of Ferrix never would've bothered to fight back. If Cassian had been able to just silently slip out of town with no one being the wiser, Ferrix would've just kept going on as it had been.

None of this means Timm gets to claim credit for Ferrix and Maarva's own choices, obviously, but much like Anakin, the selfish choices he makes lead to unintended good things happening down the line, too. Anakin's selfishness leads to his relationship with Padme which ultimately creates Luke and Leia who, together, are the ones that manage to bring down the Empire for good. Anakin doesn't get any credit for how Luke and Leia turned out obviously, or the things they do that cause the Empire to fall, but they wouldn't have existed without Anakin's selfishness.

Timm's choice makes Ferrix worse, it calls down the Empire, but it also leads to the push that ultimately pushes Ferrix into rebellion.

Timm makes Anakin's choice. He's the villain of Cassian's story, but he is not WHOLLY a villain because Andor tells us that no one is ever JUST a villain or JUST a hero. People will always be people and that means they all have the capacity for both selfishness and selflessness within them. Timm loses himself to his fear for just long enough to destroy everything he cared about. Maarva chooses to stand up rather than run. Bix chooses to persevere in the face of impossible odds. Luthen gives up his morals to try to create a future for the rest of the galaxy. Mon Mothma sells her family for democracy. Cassian has to give up his dream of a normal happy life and settle for taking control of his own life.

And this is what makes Andor one of the best pieces of Star Wars media I've seen in a LONG time. It doesn't have any Jedi in it, it doesn't have any Mandalorian super soldiers, it doesn't have any Sith or Inquisitors or witches. It's just a group of people from different walks of life all having to figure out what matters most to them in the end. Some of them make the selfish choice and some of them rise above and make the selfless choice. It takes all of the themes that we've gotten from Star Wars via the Jedi and Sith conflicts and applies them to the little people, too. It's not JUST the Jedi and Sith who have to abide by those thematic narrative rules. Everybody else does, too, actually. Timm would never have become a Sith because of his choices, Dedra Meero and Syril Karn are never going to be Sith, but they can still become villains in someone else's story everything they claimed to care about can come crashing down as the result of one selfish choice.

THAT'S Star Wars. THAT'S what it's all about. THAT'S why Andor feels like Star Wars should to me without a single Force user showing up while something like the Ahsoka show feels like the opposite of a Star Wars story despite all of its fan service and nostalgia bait. Andor gets it. Andor took the time to understand the core of Star Wars even when telling a Star Wars story in a very different way.

[aceptical]

Honestly I would love a Splatoon game geared at a 13+ / older audience- or even one still aimed at the same audience that really addresses the topics it brings up.

Splatoon covers darker / more mature topics. Child soldiers shooting each other, invading the land of another species for profit, suppressing another species for over a literal century, how extreme fame affects people, being ostracized / “found out” for being different, being terrified of change, etc. but it never really covers them.

They are there: especially when you look into things like the sunken scrolls or resources outside of the game, but that’s kind of it. And that’s fine!! You don’t have to address them more obviously if you don’t want to. It’s a kids game first and foremost (and even if that isn’t really a great excuse, whatever).

But I would love a game that delves more into these topics, or just getting into these characters heads more. Using outside information and reasoning stuff, we can analyze basically every character well, but we never really see any confirmation in the game for most of it. We know from the relationship chart and the squid sisters stories and whatnot that Callie willingly went to the Octarians, likely due to the pressure of fame and being on her own, but this is never really explored in the game which sucks because there’s so much potential there! Comments on how fame affects people, escapism, and Callie’s, essentially inability, to be alone (since she’s able to step back into the spotlight again once she has Marie with her, both with the squid sisters performances obv but also the news/map announcement thing). And I get that that’s not the story they were trying to tell, but it would be so nice to have a game that delves into this stuff rather than leaving it off to the side where most of the playerbase probably doesn’t know about it.

Splatoon has a really big problem with exploring character’s darker parts of them / adding complexity to characters. Take Callie again: hypnosis cannot make you do anything that you don’t want to do, so hypno Callie’s personality was still Callie, just those darker parts. And that’s just- kind of ignored, past a few one liners (deep cut’s introduction scene.) Then the same exact thing happens with Marina, except we don’t even get to delve into it as much because it is literal brainwashing or mind control or something where she very obviously has her free will taken away. Which sucks!! Because it would have been so interesting to delve into that desperation that comes with wanting things to stay the same, unintentionally hurting the people you’re trying to help / protect, all of that kind of stuff, and then it’s just shrugged off for the rest of the DLC. Which, again, it’s fine that they didn’t want to tell that story: but it’s still missed potential regarding Marina.

This even affects antagonists, too: mainly Octavio. This is kind of remedied by him helping us in Splatoon 3, but it’s never really explored. He does what he does to help his people because they are literally dying from a lack of resources + power. I like the fact that the Splatoon 1 story doesn’t address this, but it could have been really interesting to see- even just a bit of this- in Splatoon 2, especially since it’s the introduction of giving the player that mentality shift from “Inklings good Octolings bad” to “Well, it’s more complicated than that.” This one is explored in the sunken scrolls a bit, but it would be nice to get a little something more regarding Octavio’s motivations (beyond just steal the Zapfish to help his people)

I really hope that, come Splatoon 4, whichever characters it focuses on (since the inkling / octoling conflict is over at this point), it really focuses on: give us more of their flaws, that complexity, and do it in game instead of through easily ignorable twitter posts.

[aihoshiino]

chapter 162 thoughts!

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 19

Aqua Hoshigan Status: uh oh, gamers

damn they dragged his ass right to hell, huh

I was perhaps overly optimistic in expecting an immediate resolution to last chapter's setup. It's becoming increasingly clear that this handful of chapters covering the Aqua-Hikaru confrontation are intended to be read in one go but because I am pedantic I will continue to review them one by one <3 This chapter very much has all the same issues as the previous chapter without quite as many of the things I liked pulling it up, but Mengo's art is back to going absolutely crazy and I got to see 2.5 new panels of Hoshino Ai so who can say whether it was a good or bad chapter.

Like last time, we're starting with Hikaru again and… basically everything I said I didn't like about this handling of him is still the case but with this almost definitely being his final appearance with no more opportunities to explain anything about him, it really sucks that the note we seem to be ending on is just "damn, bitch be crazy". Given that Tsukuyomi mentioned his previously 'noble soul' last chapter, I was really hoping we might get some sort of flashback or Hikaru POV giving some proper context to his actions but all we got this chapter was him being like "ughh i miss ai. GOD i love killing people" which is, uh, underwhelming as a final note for an antagonist like Hikaru to go out on, to say the least

The thing is, I didn't need or expect Hikaru to be totes 100% an innocent bean or anything like that (ch109 looms large), but if he was going to be the final boss like this, I wanted his antagonism to come from somewhere, to have any kind of connecting thread with the story's themes or to at least tell us interesting things about him both in coming to understand where his behavior came from and why he went down this path. But we don't know anything about Hikaru, really - we know facts about his life but as person and a character in a story, our image of him is shockingly unclear. As far as the story seems to be concerned, he came into existence as an 11yo boy being abused by Airi, blipped out of reality when Ai broke up with him and then idk digivolved back into society into a guy from a yandere otome game when Ai died. Like, how in god's name did Hikaru go from the boy we see being broken up with as a teenager to… whatever the fuck this is? How did he start killing? Why? What is it about killing that makes him feel Ai's supposed presence? And most importantly - why does he pursue killing Ruby as his means of achieving this when the narrative is doing everything it can to convince us she's Ai 2.0 and therefore a living person in whom Hikaru should be able to feel Ai's presence the most strongly since her death? Hello? Can anyone hear me????

We don't get textual answers to any of that - hell, we don't even really have any textual confirmation that he is actually serial killer, despite it being something I guess we're supposed to assume at this point?? Like, whatever happened to Aqua seemingly crediting Yura's death to Nino's involvement? What happened to Aqua saying that Hikaru being the mastermind made no sense? Like, I guess he was right, but jesus

Even things I can take the time to try and infer (which, see last review's discussions on Inferring Things) just make me feel like I'm doing the work the story should have done in terms of trying to get his character to cohere. As it stands, Hikaru isn't in opposition to Aqua because he has harmful beliefs or behaviours born from his participation in society that stem from or are in conversation with the story's wider themes, but because he has one very specific unhinged belief totally disconnected from reality focused on one specific person and manifesting in such a way that caused him to just be Ontologically Evil And Broken.

And it's not like this would even be hard to do! Hikaru is literally, explicitly an affluent and powerful person in the entertainment industry despite being someone who was broken by abuse perpetuated by those very systems of power. Why not lean into that? Why not examine the ways in which Hikaru and Ai converged in their experiences of abuse - Ai able to truly sever the chain and begin healing while Hikaru ends up making Airi's mistakes and enacting abuse and control on people with less power than him to try and regain agency and dignity?

Ryosuke (even post retcon) and ch154 Hikaru work so well because their specific beliefs about Ai reflect real world misogyny and parasocialism that are rife in the entertainment industry (and even outside of it) so they're able to contribute to the story's wider themes pretty well. But as of this chapter, Hikaru's stated beliefs about killing and apparent overall worldview are so fucking detached from reality and so lacking any foundation or grounding in textual events or theming that it doesn't even feel like an exaggeration of real world issues to a logical conclusion like Ryosuke does. He just feels like a cartoon character.

Not only is this shallow in general and really a huge wet fart of an ending for a character who has been built up for 4 actual years and 150 chapters of manga, it's also just bizarrely inconsistent. There's no proper connecting thread in the text between the seemingly emotionally disarmed and remorseful Hikaru of 154-5 and fucking joker slenderman ass here. The story spent so long making Hikaru deeply and viscerally sympathetic through exploring his history of abuse and exploitation mirroring Ai's that I'm not sure of what the point of that was in terms of authorial intent if we were always gonna end at this point of "you are Ontologically Evil and must die". Movie Arc backstory Hikaru flows quite naturally into 153-5 Hikaru but these specific beliefs and fixations on killing almost feel like they popped up from nowhere to force this confrontation to happen.

Ultimately, despite being given ample opportunity to do so, it just kind of feels like Akasaka just kind of lost interest in trying to develop Hikaru into a fully fleshed out and coherent character. We get flashes and teases of what could have come together into a fascinating and compelling antagonist but he ultimately fails to evolve past a vague sketch of a character, full of unconnected ideas and loose threads. In the end, Hikaru is only ever a cipher for the story to enact tragedy through with no real interest in his own feelings and interiority in relation to it - not even his own.

To scooch back a bit into the chapter, I will say that him being dragged down specifically by Gorou is interesting, especially since he seems to have returned to his scary ass Tokyo Blade rage ghost form. This seems to represent Gorou and his rage being sort of 'exorcised' from Aqua now his revenge is complete (as I theorized might happen last week) - his memories and existence obviously live on in Aqua (F… FOR NOW…..) but as a character in a narrative, this feels like a fine enough place to leave him.

Anyway, speaking of Aqua! How ya doing, champ?

that bad, huh

The back half of this chapter revolves around giving Aqua some emotional resolution of his own and even though I've been kicking and biting to get some Aqua introspection for so long now, this one left me feeling pretty cold. After all this time of floating around the 'why' of his reincarnation, the answer we're finally given is….. just that Aqua was reborn to be Ruby's guard dog lol.

The idea that the twins were specifically reborn to be together has been imo pretty obvious for a good long while and I think it's a perfectly fine idea on paper, but this framing of it just kind of falls flat to me. I don't like that it positions Aqua's rebirth not as a second chance for him to love and be loved in a way he wasn't able to as Gorou, a gift from Tsukuyomi to two people who showed her a selfless, thoughtless kindness but as just yet more of the story using other characters and their stories to try and prop up Ruby or imbue her with more importance in a way that I think feels forced and does the characters who are used in this manner a huge disservice. I'm sure we could conclude that this is just Aqua's feelings on the matter and I really, really hope that Tsukuyomi fishes him out and gives him a slap while yelling YOU WERE SUPPOSED TO LIVE FOR YOURSELF AND BE HAPPY IDIOT or something next chapter, but the extremely warm framing this is all given makes me think this is something the narrative both agrees with and approves of and as an Aqua enjoyer I just kind of hate that for him.

I also have to say that like… it doesn't not make sense for the story's finale and this aspect of the reincarnation plot to center Ruby specifically. She is one half of the titular Oshi no Kos and at least hypothetically the co-protagonist of the story. But suddenly making her the answer and central turning axis of basically the biggest ongoing mystery in the story like this feels kind of jarring when Akasaka spent a solid half of this entire manga not really doing her justice. This attempt to tug on our heartstrings via flashbacks to the twins' childhood also doesn't really do anything for me because as cute as it is, it's just disconnected flashbacks to brand new events in their childhood we never saw or heard about before. And it's weird because it's not like we don't have in-story examples of Aqua being over protective of Ruby, so why not flashback to those?

Idk. It's hard for me to articulate why this left me feeling kind of cold, but it feels like a symptom of this being part of an ending that Akasaka set in stone too early on and hasn't compromised for he way the character dynamics and story that made it onto paper have shifted and changed in ways that don't one hundred percent line up with the ending he wanted. If the twins' relationship was going to be this important to the ending and be so central to Aqua's existence as a character, I wish we'd spent more time on it. One of the major critiques of OnK that people had from like chapter 12 onwards that I still agree with is that Aqua and Ruby's relationship doesn't feel like a close knit connection between two people who grew up together for 1X+ years, and that continuing issue makes it kind of hard for me to feel the warm and fuzzy sibling feels right now. Which sucks because I LOVE the Hoshino family trio and I love Aqua and Ruby's family dynamic when we actually get to see it - their chapter of interlude and some of the scenes in their home in early OnK are some of my fave parts of the story for that exact reason. But this just kind of whiffed for me.

It also isn't lost on me that Ai is basically absent from these flashbacks despite them primarily taking part in the part of the twins' childhood they spent with her. I get that the idea was to focus specifically on Aqua and Ruby's dynamic there but it still feels kind of…

I've already written a short essay on this topic as it pertained to the initial reveal of Tsukuyomi's role in AQRB's reincarnation and the TL;DR of that post is that early in the series, Ai is centered as a character of as much significance to the reincarnation plot as Gorou/Aqua and Sarina/Ruby are, with the togetherness of the Hoshino family as a trio and Ai specifically as Aqua and Ruby's mother being emphasized as having a great deal of meaning and importance. But this chapter doubles down on essentially erasing her as a figure of weight and consequence in the twin's reincarnation in a way that is both inconsistent and just kind of leaves a bad taste in my mouth.

Like… I'm sorry, but given how much of Ai's character revolves around her being the victim of exploitation, of objectification, sexual and otherwise, of being forced to warp herself to response to the filthy desires thrust on her by the people around her, it's really just gross and a huge misstep for her to be reduced to a convenient walking uterus. It is yet another example of Ai being reduced to just a stepping stone in Ruby's narrative and part of a pattern in this regard I've come to really dislike. Framed like this, Ai's own act of bravery and love in giving not just herself but Sarina and Gorou the family all three of them were denied all their lives is now nothing more than a vessel for Sarina's wish fulfillment. As you can imagine, I kind of hate this too!!

Depending on if volume 16 follows 14 and 15's trend of being 11 chapters long instead of 10, vol16 will end on either 162 or 163 - based on how 162 ends, my guess is that this is our volume ender so I'm curious to see what form 163 will take - straightforward continuation of this scene or focus switch to other characters to maintain suspense? I guess we'll see in THREE FUCKING WEEKS……. Akasaka i swear to god……………………….

sidebar but tsukuyomi just out here floating is kind of wild. what happened to 'it's a normal child's body' ya little twerp?

[autumnmobile12]

Ambush Simulation: Burnin'

Burnin': *clocks out* 'Kay, I'm headed out. I'm going drinking with the boss's kids and their weird vigilante friends at that bar owned by All Might's nephew.

Kido: ...there is so much going on in that sentence that I don't know how to tackle it.

...

...yeah, Burnin' and some of the other sidekicks might be another reason why the Vanguard gets away with so much.

Burnin': *runs down alley in pursuit of villain, ends up cornering the guy because Dabi happened to be coming from the other direction* "You patchwork dumbass, get the hell out of here before your dad sees you!"

Dabi: *makes offended hand gestures and dips*

...

Not really a topic I'm going to explore too much in The Summer Camp Ambush Simulation, but it is one that I may go into with other fics in the same au:

How much did Endeavor's sidekicks know/suspect what was going on with their boss's home life?

We don't really see their reaction to it in canon, which I think should have been shown. Because as it stands, it gives the impression they watched Dabi's broadcast, then saw Endeavor's public confession about what he did, and they seemed to collectively say, "Our boss was abusing his wife and kids for years. Oh well." And then they go and defend him as a good hero during Final War, which was objectively true, but I don't think saying that in front of two of his victims was a good look for any of them. It probably would have been better if we got a scene that showed they were taking Natsuo's stance of, "We're with Endeavor until this is all over, then we're out."

...

I imagine in canon that Endeavor keeps his private life strictly hidden from his professional one, but the Ambush Simulation au makes it a little more complicated with how Touya behaves. He's a vigilante, which has a lot of the sidekicks and other Pros questioning why he didn't just train to be a hero. Why is he so antagonistic with all the opportunities that were available to him? If he isn't coping with what happened to him, then does that mean he isn't receiving proper care and/or support?

All boiling down into the sentiment, "The boss's oldest kid is a shit. But we have questions."

...

Burnin' for sure knows at least a good chunk of the story.

A few years before the events of The Summer Camp Ambush Simulation, she did confront Touya about his 'spoiled, rich brat' behavior and got quite a bit more info from a very pissed off fire-user than she bargained for. And like everyone else adhering to Rei, Touya, Fuyumi, Natsuo, and Shouto's collective wishes to not have their private lives exposed in a public scandal (where their story will be scrutinized by the media, where they may be called liars and harassed by Endeavor's more die-hard fans, where the Commission may denounce them in order to cover for one of their top-performing Pros, where their lives will be completely upended with a myriad of foreseen and unforeseen consequences,) Burnin' reluctantly stays quiet about it.

"This is how I get ahead in life. I work with the No. 2 Hero and then I go drink and commiserate with his kids."

[cdroloisms]

I still think saying that ctommy deserved to be tortured and beating him up is odd considering the framing of the scene but I've been reminded by others that c!dream wasn't suddenly void of empathy and regret in the scene and it's not like c!tommy was jesus

i get that--but it's important to recognize that in the scene, the one who is being above and beyond empathetic and trying to get c!dream to open up is c!tommy, and the one who is rejecting the truth in favor for the lie is c!dream. which is kind of the exact roles that they should embody, here. notice how c!dream fights c!tommy on the idea that he's not always been the villain--c!dream does get to a point where he's able to have a civil conversation with c!tommy by the very end, yes, but that was not the case when the finale streams started. c!dream in the finale might not have been actively pursuing c!tommy, but he by no means had let go of the massive goddamn grudge he had against this guy and they were still very much antagonistic towards each other. to be honest, c!dream calling exile torture and justifying it with "you deserved it" isn't actually what i'd consider something that makes him like. less understandable in this scene? c!dream isn't just anyone with any relationship to the statement "you are being tortured, and this is because what you deserve" you know--this is literally exactly what he went through in the prison. using the same terms and justification for exile specifically, a circumstance that was obviously awful and abusive and still. not. the same intensity as the prison, i think is fair to say, objectively, i would argue more communicates a subconscious level of acknowledgement of how damn badly he fucked c!tommy up rather than a genuine belief that exile was just #deserved #fuckyoutommy. even killing c!tommy is specifically addressed in this stream as being something directly connected to c!dream's killing himself--immediately upon being revived, c!tommy tells c!dream that he can't just do that, he doesn't know how much it hurts, and c!dream's rebuttal is that he does know how much it hurts and that's the point! yes, c!dream treats c!tommy terribly in this finale stream, he kills him and says that he tortured him and he deserved it...and all of this is quite explicitly happening in connection to c!dream's pain, as well. oftentimes, c!discduo narratively is framed by the fandom as this like, "versus" relationship where one person's shitty actions and one person's pain actively detracts from the other's, right, but the exact opposite is true? c!dream is a much worse, much more evil character than c!tommy, yes, but a lot of these very intentional parallels were being drawn because in a lot of ways, they are very similar characters and the decisions they made and the ways they were hurt and reacted to their pain provides more insight to both characters, even if we only see the one--such as how c!tommy's vine covered little bunker was drawn in direct parallel to the prison crumbling around c!dream. honestly, i wasn't expecting c!dream to accept what c!tommy was saying that quickly at all--i was definitely expecting him to double down. the fact that c!dream was willing to come to an understanding with c!tommy at all speaks volumes on his character and how badly he really just needed someone to talk him off his tower, tbh--i don't think his initial rejection of it detracts at all from the final understanding. c!dream definitely needed to fight the truth, because that hammers in how deeply he'd internalized the L'manburg Story and the idea of dream-as-villain and how much his self-identity had ended up tied into the Plan and Villain and Evil of it all, and his willingness to reach for it at the very end despite all of that is the reframing that the finale stream was meant to provide

[tgammsideblog]

Let's talk about Jinx vs The Human World

Jinx vs The Human World is... certainly an episode. It hasn't been talked much in comparison to The End because it has been greatly overshadowed by the later.

One thing that i think many of us can agree about Jinx vs The Human World is that it has super chaotic pacing. It doesn't give you room to breathe because it is already jumping to the next plot point and you can't digest well what you are watching. This hurts the emotional impact crucial character scenes have, because again, they aren't allowed to flow well, not letting the characters to react properly.

It's an episode that should have been around 44 minutes long since it covers multiple plot threads. With that ammount of time some things could have been better paced and given a proper conclusion.

As for the plot threads, i already talked about how i like Jinx as antagonist in this episode. She is fun, her song sequence is pretty good. She ends up capturing Molly and using her as away to power up her sobgoblins.

I really enjoy seeing Scratch finally having to deal with the consequences of not being a good leader. The reason the events of this episode happen are because of his own irresponsibilty, letting Jinx steal the Chairman robe and take over the Ghost World. He realizes that he has been messing up a lot and someone else should be in charge instead. He lets the chairman robe go and chose a more appropiate candidate to be the new chairman.

My biggest issue would be the Chens plot part. I do like the part of Ollie and June standing up to Ruben and Esther and trying to persuade them into helping them to stop Jinx. It's a scene that serves more or less well as a conclusion for their arc, even if Necro-Comicon and The Grand Gesture have this purpose, (more for Ollie's character)

The reveal that Geoff was the ghost that scared Ruben was nice too. It has been a thing that was foreshadowed back on ¨Book Marks The Sprite¨

What i'm not so fond of is how it was Geoff sneezing at him when he was a kid. I think it could been more interesting if it had been Geoff hurting Ruben by accident or scaring too much. That way Geoff apologizes to Ruben, showing to him that he didn't mean to hurt him that way.

Ruben also feels like he lacks proper scenes to show his change of mind. Sure, he realizes that Geoff wasn't evil as he thought he was, making him question things. But there isn't much else. I think there could have been a scene of Geoff saving Ruben from the sobgoblins and Ruben realizes how a ghost saved him, making him reconsider his views.

His change of mind is like it comes a bit out of nowhere. Another problem is how he seems to be super friendly around ghosts near the end which it is very weird. I think it could have been better if he had some expressions and lines that indicates that he is still trying to get used to not seeing ghosts as evil.

In addition to this, the Chens don't get to do much in this episode outside of trapping Jinx inside the phantom canister. I wished that they could have set up traps to catch the sobgoblins and contain them temporary at least, that would have given them a bigger role in the plot.

I do like some moments that June has, like her interations with Darryl and giving some funny moments. She is pretty enjoyable in this episode and she shines almost scene she is in.

In some other problems, i find the whole wraith transformation of ghost friends unnecessary, it doesn't have any funtion in the story aside from seeing how they look as wraiths (which is cool!) but the plot could have played out the same if it had been just Scratch and Molly going to the Ghost World.

The Ghost Council saying nice things about Scratch and that he wasn't so bad to give Molly joy fits well their character arcs this season, but, Sir Alister saying they are Scratch's ¨friends¨ doesn't add up since Scratch doesn't want anything to do with them and he has interacted with them because he was forced to be the Chairman in first place. I would change that line of dialogue and leave it as them thinking that Scratch is not so bad instead.

In all, i think what really hurt Jinx vs The Human World is that it needed to be a way longer episode (around 40-50 minutes) to allow things to be spaced out better. A good chunk of the issues from this episode seem to come from that. With more time to explore the events and changing some things, this episode could have been more presentable in quality as a whole.

[theloganator101]

The Great BNHA Review: Potential

So I'm actually gonna be splitting this into four parts and then one more wrapping up how I feel about the ending and the overall series. The topics I'm going to talk about are the following.

The potential the characters had and how Hori squandered them.

The world they live in and how things are done in society, only for nothing to really change in the end and for things to not make sense.

The morals and messages it tries to convey.

And then (REDACTED).

Anyways, let's get going with Potential.

With a cast of characters as interesting looking as they were and the glimpses of personality we saw, like Jiro thinking she has to choose between being a hero or a musician, or Shoji and mutant discrimination. You would think that with how interesting the class looks, that they would get some role in the story or their own respective arcs to expand on their characters.

Except that's not what happened.

The main focus most of the time either falls on Izuku, Bakugou, Shoto, and sometimes Ochako. So that's four out of twenty students that gets the spotlight while everyone else is regulated to minor characters who are only brought in to fights.

Which is honestly kind of disappointing because many of them look to have stories waiting to be told and can be good characters! Because I wanna learn more about Sero, I wanna learn more about Hagakure, I wanna learn more about Shoji. But now that the manga's over, that's not gonna be possible.

This is especially terrible since in the final war arc half of the fight is just fucking flashbacks to expand on some of the characters fighting when it should've been something covered earlier in the manga instead of hyping Bakugou up. It all just feels too little too late and makes things cluttered and unorganized.

And then we have the villains.

They were kind of cool when they got introduced and had a lot of potential to challenge the heroes. To really make them open their eyes to how flawed their society is and why it needs to change. They could each have an upbringing that brought them to where they are now and why they wanna join to make a difference. They could be some compelling and intriguing antagonists for the heroes to face.

... Except we don't get any of that.

What really hurts the villains in this series is how Hori tends to flip flop between making them sympathetic and their heroic counterparts wanting to save them, and making them so cartoonishly evil that the villains from the POWERPUFF GIRLS comes off as more compelling compared to them!

And it's like... pick one or the other Hori! Either they're victims of society or they're just irredeemable! And what sucks the most about this is that they HAD something going on! They could've rise from losing AFO and promise to make a change for the better! The My Villain Academia part shows how this was possible!

But instead they ended not in a bang... but a whimper. they all pretty much died in the end or confirmed to the very society that hurt them so what was the point of trying to redeeming them?

Then finally... we have the main character himself. Izuku Midoriya.

Oh how Hori utterly failed you...

You started off so promising in the first two episodes, You could've been a quirkless hero to make the message of anyone can be a hero really have an impact. You could've rose from your pain and suffering and show everyone what you can really do.

But sadly that's not what happened. You were given a quirk that hurts you, nobody really helps you with it, you're forced to work with your bully and never grow out of the mindset that he's awesome, every adult you associate with has failed you in some way, you're forced to distance yourself from your friends so Hori can have his Cash Cow Triplets, you're never really challenged in any unique way other than "just punch your problems away", and ultimate... you just became a watered down version of what you started off as with no introspection whatsoever.

I have never seen a character so stagnate in their arc and development in such a series before, only beaten recently by Vaggie in terms of just never growing or learning anything else.

Izuku really deserves to be in a story with an author that can utilize his potential to the fullest and give him the love and attention he deserves, because this series and Hori just wasn't it.

As for the Pro Heroes, they really were nothing in the end. All they can summed up as them just saying.

"Our society is bad, it's up to the next generation to make things better in the future. We need these teenagers to fight in wars because only they stand a chance compared to us bumbling adults!"

That's all that I get from them.

Stay tuned for next post where we'll look into society and how it's flawed, and what the characters do to change (not really) any of it.

[nie7027]

AAAAAAAAAAAAH I didn't remember Touchirou appeared at the end of the first season and that Shous inspection was actually ordered by him, not something Shou made up!

Which means that nobody knowing he is his son means Touchirou himself is the one who made the cover up story about Shou being one of the kids taken to the general quartets and awakened there!!!

Also I love that even though it's not fully shown yet in season 1 Shou breaks the mold that antagonists had fit all along season 1 because unlike all the others Shou doesn't believe himself to be above all the other just because he is a psychic. Shou doesn't believe his powers put him above common people. He in fact believes psychics and common people are equal and none should be above the other.

Shous problem isn't delusions of grandeour.

It's in fact the opposite.

Shou believes himself to be the sole responsible to stop thosw. Shou believes it's his duty to stop Claw himself.

In a sense it's a little egocentric to believe yourself the hero who has to save everyone else but I argue more than that Shou does it out of sense of duty.

Like Shou himself accepts he isn't strong enough to take up on Claw (which is why he is looking for allies, which is why all his attacks are focused on surprise and evasion) but... nobody else is going to do it.

Shou carries this great burden not because he believes himself better, he does it out of the goodness of his heart. Out of his caring.

Shou is a responsible good boy who cares so much and wants to help and protect others. He's really mature and we rarely give him the credit he deserves for it.

Nobody else is going to do it and he as the good person he is cant stand aside and allow this to happen.

Which is why he crashes horribly with Mob at first.

Because during the 7th division fight he watches Mob do exactly this.

Mob has the power to stop it and yet he decides to not do it. To step aside and let others handle it.

And Shou can't understand that. Because from the way he has lived Shou knows what happens if you do that.

To Shou Mob is irresponsible and uncaring.

Except no, he clearly cares for his loved ones.

Which leaves only one other option.

Mob is a coward.

And to Shou, who's willing to put himself at the front and confront all of Claw on his own whatever it takes even if it's his life, that's equally disgusting than the other options.

(This also makes me wonder what Shou thought of Reigen? Watching him scolding the Scars and putting sense into them. Like all the things Reigen said are stuff Shou already knows are true.

Stuff anybody, specially adults should already know.

But people at claw dont.

And Shou gave up on thinking the others at Claw could change their ways and realize it.

After years of growing in Claw Shou gave up on thinking people can change.

And here Reigen is doing what he thought was impossible.

But even if that was an option now given the size of Claw it would be naive to think it would be of any use. )

[kaptain-pastel]

ok so I don't mind most of the mischaracterization in Gatsby Broadway because I can understand why they did it and how it helps the story that they are trying to tell, even if I don't agree with it. But I really, really don't like what they did to Catherine and the Mckees (and Nick but that's through the whole show) in The Met.

(to clarify, I have only listened to the cast recordings of Gatsby Broadway! I don’t know any of the acting in between songs or anything they are doing on stage because I have only listened)

This ended up being longer than I expected so I put it below the cut :D

The biggest problem for me is that The Met characterizes Catherine and the Mckees like they are evil lustful people set out to corrupt pure and innocent Nick. In the song, Nick sets up a predator-prey relationship with them, even calling Mr. Mckee a vulture. It sets up this divide between Nick, who is our protagonist and Can Do No Wrong, and the people who side with the antagonist that the show makes Tom. It is implied that Nick gets drunk unwillingly, is flirted with by ALL party members unwillingly, and is "on top of" Catherine while being photographed by Mr. Mckee unwillingly. He does not want to be there with these people that his precious pure midwestern morals call "wrong" in any way, shape, or form.

This is not only not supported in the original, but also is a gross way to treat these characters--especially since Mr. Mckee is often read as queer, and his interactions with Nick add to Nick's own queerness. The song itself states that Mr. and Mrs. Mckee have a consensual open relationship in the setting of the show, but it is painted as something that adds to their immoral status. In the year 2024 we are portraying two consenting adults as evil for communicating and agreeing to have an open relationship? Ok yeah sure, if you say so. Mr. Mckee's, and by extension Nick's, queerness is not openly stated in The Met, although some lines can be read as innuendos or implications to this ("[Mr. Mckee, to Nick or Tom] I'd love to do more work on long island, if I could gain entry" "[Mr. Mckee, to Nick] I want to capture your musk" "[Nick, about the party] everyone is flirting now / and they're all coming on too strong"). Again, I haven’t seen what is happening on stage so I can't speak to that or how it effects these lines. Something about turning a character often read as queer into a "vulture" trying to take advantage of Nick (who, according to some reviews, was stripped of most of his queerness) just doesn't sit very well with me.

Changing the nature of the appartment party is not a very new thing, so I wanted to take a moment to discuss what actually happens in the original that contradicts Broadway Gatsby's portrayal. Nick is drinking, and describes getting drunk that evening, before Catherine and the Mckees even arrived to the apartment. When they arrive the conversation is pleasant and not all that harsh, mostly covering Mr. Mckee's photography (which he HAS done on Long Island, though he tells Tom he would've to do more work there who suggests Myrtle sets him up to photograph Wilson) and Mrytle's dress. The only possible implication that Nick is uncomfortable is the fact that he mentions wanting to leave to take a walk but is stopped as he is drawn back into "some wild strident argument" every time. The text does not elaborate much on the nature of this, so I don't know if that was in an effort to trap him there or just Nick getting trapped by social convention as they continued to talk to him. Nick also has no explicitly stated romantic, sexual, or even physical interactions with Catherine--most of their time interacting was Catherine explaining to Nick that Tom and Mrytle both hate who they're married to. Finally, after Tom breaks Mrytle's nose, Nick leaves the party with Mr. Mckee completely of his own (albeit heavily intoxicated) volition.

All in all, I understand why these changes are often made to the appartment party, and specifically the purpose The Met in the show. The Met is what changes Nick's mind about helping Gatsby meet Daisy. The party is used to give a reason to why Nick chooses to help Gatsby because most modern audiences don't want to root for a character who helps his cousin cheat on her husband for no good reason. The audience wants to relate to Nick--which means that they want him to be a fundamentally good person. And therefore we must see that Tom is bad and awful so that we can be ok with Daisy leaving him for Good and Awesome Gatsby. The problem with The Met is that all of that could still happen without villianizing Catherine and the Mckees. Tom is still an asshole apart from their behavior--he still breaks Mrytle's nose for mentioning Daisy and is, you know, cheating on his wife. Nick's decision to organize tea with Daisy in Gatsby Broadway is based mostly on the way Tom treats Mrytle and Nick himself at the party, not particularly on how the other guests behaved. The Met could have come to the exact same conclusion without portraying Catherine and the Mckees as people trying to corrupt Nick's purity and moral standing, and I think that is what makes it so uncomfortable and off-putting for me.

[goblinhoursinsomniaramblings]

more vladclone au bullshit because why not

Part one here

-the clone (tentatively still thinking of him as MJ as a shorthand for Masters Junior without blatantly being such a diminuitive) starts out fully intending to do what's asked of him. it takes the commute to Amity Park to realize he's expendable--and that his 'father' is already distancing himself from the concept his clone is actually another him. still, what does that leave for him?

-he has memories, knowledge, reflexes from original vlad, but the memories only feel real up to his body's age of 15, when his progenitor was a nerd in the 70s--and those memories are lonely as hell. everything else feels like stories told to him, with occasional flashes of actual emotional involvement. the clone finds himself awkward, anxious, and deeply suspicious of others' intentions compared to Vlad 'senior' and his ruthlessly constructed image.

-conversely, he doesn't have Vlad's obsessions. where Vlad is a shambling collection of malignant coping mechanisms in human form, the clone is free of them, even if he is predisposed to them. particularly the obsession for love, which manifests hugely towards Danny.

-(potential scene related to previous point:

Vladclone to Danny

"I was made for you! Literally! I was made for you, and I don't care that it was to trick you and lie to you, you're the reason I exist, and if this is what he felt towards Maddie then I get why this drove him crazy!")

-Vlad and Vlad Junior have an increasingly antagonistic relationship because Vlad is a control freak and his supposed son realizes that he's not only expendable, he's a loose end once he finishes his 'mission', which makes him deeply uneasy when Vlad tries to tighten the reins as though he's not someone he can trust to his own ends. this just gets worse the more Vlad the younger realizes he's untrustworthy because he's Vlad's clone.

-(another potential scene:

"You can't be calling me all the time! They're already suspicious that you sent me here! I told you, it'll happen when it happens, 'dad'!"

"I can hear those air quotes you pompous little--")

-him and Danny annoy the shit out of each other at first because Danny immediately clocks him as a rat while really he is being as honest as possible with Danny, and the Clone Vlad is increasingly frustrated because he is trying to avert a scheme here, work with him!

-he's gawky and awkward as a human, but he was created as a half-ghost and able to use a lot of Plasmius' powers out of the box. he's basically a younger Plasmius and is a lot more comfortable when he has the option to float

-he and Danny finally start connecting to each other when they start sharing common experiences as adolescents and halfas, and help cover for each other.

-the confrontation with Vlad is ugly. self loathing meets an external target that just tricked his way into range to fuck up his clone lab. Danny only just makes the save.

-clone vlad gets hit hard by an Obsession targeted at Danny, but is a lot healthier and less possessive about it than Vlad towarxs Maddie, but he also knows he could easily have that happen if he doesn't watch himself.

-Danny's kinda excited he has a half-ghost friend now. at points he even sounds like when Jack talks about Vlad, especially if they pull off something cool together. huh. wonder if there's anything to unpack there...

[hamliet]

Beauty and the Beast, But Make It BL

Or, about a year after the hype Hamliet finally watches KinnPorsche properly instead of just clips.

My overall thoughts are that I really, really enjoyed it. The characters were likable and interesting, and plenty flawed. The story also had some really fascinating ideas and nice fire, water, and air symbolism, as well as a really beautiful retelling of Beauty & the Beast. The main couples all foiled one another in interesting, thought-provoking ways. VegasPete? Is one of my favorite love stories in any media ever.

The side characters were also really well done, for the most part. I loved Kinn's friends, and Yok was a standout in terms of her mentorly role. And, the other bodyguards each got their own personality. Arm and Big were particular standouts to me, and I appreciated how Big's story arc (his unrequited love for Kinn) was handled: with subtlety, but thematic impact. His sacrifice showed Porsche that love sometimes involves sacrificing for the person you love.

The series also used symbolism fairly well. The lighting always changed to colored/rainbow lighting when it was a romantic scene, and stayed natural when it was not. The use of mirrors and windows, and phoenix/fire with Kinnporsche and water with Vegaspete, was intelligently woven into the story. I do think some of the symbolism was too heavy-handed at points, though.

Of course, because I'm me, I do have quite a few critiques as well, which mostly has to do with what I saw as potential that went untapped. The story never did anything "wrong" exactly, but it just never dug into how much potential it had. The foiling was strongly set up, but it could have been far more powerful than it was.

The plot was basically *vibes* which I'm okay with because I'm not super into plot in general, but unfortunately, as can happen when plot is weak, the themes suffered for it. If plot is a tour guide through a story's themes and characters, this was somewhat of a bumbling one... with an occasional stroke of brilliance that reinforced how satisfying the potential was.

Kinn + Porsche

Let's start with the main couple. I really enjoyed their characters, but I wasn't as invested in them as I was in the other characters I'll be covering. They seemed more like ideas rather than human beings, even though they had more complexity than some of the other, more human characters. While that might sound contradictory, what I mean by that is that the other characters always had drive and purpose for the narrative, while Kinn and Porsche sometimes felt more like vehicles (heh, get it, because--) to get to something that never quite arrived.

Kinn and Porsche also started off the series really strong, but weakened after they got together. After they were together, the writers kept bringing up the issue of "trust" between them, but I wasn't quite sure what they were trying to say about trust. And maybe they were just trying to explore the different sides of trust rather than give any particular message, but I thought it was a bit messily handled.

Still. Still. Porsche's line in the final episode, where he pointed out to Kinn that he was there not because he was on the minor family's side, nor because he was on the major family's side, but because he was on Kinn's side, was beautiful.

Kinn also starts off as a dark foil of Vegas... which is interesting because Vegas is so intensely jealous of Kinn and wants to be like him, and is set up as the antagonist. But we'll get there. Vegas kidnaps Porsche and attempts to make it look like he was assaulted, but Kinn saves him... only to assault Porsche himself. (I did appreciate the way the narrative did frame it well, which I wasn't expecting in a boy's love story.) Kinn then compounded it by punishing Porsche for his mistake--essentially, doing to Porsche what Vegas was doing to Kinn and would later do to Pete.

The irony, of course, is that the narrative still frames Kinn as a protagonist, but without giving him a halo. We're allowed to see that he is, intrinsically, no better of a human being than Vegas. Maybe even worse, depending on how you judge.

Porsche outright telling Kinn that he had hurt him, while Vegas hadn't (even if, kinda) and Kinn actually having to work to earn his forgiveness and trust--all of this was well handled.

Kinn's final realization in the wilderness that he could not keep Porsche and his act of selflessly setting him free , followed by a literal sacrifice, mimics what Vegas would have to do in later episodes with Pete, as well.

When they consensually have sex for the first time, it starts because Vegas again makes a move on Porsche... right in front of a mirror. Then, Kinn bursts in and Vegas leaves, and Kinn takes his place in the mirror with Porsche.

The symbolism is clever here and poignant: Kinn, you are Vegas. I just wish he had been asked to do more with that realization, particularly after the Tawan incident (later).

Again, my main issue is that I wish the show had more an idea of what it wanted to say concerning the theme of "trust" between these two. Especially after they got together, it all seemed a bit hazy.

The theme that was best explored with them was the idea of being a human being. Porsche continually insists that he's a person who decides his future for himself, while Kinn is like "I control your life; your life is mine, I can kill you at any time because you're just a bodyguard" early on. However, towards the end of the series, when they exchange quasi-wedding vows in one of the final scenes on a ship on the same river where Kinn first offered Porsche a job and Porsche told him he'd rather drown, there's a really beautiful moment where Kinn tells Porsche that they are making a new family together, and Porsche tells him again that he's not on any family's side--just Kinn's side. And then he tells him:

Porsche: All my life... is yours Kinn: I promise you, I'll treasure it.

It's almost fairy tale esque in this scene, showing how far they've come. It also emphasizes that the point is that Kinn recognizes Porsche's humanity, and Porsche still affirms his own. Humanity is not a drawback but a benefit, because Porsche chooses Kinn, and choice is the realm of human beings.

Vegas + Pete

*screams* VEGASPETE ARE EVERYTHING

But honestly. I've talked how Vegas (who is, undoubtedly, the best written character) foils Kinn and will talk about Tawan, Kim, and Tankhun later on. Firstly, though, we have Vegas and Pete, asking the main thematic question of this series:

(As a human, of course. Except that's not easy.)

Vegas was so clearly my favorite type of character (Lee Yut-Lung from Banana Fish, Akutagawa Ryunosuke from Bungo Stray Dogs, Illumi Zoldyck from Hunter x Hunter, etc.) Someone who just so, so desperately wants to be loved, especially by his father, and cannot fathom why he does not have it. So he lashes out at everyone around him, especially those he's jealous of. He might claim that he's jealous of Kinn's power, but he's really jealous that Kinn is loved not just by Porsche, but by his brothers, by his bodyguards, even by his father (for all Korn's faults--and we're gonna get there--I do think Korn loves his sons).

This is so profoundly seen when Vegas initially kidnaps Pete and forces him to call his Grandma. Vegas leans in, groping Pete to make him terrified, but as soon as Pete tells his grandma he loves her, Vegas jerks back and rips the phone out of his hand. It's another reminder to Vegas that love exists, but he can't have it.

The only thing that truly shows Vegas love is his hedgehog... which of course is a symbol for Vegas himself (here's where I think the symbolism was too heavy-handed--not that he had a hedgehog nor what happened with it, but in that Pete actually bluntly tells him that he is the hedgehog. Leave it to your viewers, we're smart enough to get that.) The hedgehog, of course, is prickly and spiky but soft inside, just like Vegas.

The hedgehog is also specifically Vegas's inner child, in Jungian terms. It's always sick and dying, and he's afraid of it dying, but also afraid to actually recognize it. He doesn't name the hedgehogs because they always die. This is symbolizing how Vegas never really had a childhood, or the chance to develop normally. His father always beat it out of him and let him think that it was his fault, just like Vegas blames himself for the hedgehogs' deaths.

Vegas's father is the biggest obstacle in his growth. He can't ever truly grow up and overcome the father figure until his father's gone. Again, the symbolism is pretty blatant (but well done): Vegas is literally reading the novel Childhood's End, but his father slaps it out of his hand.

The message is clear: Vegas can't ever grow up until he lets go of his father. Fittingly, he's then seen reading the book again after making a meal for Pete.

Vegas and Pete are actually quite similar, not just in their terrible dads, but in that both of them, at their core, truly don't believe they are human beings. They don't believe they deserve love, or life, or anything. They're animals. Hence, Pete actually being called a pet is actually also Vegas pointing out how he sees himself.

But what they really want is to be human, which means to be free and to live.

Consequently, both Vegas and Pete are suicidal. Vegas drops about a million hints that he wants to die before he actually attempts it, even telling Pete he's feeding him so "you'll have energy to kill me."

Vegas self-harms too, and Pete tells him not to. Yet, after they have sex, Pete hits himself when Vegas can't see, telling himself that he didn't like it, even though he initiated. The reason they are both lost after they have sex is that neither of them are free physically or emotionally.

We see Vegas trying to do the right thing and making a fancy meal for Pete, even standing up to his father for a moment, only to have his father tell him he wishes he wasn't his son. At that added cruelty, Vegas smashes the meal he made, proving that even though he thought he was free of his father because he was in love with Pete, he wasn't. Not yet.

And Pete thought he was going to be free because of sex with Vegas, but Vegas still left him chained. Hence, he attempts suicide in front of Vegas. He also then calls Vegas out on everything in a well-done way, pointing out that Vegas is projecting his feelings of inhumanity onto him:

Need me? Like a pet with no feelings for emotional projection? I'm a human, Vegas... I have nothing left, not even my humanity.

Pete is then pointing out to us that after Vegas's childhood is grieved (shown in how Pete helps Vegas bury and put flowers at the hedgehog's grave), Pete embodies Vegas's humanity. If the hedgehog and his childhood should be grieved, because he'll never get them back, he can still have a human future in Pete. But to do that he has to embrace his inner humanity, and he cannot chain it up and take it out when he wants it, because that's just not how human beings work.

Even through making Pete realize and admit just how miserable he was--that he has no use and should just die, thereby showing Vegas that Pete truly does understand how Vegas feels--Vegas doesn't find what he thought he'd find. It's not comforting to be empathized with when it means someone you love is suffering so.

Vegas's apology to Pete is genuine, like Kinn's earlier, and heartfelt. Once his dad is dead, you'd really think he'd be free, but he's very much not. All his self-loathing, all his worst fears, have finally come true. Freedom isn't really found through death, but through embracing life and love. The hedgehog didn't have to die for Vegas to live, because death isn't freeing really. But choosing to live, even when you're in pain, for someone you love--that can be freeing.

Pete's "there is no legacy so rich as honesty" tattoo is somewhat amusing to me, because the quote comes from Shakespeare's All's Well That Ends Well, a play that is considered a "problem play," in that no one can quite decide what genre it is. Also, "honesty" in the play's context is actually "virginity," which also seems to fit, but anyways. The genre/problem play thing is interesting because Kinnporsche itself, as a show, seems to zig-zag between whether it's a comedy, romance, or serious crime drama. I think the reference is somewhat meta, but should have been delved into more.

The play is also relevant in that All's Well That Ends Well is about families, too--particularly how sons struggle to define themselves when it comes to being compared to their fathers, and how they react when they feel like they have limited choices in life. Hrm, hrm, Vegas.

Anyways, Vegas and Pete totally deserved their beautiful ending. When Vegas wakes up post being shot and tells Pete:

You're not my pet. You're the most important person in my life.

It's a great way to tie the themes of their arcs together. Firstly, it is a fairy tale ending. Secondly, it's an affirmation of Pete's humanity, the thing they both doubted they had. Lastly, it's affirmation that Vegas chooses Pete, and in choosing, affirms his own humanity. That Macau then bursts in calling Pete his brother-in-law and welcoming him to the family is adorable and shows Vegas just how much he has.

Kim + Chay

So now that we've talked about two self-destructive emotionally constipated men, let's talk about the other one in the other major relationship: Kim.

Kim's actor does a great job of showing how Kim maintains a veneer of cool aloofness when Chay confronts him, but is internally panicking. Kim is reckless, running into battle to save Chay in literally nothing but a tank top. When Chay calls him on who he is, Kim doesn't even try to defend himself. When he saves Chay again at Yok's bar, he makes sure Chay doesn't even notice.

Unlike Kinn and Vegas, who are too active and possessive, Kim is too passive and cowardly. He cuts himself off from people not because he doesn't love them--he clearly does--but because he feels like he's bad luck. Essentially, the same issue Chay has--that he feels like he brings bad luck.

But, that's not how life works. Human beings don't bring good or bad luck. It depends on choices, another theme from Vegaspete and Kinnporsche that wasn't delved into as deeply as it should have been. Still, choice is an integral part of being human, and the show does depict this.

Still, it was a nice touch to literally have Kim wear a shirt with the word "human" on the front the same episode Pete insists "I'm a human, Vegas." Pete, of course, tells Vegas he has choices to make, and Vegas then tells Porsche that same thing in the final episode: that it's time to make a choice.

Anyways. The unfortunate thing is that the series didn't fully explore Kimchay in the same way they did Vegaspete. That's especially clear in the cliffhanger ending, though I think it was fairly clear that they were heading towards something positive. After all, Kim finally does something he needed to do: saying outright that he is singing for Porchay. Keep working, boy.

On a production level instead of narrative, I'm guessing the actor's ages may have played a role in them not fully exploring their story. Idk. I think the implications--the fade out with a way-too-dramatic kiss on the cheek that the fade obscured and them waking up together--were that they were sleeping together, but because of the actors' ages they clearly cannot and should not show that. But I wish the writers hadn't let that limit them--there are other ways to show growth and explore issues even if you can't directly use sex to do so. See, the sex scenes between Vegas and Pete and Kinn and Porsche were well done, and always had interesting meaning and commentary to them, which is great. I just wonder if they let the fact that they couldn't use this motif stifle their creativity when it came to exploring Kim and Chay's issues.

Tawan

Tawan's story was heartbreaking. He was a fairly well done, pathetic antagonist. When Vegas proposed to him, knowing tha the didn't love Tawan... that broke my heart. He was suicidal and his death ultimately foreshadowed what Vegas would later attempt to do.

But Tawan was desperate for love--truly desperate. He would do anything to be loved by Kinn, by Vegas, by anyone. But it wasn't really love for a specific person (as shown in how he switches from Kinn to Vegas) so much as that he wanted to feel safe in that love. Because denying love means denying safety, which sets him up as a good foil for Kim (who clearly thinks it's safer for your loved ones not to act like you love them)... but it wasn't ever explored.

Tawan's desperate love also foiled Chay. Yet unlike Tawan, and unlike Kim, Chay is able to express what he wants... and to assert himself when he's been disrespected and not seen as a full human being (Kim seeing him as just Porsche's brother is what breaks him).

Tankhun

Tankhun was everything. I love him. I think they could have done more with him, especially around his relationships with his brothers. Like. We only see the three brothers--Kinn, Tankhun, and Kim--in the same room ONCE in the final episode. Once! A crime, a crime, I tell you! I know next to nothing about how all three of them feel about each other and interact with one another and I WANT IT!

Ahem.

Tankhun is still, in many ways, the beating heart of the series. He wears love and his feelings on his fabulous, colorful, patterned, and often feathered sleeves. He chooses to live how he wishes, but will do things for those he loves.

He's also always right, if you pay attention--he knows Gun is bad news, and he knows Pete is in danger while Kinn and Porsche are inexplicably dumb as hell for not suspecting Pete was in danger. When Pete reappears and Tankhun literally thinks he's a zombie, he still rushes to embrace him even so, just because he loves him.

Also, Tankhun is, much like Pete and Chay, fairly pure of heart. I don't mean that in a naive way, but it's clear Tankhun is somewhat childlike because of his trauma... yet, he's still the one who adopts fish and gives them names like Elizabeth and Sebastian and mourns them. He loves his siblings, and he welcomes Chay like a new brother.

The Little Mermaid reenactment with Porsche was A Lot, but also hilarious and fitting. See, he's childish, so of course he's going to like fairy tales. He knows the world isn't one, but he still enjoys ones and wants stories where the good ones don't die, and he does his best to live a fairy tale despite everything. I really think the series should have dug into this more, especially since Kinn and Porsche and especially Vegas and Pete are very clearly modeled after Beauty and the Beast. Sigh. The potential.

Not gonna lie, I think the brother relationships were somewhat failed all throughout. Macau and Vegas's bond wasn't fully explored either, and neither was Porsche and Chay's. Like, Porsche doesn't even know about Kim and Chay, and Chay had told him about being tutored by Wik, so... wouldn't he at least ask? Sigh.

Korn

So, ironically, the brotherly relationship best fleshed out is... Korn and Gun's.

Theirs is highly tragic, and the relationship they have with their foster sister is also clearly a warning to Kim, Kinn, and Tankhun about what they could become if they prioritize the power of the mafia family over each other and their own rights to make their choices and live and love. It seems like that won't happen, given Kim and Chay and Porsche as the minor family head and Kinn, fortunately, but again I think this could have been more clearly explored.

Like, if love, both romantic and platonic and familial, offers a way forward, a potential answer (though no guarantee, see Tawan), which I think the show suggested, it should have been more heavy-handed in showing us. This also actually ties into the fairy tale motif, and the human being theme, and choice, and it just could have been so much more neatly braided together than it was. And also it works with the trust motif, because you can't control someone you trust.

I do really appreciate the ambiguity about Korn, and the uneasy lack of answers about what really happened between Korn, Gun, and Namphueng. On the one hand, Gun's utter cruelty to Vegas and Macau makes it seem more than plausible that he's the worst and he did assault Namphueng and kill her husband. On the other hand, seeing Korn murder Namphueng's husband would surely explain the vitriol he has towards Korn that seems unusually intense even for someone consumed with envy and jealousy.

I think it's clever that the series doesn't answer it for us. Even when Korn kills Gun in the end but chooses to tell his guards not to harm Vegas, despite the fact that Vegas just killed a bunch of his most loyal men, and promises to protect Vegas and Macau, we're left wondering. Is this proof that Korn is indeed the merciful man who would never have harmed Namphueng and her husband? Or is it the actions of a cruel man who killed his own brother and then told his kids not to worry because he'd provide for them, just like he did with Posrche and Chay?

Alas, what would have made this even more powerful would be an emphasis on what trust is supposed to mean... sigh.

Final Thoughts

Overall, I really enjoyed the show. I loved the characters and the three main ships. It had great ideas that could have been better explored.

Also of note: from its lighting to staging of certain scenes, it also clearly took inspiration from Queer as Folk, which is one of my favorite stories ever, and there were some potential Crime and Punishment references in Pete talking to Vegas in a scene that mimicked Sonia and Raskolnikov.

Basically, it was designed for me to fall for it, and fall for it I did. I just wish it had been refined, because it could have also been a masterpiece in addition to being entertaining (yes, really), but alas, didn't quite get there. Still, I'd definitely recommend it.