#Going My Way review

[crowdvscritic]

crowd vs. critic single take // GOING MY WAY (1944)

Photo credits: IMDb.com

The Church of St. Dominic is dying. Enter: Father O’Malley (Bing Crosby), who has been sent by Catholic Church leadership to revive an unenthusiastic congregation meeting in a building they can’t pay for. Father Fitzgibbon (Barry Fitzgerald) has been leading St. Dominic's for 45 years, and change doesn’t come easily. As they fight to relieve the church’s mortgage and support the struggling members of their parish, though, Father Fitzgibbon begins to see maybe he does need help after all, and maybe he needs it from someone less orthodox like Father O’Malley. 

CROWD // Going My Way straivags its way through an episodic story. Fitzgibbon fights a cold and negotiates with creditors. O’Malley supports a runaway teen who dreams of being a singer, bumps into an old flame, and plays baseball with the boys in the neighborhood (with a shout-out to my shuttered hometown team the St. Louis Browns!) The duo plays checkers and golf, and we watch a full song performed from the opera Carmen. The adagio pace is a feature, not a bug, though perhaps it’s why, in a rare move, I needed to watch this Best Picture winner a second time because I couldn’t remember what happened not long after my first watch. 

That said, the tone is also why this is a rare feel-good Best Picture winner. If Bing Crosby is in your movie, almost by default one of your themes becomes the power of music. Music gives hope to all of the parishioners of St. Dominic’s, and it literally solves life’s big problems for several of them. While the plot may not move with the efficiency and humor of White Christmas, it’s hard to complain about any story that gives Crosby the chance to sing.

POPCORN POTENTIAL: 7.5/10

CRITIC // The Best Picture winner this film reminded me of most? 2022’s CODA, another feel-good narrative about the power of music. The biggest reason I kept comparing them in my mind, though, is the eras they were released. CODA was a heartwarming story released as we were exiting a pandemic, and Going My Way won Hollywood’s highest honor just two months before V-E Day. Sometimes when the world around you feels almost too much to bear, you need an escape. The same could be said for last year’s winner Everything Everywhere All at Once or this year’s Best Picture nominee The Holdovers. (We’ll see how world events play out in 2024 and if this trend continues, but it’s unlikely we’ll see another feel-good nom about Catholic priests given the baggage we have now, as outlined in 2015’s winner Spotlight.)

It may have less of a legacy today than competitors Double Indemnity and Gaslight, but at the time, Going My Way was a big winner. In addition to the top prize, it brought home trophies for Best Actor (Crosby, which Christian Blauvelt’s book Hollywood Victory noted was new range for this superstar), Supporting Actor (Fitzgerald, the only person to be nominated in both lead and supporting categories before rules prevented it from happening again—talk about category fraud!), Director, Original Story, Screenplay, and Original Song. Today’s audiences may not find it innovative, but it hits all its marks, and its arcs are universal, such as an older generation dealing with its obsolescence or the rich holding those meant to help a community hostage with their finances. (The Bishop’s Wife and It’s a Wonderful Life would go on to explore this idea with more depth.) Though there is a surprising lack of spiritual experience with God given the setting, it is also refreshing in our moment to watch the clergy devote their lives to bettering their neighborhood. 

ARTISTIC TASTE: 8.5/10

[starcurtain]

One thing I wish I'd see more of among Ratio fans is some thought about how he views himself as a teacher.

Like yes, of course he refuses to compromise on the quality and rigor of the education he imparts, and he would find it unforgivably unethical to lower his standards in order to pass more students who had not genuinely learned the material. This is core to his character.

However, as someone who is a teacher IRL, I know the absolutely miserable feeling setting that kind of standard can cause. There's the obvious disheartening sense of disappointment ("Are students these days really not capable of doing the work correctly? Is our future in danger, if this is the highest level of understanding our current generation of students can achieve?"), but even worse than that is the self-doubt.

"Is this somehow my fault? Am I not teaching this material in the right ways for the students to learn? Is there something I could have done differently to get through to these students? Would a better teacher have a higher passing rate?"

We know that Ratio does (or at least did) struggle with feeling inferior to the Genius Society, so I think it is also likely, as much as he absolutely will not budge on his academic standards, that he has doubts about his teaching ability as well.

This is the man who wants to educate the entire world to cure the disease of ignorance, and yet only 3% of his actual students are able to get there. How can someone who gets so few of his direct students to a state of enlightenment hope to enlighten the whole universe? If so few students are successfully learning the material of a given class, doesn't that mean the teacher is doing something wrong?Would a better teacher--would a genius, maybe--not be able to impart their knowledge more efficiently and educate even the most challenging of students?

As someone constantly struggling with that balance between keeping academic standards high while also meeting the needs of today's students, I think the passing rates of his courses must affect Dr. Ratio much more deeply than I've seen fans discuss. I think he would question himself harshly over his class success rates, and I think he must be constantly trying to push himself to become the best teacher he possibly can be.

tl;dr: I hope one day the HSR fandom will stop sleeping on the fact that Ratio is an actual practicing professor who probably has astronomical levels of teacher angst. 😂

[eyesteeth]

i know the given reason why we never get Richard's last name is because the narrative is meant to resemble religious stories where people are only referred to by one name, but given the fact that his whole character motivation revolves around family and his identity issues, it feels deeper than that.

like, we know Carpenter was formerly Mallory Glass from very early in, and by season two, Paige is Paige Duplass and Hayward is James Hayward. crucially, this is because people know them. there's still people within the church who know Carpenter's last name and family linage, like Mason. and Paige has coworkers, as does Hayward.

but Richard isn't close with anyone who'd feel the need to use his last name. his brother and his father never have a reason to, and he has no connections to anyone besides them that know him as Richard and not Faulkner.

it just feels like a metaphor for how he's become disconnected to his family despite his longing for that kind of love. Carpenter has actively chosen to abandon her family name out of shame, so her lack of last name is intentional. Paige Duplass has her struggles with her father, but still comes to him for help and still writes his name in remembrance in the finale. James Hayward has his mother in his thoughts all the way into the final season, and we hear how she set him on the course he's on.

but Richard's last name is never known to us. and, in a way, it feels like the process of Richard being slowly consumed by Faulkner has taken his last name from him. his attempts to become this ideal self have turned him into something alien, and now he's lost what he truly longs for - his family's love. and, because he cannot have them, he can no longer have his last name, that final anchor.

[sofiaruelle]

We did it yall!!! We beat seasonal depression and artblock~!!!! 😭😭😭😭

[anyataylorjoys]

THE EXORCIST (1973) THE EXORCIST BELIEVER (2023)

[solradguy]

I thought the early 2000s "strong yet naked/mostly naked woman kept in her place by stronger, bigger, beast/monster or gang of racist caricatures" trope* was known by basically everyone but I mentioned it as a criticism of this older art book I'd flipped through recently to a friend and it turns out it isn't lol Maybe I've just read too many Heavy Metal issues... It used to be HORRIBLY inescapable in any sort of mature art scene back in the day lmao

*This trope is different from the pre-2000s one because the women usually look like they COULD fight back for at least a little bit whereas the previous trope had them be completely helpless damsels in distress

[rinbylin]

re: jianghu as a queer space in mlc

here to answer @redemption-revenge !! in reply to this post

(also tagging @markiafc @ananeiah <3)

there are many definitions of jianghu, but this is specifically based on the framing of jianghu as the space people retreat to, away from the mainstream sphere governed by the imperial court. in that is a sense of rejection and defiance against the patriarchal, heteronormative values and norms, which had been enforced through a fixation on upkeeping order in the society. as such i guess it's not too much of a stretch to interpret jianghu as a queer space in a way that's characterised by a spirit of nonconformity to the norms. consequently, it makes sense for stories set in jianghu be used to illustrate and navigate queer identities/experiences/feelings - which I came to believe mlc had made really good use of.

there's always kind of a dichotomy between 江湖 jianghu and 庙堂 miaotang (ie. imperial court). like in mlc, there are two separate, distinct law enforcement bodies from the respective spheres - and jianghu strives to keep imperial court from interfering in their affairs. like how li xiangyi firmly stands against getting imperial court involved in jianghu matters. like how fang duobing is actively running away from the grip of the royal court on his life choices. the rejection of the mainstream (very conveniently and broadly put, confucian) norms in mlc also manifests in many of its key relationships being non-familial (in the sense of blood/marriage-based kinship) and there being little emphasis on the main characters' biological familial ties. (anyway this is for a whole different meta on its own... edit: it's here)

it's then actually a sort of irony that the imperial court's institution of law and order is what sigu sect/baichuan court had been formed to be a de facto counterpart to. so when li xiangyi becomes li lianhua, it triggered the process of deconstructing the meaning of installing such an institution and the need to maintain order to a fundamentally nonconforming space such as jianghu. mama fang's seemingly throwaway line of criticising li xiangyi and his mission is in fact the thesis statement in this particular reading of mlc's story: jianghu makes its own rules. nobody should dare to do it in its place.

now deprived of all means to fight like he used to, li xiangyi's new life as li lianhua is essentially a refresh of how he views jianghu. the death of li xiangyi the leader of sigu sect and top of wulin, meant taking apart the idea that jianghu is a lawless arena where the fittest fight to the top for power and control over wulin. and li lianhua then putting together lotus tower, living a life focusing on a domestic lifestyle this time for real far from the reach of the governance both from the imperial court and sigu sect/baichuan court, is him living the jianghu that's defined as a space away from any form of conformity.

with that, there's also a sense of queerness to this particular way of living as li lianhua, if you consider the chinese conceptualisation of gender being more social than biological. if femininity and masculinity were respectively characterised by inner/domestic sphere and external/any space outside of that, dare I say...it actually makes li lianhua's moving house mindblowingly smart as a metaphor for gender fluidity. lonely wanderers are common in wuxia but housed lonely wanderers? he carved for himself a domestic (ie. feminine) space in the wilderness - among a jianghu space that's still dominated by masculine values of aggression and competition. and being freely mobile makes this feminine space more fluid and less tied down than the more rigid, inert domestic, feminine spaces in traditional mainstream society. when you combine it with how his character has been fem-coded - even as li xiangyi (eg. yin-coded powers/energy) (also a whole other meta on its own... edit: it's here now), it speaks to a part of him that has always found appeal in qualities conventionally associated with femininity of stability, gentleness and non-aggression. and a rejection of expectations to fight and destroy. he is defining who he is in his own terms, in the true spirit of jianghu.

[rapha-reads]

To those of you wondering (aka no one), I finished both The Vampire Armand and Merrick and I have a lot of thoughts and feels. I'm skipping Blood and Gold for now to go directly to Blackwood Farm (I'll read B&G later), but first I'm going to read something else, just to take a break.

TVA thoughts: man, Armand is messed up. And extremely compelling. But so messed up. As always, the theme of faith crisis, which seriously reaches new heights with these bitchy vampires, is not something I can fully immerse myself in, but it was fascinating to see his numerous metamorphosis. I liked how he bridges Western and Eastern Christianisme, especially through art. Now I'm thinking that if Rolin Jones makes him originally Muslim in the show, that could expand even more the conversation on how faith, and especially Abrahamic faith, has been in conversation for thousands of years and could be such a rich, diverse and spiritual, intellectual and artistic theme. I can already imagine some fascinating discussions comparing (not in a superior way but in a complementary way) coming from Muslim faith to Roman Catholic faith, the way book!Armand talks about the richness of his life in Kiev Rus despite the poverty and ascetism, and the richness of his life in Venecia despite the luxury and abundance.

As for Benamin and Sybille... I don't have much thoughts about them. Sybille is one of those female characters AR seemingly favors, not so much human as a nymph or a dryad, "perfectly splendid". And Benji is a caricature of an Arab child. Nuance? 401 not found.

Merrick thoughts: David for the love if everything, shut. The. Fuck. Up. Holy moly. I like David, I do, but damn the entire recollection of his history with Merrick was looooooong. I'm here to see Louis haunted by Claudia and haunting Lestat's coma, not how hard you're pining for the kid you practically raised! Also. ALSO. You're just going to leave that whole thing with the Olmec or possibly another more ancient Mesoamerican civilisation without ever giving us more? That was the most interesting part of it all! The vodoo history, the connection between Louisiana and Caribbean vodoo and old Native South-American religions! More about this, less about Merrick's perfect breasts, I am begging you. (It is at this point that the reader of this post realises OP is 100% definitely ace and more interested in books and witchcraft than breasts and whether a 70yo man can still get it up - also, hey, Anne Rice's vampires are practically asexual and their lust and pleasure is mostly derivated from blood, with some notable exceptions like Armand and Marius, and a love relationship between two vampires is then based on romantic love and blood sharing, so can I hear a hell yeah for some ace representation or are we still conflating eroticism with sex)

Another thing I kept thinking about throughout the book is how Louis is perceived by his fellow vampires. Since basically the second book, since we've lost his own POV, everybody who's ever said anything about him (so Lestat, Armand and David) have insisted on two points: how very weak and meek Louis is, and also how irresistible, beautiful and charming. Granted, I've known Louis first through his portrayal on the show (hi Jacob you're so fiiiiiiine), and then through his own narration in the first book, but I've never had the impression that he was weak. Beautiful and seductive, yes. Weak? I see a human man going through tragedies and still enduring, going through vampiric transformation and then suffering for decades the loss of his humanity, struggling with reconciliating both sides of himself, but mostly I see a vampire who rebuilt himself after losing everything without sacrificing his sense of self. I see Louis as very strong actually (up to the point where resilience breaks, because resilience cannot be sustained on a long term, but that's another debate). He knows who he is, and don't you know how hard that is? He doesn't cling to faith or pride. He knows he's doomed, he knows he's monstrous, he knows there's nothing he can do to change that, and instead of railing against his fate, he goes on about his undead life. He gets his books and he reads them, he surrounds himself with literature and what little comforts he thinks in his shattered self-esteem he deserves (his ragged sweaters and soft trousers); let's not lie to ourselves tho, Louis doesn't like himself, or more exactly he doesn't care about his corporeal body - what matters to him is his mind, and once again, this author is extremely ace and also very aro and very nonbinary, so Louis to me is very much ace and agender coded, though really not aro, because his love for Lestat (and sometimes his fondness, shall we say, for Armand) is the only thing that can rouse him up from his literary slumber.

...

Oh, man, I have a lot to say about Louis, for how little he appears in the books so far. Still have BF, BC and the PL trilogy to devour. So I guess you can say, for as much as Lestat is occupying my entire brain, very much like him, my favorite is Louis? Yeah, that tracks. Melancholy, quiet, dark-haired green-eyed monster with more humanity than humans, preferring his solitude and the company of books to anyone else, hopelessly and helplessly devoted to one person, expert in brooding and grieving, literature specialist, not very attached to his physical self. Yeah. I'm not surprised.

[the-crepuscular-queen]

Something about this quote. Something about how trust is a major factor to Gideon's and Harrow's relationship to work together and how that snowballs into more. It's just going to rotate in my mind forever.

[abyssalzones]

@ most recent anon I'll be honest I don't know how to answer that one publicly but you're good + no need to apologize + glad I could help you I think. legitimately it's fine though

[festeringmoons]

overall I think it’s fine to not like Marcella(you cannot be expected to like every fictional character ever, and she obviously is nowhere near a perfect person; far from it) but if you hate her because she took up space in a book the author has stated is specifically about women reclaiming power and you wanted to see more of your homoerotic serial killer boys then you should reevaluate your fucking biases <3

[havinganormalone]

Me Reviewing my own fanfic (old stuff only)

This fic is like, not full 'self-insert in the author notes' levels of cringe, but you can tell I haven't written fanfic since the ffn days and am still adjusting to the new fandom culture of ao3. I wrote this shortly after getting back into the homestuck fandom. I really like the premise of the fic: having the plot in the foreground be purposely lower stakes than the plot happening in the background. The Erisol interactions are very low stakes, while the DaveKat is life or death and you only get to see it secondhand. That sort of narrative prank is very "Homestuck" to me. I am proud of that. However, Dave comes off as super OOC to me. All of them to some level are a bit OOC, I'm forcing them to fit into this hackneyed scenario for the bit, and I haven't quite motivated them properly. I had to skim a little at times to deal with how cringe that was.

4/10, one of my weaker works.

[billpottsismygf]

73 Yards

I have slightly mixed feelings on this one, but what it did well it did brilliantly. The episode was beautifully shot with a fantastically creepy atmosphere throughout. The Welsh landscape, the close shots, the out of focus semper distans, the mystery of what was being said. Millie Gibson's performance throughout was stellar and this is the most invested I've felt in her character so far. I did miss Ncuti's presence somewhat, but it says a lot that she was able to carry the episode on her own and I do love when the format gets shaken up occasionally and we get a Doctor-lite episode.

I loved Kate's brief appearance and the way it sold the fact that this was a very serious situation. You think UNIT might be able to help here, but Ruby is once again left alone. The themes of abandonment in this one were incredibly potent and really tie into the themes of the series. Unsurprisingly, one of the most effective and upsetting parts of the episode was Ruby's mum also being affected by the mysterious woman. Her anguished screams for her mum were really quite harrowing, as was that awful comment about her birth mother not wanting her.

It also got far darker than I would expect in a Doctor Who episode. The far-right politician and the threat of nuclear war was plenty, but what was done to Marti was absolutely chilling, as was Ruby's apology for not doing anything. It gets away with it because it's all through implication, but that almost makes it more hard hitting. You don't always need to see the monster in action to know what it's doing. It also reminds me of my much younger self not picking up on the Master beating Lucy Saxon until I was a teenager.

The way time began to speed along was actually quite shocking to begin with - I actually gasped when we saw the 25th birthday cards - and it kept bringing to mind various other episodes where companions have been abandoned either in the real world or another timeline/reality, especially things like The Girl Who Waited, Turn Left, Forest of the Dead, The Lie of the Land, World Enough and Time etc. That things get undone at the end was again a little reminiscent of a few of them, but this is also where we come to my criticisms of the episode, because - while I loved the experience of watching it - the ending feels tacked on in a way that is very unsatisfying.

There were a number of things that just never get explained. For a minor example, why did the Doctor disappear? Disturbing the fairy circle released Mad Jack (I'll come onto him) and also made the Doctor disappear? And also made the TARDIS lock in a way that couldn't be opened with Ruby's key? I'm not as bothered by this as the below, but it feels messy and like an attempt to do a Turn Left without an actual reason for the Doctor to be gone.

A bigger gripe is Ruby being the following lady. That on its own would have been fine, but that combined with other elements just frustrates me. Mainly, if the following lady was Ruby, what is it she says to get people to run away? I don't mind things being left to the imagination - for instance, I quite like that we don't get an explanation for why she has to be 73 yards away; I can infer that that's got something to do with the fairy circle - but it appears that whatever she says specifically makes people think there's something horrifying about Ruby.

What could Old Ruby possibly say to that end and why would she? And why would the same thing make a Prime Minister resign? If we had never found out who she was, I would have been perfectly happy to infer that she was a force of some kind that drives people mad, but it's Ruby! Knowing who she is but not what she does or how or why she does it is the worst way round. I want to know neither or both, or possibly the latter but not the former, but this way round just frustrates me.

On that note, the friend I was watching with pointed out that, as she was dying, elderly Ruby had very short hair and suddenly has long hair when she becomes the semper distans lady. A small detail, perhaps, but one that further muddles the conclusion. Why did her hair change? Where did the coat come from? It's a different actress as well and, even at that distance, you can kind of tell. Did Old Ruby just end up embodying an existing spirit to do with the fairy circle? If so, I would have liked that to be a lot clearer. If not, why does she look so different?

Okay, so, Mad Jack. Who or what is Mad Jack? Is he a spirit of some kind that possesses Roger ap Gwilliam? Was he always Roger ap Gwilliam? Does Roger ap Gwilliam exist without him? If Roger ap Gwilliam does not exist without Mad Jack, how come the Doctor still mentions him? If Roger ap Gwilliam does exist without Mad Jack, what is changed by the Doctor stepping on the fairy circle?

In the version of the timeline we end up on (where the Doctor doesn't step in the fairy circle but Roger ap Gwilliam is still mentioned by him as a dangerous Prime Minister), here are a few possibilities and why they don't work for me:

Does he still become Prime Minister and get taken down another way? Perhaps, but it's not like Turn Left where we know the problems would have been stopped by the Doctor (who's not here). Without Ruby's infiltration and semper distans lady, what stops him? And why was that not able to stop him in the timeline we witnessed?

Is he less dangerous? The second time around of the opening conversation we don't get the line about the brink of nuclear war, though only because Ruby interrupts him to point out the woman, but maybe we can infer that this time he's a dangerous Prime Minister but not that dangerous? That seems quite weak and unclear, though, and seems to disregard the horror of the Marti stuff.

Does the timeline only change after the Doctor's comments about him being a dangerous Prime Minister? He does say that before stepping (or not stepping) in the fairy circle both times. I might be happy to assume that Roger ap Gwilliam never comes to power after that diverging moment has passed, except that things have already changed before the Doctor mentions him because Ruby says she's been to Wales three times. Maybe they've changed a bit but not enough until the moment she stops him from stepping on it, but that is not at all clear.

If it's any of these (or none of them), that's really confusing! It's just so messy and unclear. It would have been a simple fix, too! Keep everything the same and just add in a line as they're walking away at the end along the lines of "thank goodness he never got into power; people never found him that convincing". That would have clarified a) things have changed since a few seconds ago b) that Mad Jack is what allowed him to get to power and c) in this timeline, that won't happen and Ruby won't need to stop him.

Despite all my complaints, I did really love watching this episode. It's just so carelessly wrapped up, as if they didn't think about the implications of the otherwise very well told story. I'll be interested to rewatch it and see if my complaints bother me more or less on second viewing. I really want to love this episode because there were so many fantastic elements, but it just makes all the inconsistencies and loose threads and muddled logic particularly frustrating because they were only another draft or two away from being solved.

Misc small things

No theme tune! I feel robbed! Maybe it was meant to be part of the vibe that we're not in the usual timeline, but come on. It could easily have been slotted in when she left the TARDIS the first time or before she got to the pub!

Other episodes I thought of: Extremis with warning other versions of yourself; The Hungry Earth/Cold Blood with waving at future versions of yourself that disappear when things change; Journey to the Centre of the TARDIS with weird timelines and future selves and things being undone; Last Christmas with the companion becoming elderly; Turn Left for the vibes of "there's something on your back"; Under the Lake/Before the Flood with a silent message, since it looked like the woman was trying to sign things to Ruby; and The Sound of Drums/Last of the Timelords with the triple whammy of the companion having to 1) set off on their own to 2) take down a prime minister and 3) have time reverse.

It's also got a good old bootsrap paradox in it, which doesn't bother me in the way of the above complaints, but for the sake of completionism: How was Ruby warned about the future when that future hasn't happened? Would have loved Twelve to briefly pop his head in and explain it for us.

It's interesting that the snow stopped throughout this version of her life. It also seemed to snow while she was on her way to the pub.

Kate's comment about how "this timeline might be suspended along your event" was interesting and I wonder if it connects with the snow stopping.

For the first time I actually recognised Susan Twist when she appeared, but I'm not sure I would have done without Ruby realising she recognised her. I liked that! It felt very Boom Town and recognising Bad Wolf coming up again.

There was a little cameo from Mrs Flood.

[tokiro07]

Undead Unluck ch.231 thoughts

[Do You Remember~ The 17th Night of November~]

(Topics: criticism - pacing/narrative focus, character analysis - Gina/Feng/Julia/Billy, speculation - Soul/Ruin)

Juggling Glass and Rubber

Damn, Tozuka, you weren't lyin', that Unjustice can sweep the Master Rules!

I'll admit I am a little disappointed by this turn of events because, like I was saying the last several weeks, I expected there to be an extra wrinkle that kept Unjustice from trivializing all of the MR fights, especially the ones that hadn't actually happened yet!

Yusai I was always pretty shaky on, and since she never got much characterization going in, I'm not exactly surprised, but the rest were definitely bummers

I've said before that I'm fine with skipping the Sick fight since Rip and Latla's climax already happened, but it's not like there was nothing to be done with it, like focusing on Sick's desire for revenge or having Rip look back on the mistakes he made in L100

Same thing with Billy and Tatiana's reunion - technically the climax of their joint arc was at the end of L100 when they promised to stay by each other's side until death, but I always thought of that as the setup to an upcoming payoff, not the payoff itself. It's definitely still salvageable here, but I think having Tatiana come in to save Billy when he's having trouble would have felt a lot more cathartic if it was focused on and analyzed rather than just...happening. Some insight as to why Billy was having trouble using Unjustice, like perhaps being overloaded with too many new Rules or reconciling with the choices he'd made, would have given Tatiana something internal to save him from as well as something external

I guess my issue here is that we're not really getting to see the effects that Remember is having on the cast as a whole, which I think would have better served as the focus here. I don't know if it's that Tozuka has been given a set number of chapters to work with by Jump or what, but it seems likely that Tozuka had ideas for how he wanted to execute everyone's arcs and fights but had to prioritize who to give the lion's share of the focus to for the sake of maximizing narrative impact

Case in point, the characters who he did manage to analyze here each had a pretty unique interaction with Remember

Remember Who You Are

Despite how brief their scenes are here, I do think that Gina and Feng's moments illustrate Remember's value remarkably well

Gina starts referring to everyone by the old nicknames she used for them in L100, only to amend "L'il Lucky" back to just "Fuuko," directly demonstrating the mental gap between the present and past. Gina naturally picks up her old habit, but isn't restricted by it. The respect and love she has for Fuuko goes beyond what can be expressed by a cute nickname, and those feelings were forged through L101 Gina's relationship with Fuuko. It's subtle, but it's a nice little cherry on top of Gina's arc

Feng, meanwhile, is noted to be getting stronger as Time ages him. This could be taken two ways: either he's stronger because of Remember and Time misread the situation, OR because Feng knows that he would have spent his time training and improving, his body, mind and soul are developing proportionally rather than being aged in a vacuum. The latter is thematically appropriate to countering Time's philosophy that age's function is to weed out those who have outlived their usefulness, while the former is a direct result of all of Feng's accumulated years across loops compounding simultaneously. Could be a little of both, honestly

What's even better about Feng's moment, though, is what he says in response to Julia's help: "I'm not deserving of your charity." In the past, Feng definitely would have been mad about getting help, resenting the idea that anyone thought he couldn't hack it on his own, but that's not what he said here. He believes he's done nothing to earn Julia's aid, that whatever Time was going to do to him, he had coming, and this is certainly because he remembers what he did. All of the people that he's ever killed, the lives that he ruined, especially his own son's, he now knows and can look back on from the perspective of having just abandoned the mentality he had back then

If Feng still believed in individual strength before receiving Remember, he probably would have looked back on the failures of his past as the results of his own physical weakness, not because of a flawed philosophy. Instead, Feng has already proven that he's stronger now after learning the true value of his age and legacy, so while he can still improve thanks to the lessons he can learn from his past self, the current Feng is able to retain his new outlook because he has an objective point of comparison that this was the farthest he ever made it

These are the sorts of subtle advancements I wanted to see from the whole cast, and again, while we still can see them, I think having a chapter dedicated to showing each little vignette would have been more effective than either breaking them up like this or showing such a notable imbalance between them

At the very least, though, even without being the primary focus of the chapter, Julia's interaction with Remember is far and away the most interesting one

Welcome Back, Juiz

Julia's behavior just before and after Fuuko actives Remember easily provides the most contrast of everyone and best demonstrates the tremendous growth rate that Remember allows

Prior to Remember, Julia was only able to use Unjustice involuntarily. To great effect, mind you, but still by accident: first when she stopped Soul's attack, and (seemingly) second, when she used it to reduce the damage of Soul's attack and ride it back to the surface. It's not explicitly stated that that's what happened here, but if Soul's intention was to kill Julia with that, he really dropped the ball, so I choose to believe that his bloodlust was negated by Unjustice

Afterwards, Julia was using Unjustice like a pro. She dropped War down a phase, got Time to bring Feng back to his prime, and even got Death to take out Luck, a feat that Fuuko objectively wouldn't have been able to accomplish with Unluck alone since Luck would have been able to avert Death's inadvertent attack with his good fortune. The most impressive part to me, though, is that she was able to channel Unjustice into her soul!

By putting Unjustice in her saber, Julia effectively injected Unjustice directly into Change's body, ensuring that she couldn't live by her own philosophy of constant change, even if Julia wasn't physically there to make visual contact. Juiz never learned soul manipulation, and Julia only just now mastered Unjustice thanks to her memories, so the fact that Julia was able to integrate those two abilities into such a high level technique is proof that her current self has in no way been overtaken by Juiz's memories, the most major worry that everyone had for Remember's use

That's not to say that none of Juiz's experiences made it to Julia, she still did remember Juiz's entire life after all. Beyond just Juiz's techniques and physical abilities, Julia went from panicking over Soul's attacks and Victor's injuries to calmly and confidently taking out the MRs one by one. She knows now what she's capable of and the weight that she carries, and she remembers what kind of relationships she had with everyone else. This is likely why she went to Billy first - both to give him access to Unjustice to make him stronger and to remind him that, despite their pasts, they aren't enemies anymore

The look of shock on Billy's face suggests that he was paralyzed by the realization of his past actions, and it's Julia's words that snap him back into the present and bring a smile back to his face. That's really what I was talking about earlier; giving Billy an internal conflict with his memories would have provided an angle that no one else really had while also allowing him a stronger character moment with both Julia and Tatiana

Still, even if it's a weaker moment than it could have been, I do appreciate Julia's direct acknowledgment of Billy as an ally, as it at least subtly harkens back to their previous encounter. Where previously Billy stole Unjustice and lost the ability to use it after Juiz had some time to think about his motivations as an enemy, this time Julia is willingly entrusting Unjustice to Billy as an ally

Actually, I wonder if perhaps that's why Tozuka had Billy fail to use Unjustice on Sick, because he is still fighting that internal conflict...for now, I'll choose to believe that Tozuka has that in his back pocket, but I won't be redacting any of my criticisms until he makes good on that, as this review is based on my immediate interpretations and I don't want to erase all of this and redo it...

Along the same lines, not only does Tozuka still have a backdoor for analyzing Billy, he also still has one for giving us some more cool moments for the rest of the Master Rules as well

Put Me Back in, Coach!

Despite one-shotting seven MRs all at once, Julia didn't actually manage to clear the field. The Union's gearing up to face Sun, but they seem to be forgetting: they didn't actually beat Soul. He's still in the Roundtable Room, and he's undoubtedly more pissed than ever

I'm not sure if I would have caught this on my own before seeing their post on this, but Webmantis on twitter pointed out that the MRs' souls must all have been sent to Subspace, the cosmic waiting room that all souls go too between loops. They note that, since Soul hasn't entered Phase 3 yet, he'll most likely be able to bring everyone back

However, they also note that doing so would be an odd narrative choice, as it would make Julia's steamrolling seem kinda pointless. Why bother killing off a bunch of characters just to revive them in the next chapter?

Fortunately, I think I've come up with the perfect answer to that very question!

Firstly, it's to show off Julia's post-Remember Unjustice; we were promised a sweep, and Tozuka made good on it in spectacular fashion. Second, and more importantly, their deaths are necessary for Soul to reach Phase 3

Fuel for the Fire

You may recall from a few weeks ago that I described the mechanism that the MRs use to reach Phase 3 is absorbing their Rule directly: Change absorbed the change in her shape when she was cut in half, Time absorbed Shen's lifespan, War absorbed Billy and Tella's violence, Justice absorbed Yusai's resolve, etc. This is why Death only just now reached Phase 3, because no one was dying the entire battle until she was forced to personally kill Luck, and Luck was likely being prevented from absorbing any fortune by Unluck

So now that all of the MRs other than Soul are dead, their souls are free of their vessels. I don't know if their vessels were actually preventing Soul from accessing their souls, but since he seems to consider the others his friends, he probably didn't want to resort to absorbing them either way, but now? It doesn't matter if he could or couldn't before, now he has to, otherwise it's all for nothing

Now, the question may be how he'll be able to reach them. Webmantis' proposition was that reaching Phase 3 would give Soul access to Subspace, but I'm saying that he won't be able to reach Phase 3 without the souls that are there - that's a pretty clear logical paradox

Well, not to speculate too much, but I think we already have our answer to that one too: Soul's finally going to change

Another topic I've been going on and on about lately is the stagnation and inflexibility of the Rules, the most notable being Soul's rejection that souls are connected. However, Soul saw that new facet of his Rule be added in real time, by Negators that aren't even his vessel. The only one who should have control over his Rule is himself, and yet he's seen others interact with their souls through reinterpretation time and again (Andy vs. Ghost, Gina vs. Change, etc.). In other words, he should know full well by now that his Rule isn't as set in stone as he once thought, and if everyone else can control their souls through their perspective, then why couldn't Soul himself?

With the lesson that Julia just taught him about souls, Soul can connect himself to his fallen comrades and drag them back from Subspace (or prevent them from reaching it in the first place), and achieve Phase 3 by adding their souls to his own. Whether this would mean gaining power over their Rules or reviving them is another question, but at the very least it would show tremendous growth in his character

I'll go into more detail on this if it comes to pass, but Soul learning to change his perspective on his Rule would make him more like the Negators, more like a human. This would also make him the most well-rounded and developed UMA to date, which I think would more than make up for any loss of characterization among the rest of them

Now, I would definitely prefer that he brings back the MRs, if only so we can see Luck's Phase 3 (c'mon, he's Fuuko's foil for cryin' out loud!!!), but even if he just integrates them into himself, I think that would create the perfect parallel to give the final member of the Union a chance to demonstrate his growth

The Man Who Would be King

While fighting Soul, Sun and Luna are all clearly the most important boxes to check off right now, there's still one more that Tozuka alluded to in this chapter: Ruin's return

How Remember will affect him exactly, I won't speculate on, but I think it will give him the final push he needs to join the Union and help fight God. If my previous speculation about Soul comes to pass, then that would make Soul the ideal matchup for Ruin

Not only would they have the parallels of being "multiple souls in one body," it would also be the ultimate payoff to Ruin's designation as The King of Negators. If Soul is Master Rule #1, then it's Ruin's destiny as the Negator King to negate all of the Master Rules in his reformation and rebellion against the God he so thanklessly devoted his life to

This would also present the opportunity for Ruin to reform the MRs too and unify both Negator and UMA as I've speculated on before, but again, I don't want to go too far into it here. As it stands, this is just me making things up, and I don't want to either raise my hopes too high OR preemptively run out of things to say, but the parallel is so interesting that I can't help but get excited by the possibility

Conclusion

As always, it's entirely possible that I'm wrong about all of this. Maybe Soul's gonna try to go Phase 3 and self-destruct because of Unjustice; maybe Soul is gonna fuse with Sun in Phase 3 and they'll become "SOL;" maybe Kururu's going to use Unchaste to aggro Sun into shooting Soul dead. I don't know. There's always a chance that what we get isn't as interesting as what we envision; the best we can do is be open to what we do get rather than insisting it has to be the way we want

If there's one thing I hope I've gotten across with this review, it's that I don't want to get hung up on the negatives, but I also don't want to just ignore them either. I am disappointed that certain plot points are being glossed over, and that's a valid response for any of us to have, but I'm not going to go so far as to say this was a bad chapter because of it. Good things definitely still happened within this chapter, and there's plenty of chance that good things will come out of what this chapter set up

As I said, all there is to do now is be patient and open-minded. If this ends up just being a lull in an otherwise fantastic finale, so be it. If it ends up being the start of a rushed mess, so be it. The only way to know is to be there to see it

Until then, let's enjoy life!

[extasiswings]

Nitpicky pet peeve for published books, I find it extremely grating when a character isn’t doing something they otherwise would and it’s obvious the only reason is the author has decided “X can’t happen yet for the plot”. Because it’s totally fine and reasonable if X can’t happen yet for the plot, but then…come up with a legitimate reason for the character not doing X? Don’t be lazy about it!

(This complaint brought to you by the fact that the protagonist of the book I was listening to was confronted by what he thought was the dead body of the love of his life and went into a blind rage and tried to murder the antagonist who was responsible for her death and he…stopped himself for Reasons that seem to boil down to “she wouldn’t want me to kill someone” except that a) he regularly kills people who have done far less than the antagonist, b) she knows this and is fine with it, c) she would definitely support him avenging her with murder (to be clear she is not actually dead but neither he nor the antagonist know that), and d) this motherfucker (the antagonist) definitely deserves to get murdered. Like…it would have been extremely easy to write it as “he was stopped by the guards in the room” or “the antagonist managed to escape” so the fact that the reason the antagonist is still alive is because the protagonist had a bizarre crisis of conscience resulting in a complete and total personality change is just???????? Please be so fucking serious rn)

[arthurmorganist]

unpopular opinion i guess but i don’t understand what the fuck they’re doing to aemond’s character this season