#Home Improvement Franchises

[lifesizeplans]

Home Improvement Franchises

Building or renovating as a homeowner, builder, designer or architect? Bring your design to our showroom to experience your build project in Lifesize before building starts. This will give you confidence that the size, layout, flow and functionality of your build is to what you envisioned.

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[thrushandson]

The Importance of New Vinyl Replacement Windows: A Blend of Aesthetics and Cost Savings I Thrush & Son®

Explore the perks of vinyl replacement windows: energy efficiency, aesthetic appeal, durability, and cost savings. Boost home value and reduce bills. #HomeImprovement #VinylWindows #EnergySavings #CurbAppeal

In today’s modern home improvement era, a considerable emphasis is placed on energy efficiency, aesthetic appeal, and cost savings. One of the most impactful changes homeowners can make is investing in new vinyl replacement windows. These windows offer a host of benefits, both in terms of design and in potential savings. Let’s dive into the importance of having them installed and how they can be…

[dr-spectre]

So.... This game is 2 years old now huh?

Honestly... I don't think i have a TON to say about this game. It's just a great ass fucking video game that has given me a lot of fun and great memories!

This game came out during my final year of school, which is kinda funny considering that Splatoon 3 acts like a "finale" to a trilogy. It's interesting how those kinds of things work out eh? Splatoon 2 came out at the start of my secondary education, and Splatoon 3 came out at the tail end of my final year.

I remember thinking before the game came out, "why do we need a Splatoon 3? This is pointless, it's just more Splatoon 2." And then my mind was quickly changed once i got to play the Splatfest test fire and the actual game itself.....

I completed ROTM in such a short amount of time and i documented my reactions to my friends. Although i was spoiled in that Deep Cut had boss fights and Mr. Grizz was the final boss, ROTM still gave me a giant smile to my face all the way through. It was so fun, so charming and just a really good single player experience.

One of the things that i LOVE about Splatoon 3 is the vibe. I just love the location of Splatsville, i love the aesthetics, the lighting, the model improvements from Splatoon 2, the music, it's my favourite art style/aesthetic out of any of the Splatoon games by far. It just feels so polished, i don't know how to exactly describe it.

Also the fact that this game won best multiplayer game of 2022 over CALL OF DUTY! OVERWATCH 2 AND MULTIVERSUS MAKES ME SO GIDDY AND HAPPY!

PEOPLE GOT MAD ABOUT THIS AND THAT MAKES ME WANNA EVIL LAUGH! All of those fucking depressed and sad Call of Duty players who whine and complain about how "wahh modern gaming sucks!! There's no good games anymore wahhh!! It's all microtransactions wahhh!!" BITCH! SPLATOON 3 IS LITERALLY THE GAME YOU'VE BEEN ASKING FOR!! Yet you won't play it because it's on Nintendo huh? Yeah... You're a fucking PUSSY!! YOU'RE WEAK!! You're SCARED to be seen as less of a manly man!! You only wanna play games with oily dirty buff men.... Yet you call others who play games like Splatoon gay? Hmm..... Sounds like you're a wittle insecureeeeee!!!!

Have fun rotting in microtransaction hell you LOSERS!! GAHAHAHAHA!!!!!!!!!!!!!!

Anyways.... uh.... sorry....

I also fucking love Deep Cut too. I thought i wasn't gonna like these guys and i remember thinking when i first saw them "oh... okayyyy..."

But now? I love these bastards.

I love their dynamic and how they are bandits but they actually wanna help the people back in Splatsville. That is such a cool and unique take to have for Idol characters. The Squid Sisters are very cutesy and so are Off the Hook, but Deep Cut aren't. They are loud, messy, chaotic, in your face, rude, etc. They are about contrast and the character designers did a phenomenal job at conveying that theme via their backgrounds and looks.

Another thing that i love about Splatoon 3 is that it also acts as a celebration of things that have come before, Inkopolis Plaza and Square return as hubs, old colour combos from previous games act as loading screens, most of the music returns in the jukebox, it rewards long time fans for sticking around and for a long running franchise IT'S SUPER IMPORTANT to have that stuff!!!

Seeing the improvements in the model quality from Splatoon 1 to 3 genuinely makes me kinda emotional, it shows how far we've come in just a little under 10 years...

It really homes in on the point that... These characters, have grown up with us.... The Squid Sisters are about to reach their mid 20s, Pearl is nearly 30 fucking years old!!!

And the last thing i wanna bring up before i talk about the Grand Fest...

...Is Side Order.

This fucking DLC... My god... Being able to experience it by myself and just enjoy the stuff i was seeing, being able to SCREAM AND CRY AS MUCH I WANT WAS SO IMPORTANT TO ME DUDE!

When i got to the 10th floor in the tutorial and i saw Marina Agitando staring me down.... I did the loudest gasp a human could possibly do and my jaw was hung to the floor for a solid MINUTE!

Marina's first fucking dev diary made me cry and scream, THAT IS NOT A JOKE!!!! THESE CHARACTERS ARE THAT IMPORTANT TO ME!

And the final boss.... Made me cry, it broke me down, i was singing along to Ebb and Flow as best as i could, it felt like i was brought back to 2018, being in my room, listening to that song on repeat... I feel like a kid again....

I love this song... i love it so much... Like it's not the most hype finale song ever, but, the emotion behind it, the build up from Splatoon 2... The power this song has in it's meaning... It's some good shit man...

So yeah! I love Splatoon 3!!! It's my favourite game out of the series and anyone who is gonna jump into this game now is gonna have a LOT to chew on.

And... It's both sweet and sad that we're at the end. This is it... The moment we've been waiting for. The final Splatfest to end them all. The event 9 years in the making.

The Grand Festival...

I am extremely excited and so FUCKING NERVOUS for this Splatfest!!!! I know i am going to cry and be so overwhelmed with joy. Seeing the Squid Sisters and Off the Hook perform their old songs again after all of these years is gonna make me sob so loudly it's not even funny.

These characters genuinely mean the world to me and it's gonna be so fucking hard for me to watch their final major appearance and say goodbye. Cause after this, we don't know what's gonna happen. I know they will come back, they have to but... In what capacity? That's what I'm scared about...

So yeah, let's savior this moment when it eventually arrives, take all the time you need to be engulfed in the Grand Fest.

Thank you Splatoon 3, you have given me so much.... It's not time to say goodbye just yet but, i wanna watch you as you walk into the sunset with your head held high....

[imyourbratzdoll]

𝒂𝒏 𝒐𝒃𝒔𝒆𝒔𝒔𝒊𝒗𝒆 𝒌𝒊𝒏𝒈 𝒂𝒔 𝒂𝒏 𝒆𝒏𝒆𝒎𝒚 𝒍𝒆𝒂𝒅𝒔 𝒕𝒐 𝒉𝒆𝒓 𝒇𝒂𝒕𝒆𝒇𝒖𝒍 𝒌𝒊𝒅𝒏𝒂𝒑𝒑𝒊𝒏𝒈

🍑peaches world (and the men that just exist in it) masterlist🍑

summary - the beginning on how you were kidnapped by the king of koopa kingdom, buckle in your seatbelts and enjoy the ride, because this will be a smutty rollercoaster.

warning - mentions of cock, kidnapping, inappropriate feelings/thoughts, swearing.

18+ only please, the gif isn’t mine, header created by me.

Warnings and Reminders - Please do not plagiarise, copy, repost/republish, adapt, or translate any of my work on any social media platforms, apps, or third-party sites. The only platforms I post my work on are: Tumblr and Wattpad. I do not own any character of any franchise (Marvel etc.) All my works are fiction and may be dark or triggering content: READ ALL WARNINGS BEFORE PROCEEDING.

You watched your kingdom from above, it was a peaceful day as your people walked around and lived their lives happily. Usually, things were more of a ruckus. With a smile you turned and began to walk out of your room and down the hall, your pretty pink dress falling gracefully to the floor and sways with each step. You were happy, Lloyd and his brother Tangerine were currently out helping the people, so you had the castle to yourself.

You were wondering what you were going to do with your free time. You had many options, you could improve your parkour, do some painting that you always wanted to do but pushed to the side, you could go outside and tend to your flowers. The possibilities were endless and just as you were about to take the last step, a hand wraps around and covers your mouth. Your eyes widen, your hands immediately go up to try and pull whoever it is away. You freeze when they speak, feeling their massive body pressing against you.

“Shh, little Princess. You don’t want to warn the guards now, do you?” Ari Bowser Levinson is the one currently holding you. Your enemy, your rival. The King of The Koopa Kingdom. “That’s a good little Princess, staying nice and quiet for me.” You try to fight the shiver that runs through your body, knowing it’s wrong to feel this way when you are with someone. “Do you know how shit your security system is, Princess? I managed to slip right in, I mean. Someone really bad could’ve broken in and taken you for themselves, don’t you understand how dangerous that is.” He whispers like he isn’t the really bad person. You wiggle, trying to move away but you end up brushing your arse against him instead causing him to groan. “I wouldn’t do that, Princess. Unless you are wanting me to take you right here.”

You stop abruptly and your eyes widen, suddenly everything goes black. You don’t remember anything after that, and when you finally wake with your eyes fluttering open. You look around, confused. The walls and floors are grey, you tilt your head as you notice a large screen resting against the wall. Your attention is brought away from it when Ari enters the room. “Good morning, little Princess! Has my little Princess made herself comfortable in her new home?” He towers over you as he’s around 8 feet tall. He stalks closer, bending over to stare at your sitting form. “I sure hope so, because if I get my way, you will be staying here for the rest of your life!” He grins, and you shiver as it comes off evil-like. His eyes holding something much darker behind them. 

“Screw you and your plan, Ari! I’m sure Lloyd and his brother are already on their way to come rescue me!” You huff, arms crossing over your chest unknowingly pushing your breasts together and giving the older man/monster a lovely view. Your bottom lip juts out and you try to glare at him, failing miserably with how small and cute you are compared to him.

Ari coos, “You are correct, my smart little Princess. As far as I’ve been informed, they are already on their way!” He watches you jump with joy, your breasts bouncing with each movement, and he feels his cock twitch, licking his lips as soon the fun will begin. 

“Really?! They are coming?! That’s great!” You continue to jump, clapping your hands as a giant grin appears on your face. 

Ari laughs, shaking his head and moving closer to you. Backing you into the wall. “Not so fast, little Princess. Not everything is going to be easy for you.” He grins, placing his arm next to you against the wall. Ari directs you toward the screen, his arm wraps around you, making you feel even smaller, those darn tingles appearing again, and you try to push them away knowing how wrong it is. His hand reaches into his pocket, receiving a remote and you eye it. Your eyes move from the remote to his hands, wondering how they can still look so good with the claws. 

You had always heard stories before Ari turned his attention toward you and your kingdom. (Mostly you, but you didn’t think someone would be so obsessed with just you.) He was once a man that got his karma, being turned into half of a turtle. His already big build helped him mutate into something more monstrous. Horns in certain places, claws, sharp fangs, a larger cock. (Not that anyone got to see, but I guess it’ll be your lucky day.) 

Ari snaps you out of your thoughts, smirking when he catches you staring at his hands. “Two days have passed since I kidnapped you, little Princess. Where do you think Lloyd and his brother are now?” He hums.

“I presume they should be knocking at the door to enter the castle, right about now. I think…” You blink up at him, brows furrowed. 

Ari boops your nose, smirking wider than before. “Alright, if you have that much hope in your little boyfriend. Let’s watch it live to see how they are doing, shall we, little Princess?” You both face the tv, his large finger pressing the on button and he grins at your wide tear-filled eyes. 

“They’re at the beginning?! But how?! What are they still doing there?!” You yell in disbelief. Sure, the brothers were a bit slow sometimes, but you would’ve thought that saving you would make them go a bit faster. You begin to scream at the screen, hoping that they would be able to hear you. “It’s been two days, and you are still there?! I’m not even in that fucking world!” Ari chuckles behind his hand as he hears you swear, you look so cute as your cheeks puff out. “I’m in Bowser’s castle! Everyone knows it’s the biggest and most guarded of them all! Those are just fucking decoys!” You stomp your foot, practically throwing a tantrum, not noticing the big bad King sneaking closer behind you. “You fucking idiots! They’ll kill you now! Fucking watch out! That’s just the first Goomba of that level! Don’t let him touch you, you idiots!” 

“This is going to take a while, little Princess. So… Why don’t we have some fun while we wait.” Ari smirks as you turn with a confused look on your face. Before you can react, he rips your dress from your body, and you stand there with wide eyes. “Oh, we are definitely going to have some fun, little Princess.”

would you like to follow the game? if yes, please click round 1 when the link is avaliable.

𝐫𝐨𝐮𝐧𝐝 1

thank you for reading!

feedback and reblogs are greatly appreciated.

[whateverisbeautiful]

♥️Reveling in Richonne - TOWL

#48: The Wedding Plans (1.05)

Of all the Jadis and Father Gabriel flashbacks, this was the best one right here because we get to learn something so special - Rick wanted to have a wedding with Michonne. 😭 Officially marrying his wife is one of the many milestones that trifling Jadis stole from them, and Michonne also addresses some other missed milestones Jadis took from them as they hunt her down 🚖...

Flashing back to two years ago, Jadis and Father Gabriel have another one of their annual meetings in the forest. Jadis asks, “How’s Rick’s wife doing?” And I do like hearing Michonne be referred to as 'Rick’s wife' by someone, even tho it’s one of my least favorite someones.

Father Gabriel says, “Michonne? She’s away helping people.” And even with this, I was like...SIR, are you at all curious why Jadis is curious about how Rick’s wife - who Jadis wasn’t close to - is doing? Like, please...

I'm not even saying Father Gabriel needed to immediately put together that Jadis had anything to do with Rick, since he, like many, thought Rick died. But still, he could have at least been a bit more suspicious of Jadis' whole situation and told some people back home about her and her helicopter.

And then I’m side-eying Father Gabriel again when he asks, “Why did you call her his wife?” Gabe, you have to ask? 😑 Lol, I know it’s not a big deal in the grand scheme of things, but, the second I even realized these two were having these yearly meet-ups, everything they said and did had me looking at both of them like...

Jadis says, “I mean, wasn’t she?” And I just know she’s thinking about how Rick barely says five words to her in Philly and most of those words are about his wife. 😋

Father Gabriel says, “Well not officially. If that matters anymore.” I said now Father G, I know you see Michonne every day raising those kids and wearing a wedding ring around her neck. That’s Rick’s wife, stop playing. 

Also, in TWD I was proud of Father Gabriel when he had his whole evolution into a real one and became a valued member of the group. But seeing TOWL made me remember that while Father G has grown a lot, this man did in fact enter this franchise with snake tendencies.

Had me wondering if his snake past is what makes him intrinsically drawn to this snake Jadis. But little does Father G know, that while he's actually tried to improve himself, Jadis is still slithering through life and causing so much harm.

Something I do like about this exchange between them tho is it feels like yet another thing TOWL came to set the record straight on regarding Richonne. Like for all the viewers that used to comment “no ring, no marriage,” stuff about Richonne, this was TOWL being like nope, Rick and Michonne are and have long been husband and wife, period. 👌🏽

This show didn't allow any room to downplay, discredit, or dismiss who Rick and Michonne are to each other and how much they mean to each other and I'll always appreciate TOWL for that. 😌

Then we get to the best part of these Jadis/Father Gabriel flashbacks when Father Gabriel says, “It’s funny. One day, Rick said that I should marry them. Maybe we should do it right there on the bridge that we were building”

Y’all. 🫠 When I tell you I was gagged when I heard that the first time.

I had been ready for them to just hurry this Jadis/Father G scene up but then I heard that line and...

I adore that we got to learn that Rick wanted to have a wedding and was making plans for it before he was taken. He wanted to marry Michonne on the bridge. 🥹 The very bridge he was then taken from her for years. 🥺

Watching Rick's season 9 episodes back, they’re now even better knowing that making his marriage to Michonne official was on his mind. It’s almost like you can see it with certain scenes, even tho obviously this detail was more added in TOWL rather than pre-planted in TWD.

It’s so sweet too because Rick was so adamant about that bridge being completed and I love knowing that it was both because of its practicality/symbolism of unity bringing the communities together and because it was where he and Michonne could celebrate their own special union with a wedding.

gif cred: @perryabbott

This was esepcially great to hear because I had always felt that Rick would be the type to give Michonne a ring and want that traditional solidification of their marriage. So it was nice to hear these details that show he really was working on it. 🥹

Also, another TWD scene that becomes extra emotional upon learning that Rick wanted to marry Michonne on the bridge is Michonne’s first scene post-Rick in 9.06.

Michonne goes to the destroyed bridge years later and essentially expresses how she’s still so committed to Rick and still fighting for him and them and their family. It’s almost like she's saying vows.

And little did Michonne know (because I’m sure Father Gabriel’s secret-squirrel behind didn’t tell her) that bridge is the very place Rick wanted them to exchange vows and get married. 😭

Rick truly does look at Michonne and see his future because he had big plans for the two of them in season 9. He was fully ready to have a wedding and a baby with her in his final TWD eps.

Also, in the season 8 premiere, Maggie asks Rick if he’s been thinking about what 'tomorrow' looks like and he confidently says "Yes I have" as well as telling Maggie, "After this, I’m following you."

I already always got the sense that part of that meant Rick was thinking about expanding his family by having a baby with Michonne. But I like how now after TOWL that s8 scene really reads like Rick was thinking about having a baby with Michonne and officially marrying her. That's what he wanted his 'tomorrow' to look like. 🥲

And a Richonne bridge wedding would have been beautiful. 🥹 In my head, Rick and Michonne definitely go on to have a wedding with their kids a part of it now that they’re back home. 

Father Gabriel says, “But I couldn’t see the future he described, so I sat on a log in the forest, and there at my feet in the dirt right in front of me was a ring. It seemed like it’d make a pretty nice wedding ring.”

See, see, see, even when others don’t see your vision, God gon’ see the vision. And He always makes a way. Amen. 🙌🏽

And Richonne is blessed and highly favored so of course a ring showed up. 😇

But then...y’all, I have to side-eye Father Gabriel yet again with what he does next.

Father Gabriel says how he picked up the ring and thought to put it someplace that Rick would find it “because I could suddenly see that someday” and then this man takes the ring out, revealing that he’s been holding onto it all these years 🙃...

Um imo, it would have been nice if shortly after the bridge he had told this story to Michonne and let her decide what she wanted to do with the ring.

Michonne clearly finds a lot of solace in these types of sentimental items and wore a wedding ring around her necklace. It could have possibly been a comforting thought for her to know this was the ring Rick might have proposed with since he was planning on them getting formally married with a priest and everything.

IDK, this was just making me feel like team family tried Michonne once again. 

Father Gabriel says sadly, “But then what happened, happened.” And Jadis, perhaps masking remorse but still as self-centered as always, just starts talking about how she looks forward to their next visit and the chance to just sit and talk and feel like who she was. How can she be so unmoved by the fact that she’s kept two people who love each other dearly apart for years? She got to have moments of feeling like who she was while Rick lost himself day by day. 😑

Jadis starts opening up a bit more about what she does and how it weighs on her but she’s committed to the mission and...they just can never make me like Jadis, tbh. 😪 Even when she's supposed to be showing her more human side I'm still just like...

And then Father Gabriel gets one more side-eye from me when he gives Jadis of all people that ring. What? 🙃

The only thing I like about that choice to give her the ring is that it’s kinda like the ring had a similar journey to Rick. It was stuck with Jadis for years but then eventually found its way to its rightful person - Michonne. 👌🏽

But otherwise, I was like 'Father G, why would you...???' Jadis of all people should hold onto the ring he found for Rick to give to Michonne?? 😪 Wasn’t exactly here for that choice. But that wedding ring leads to not one but two of my absolute favorite Richonne moments going forward so it’s all good now. 😌👌🏽

gif cred: @perryabbott

In the present, Rick and Michonne engage in a car chase with Jadis.

Rick says they can’t kill her but Michonne begs to differ saying, “Oh we can.” I promise Michonne and I stay on the same wavelength at all times lol. 💁🏽‍♀️ Michonne,...

Rick says, “I told you, she left a file about home for the CRM to find.” Michonne knows Jadis is just a neverending source of destruction when she says, “To destroy Alexandria because that’s what she does, Rick. She destroys!” Wrong where? 💯

Also, I love the little detail of seeing Michonne is wearing the M bracelet while she’s driving. Like they had to rush to get dressed and go chase after Jadis but Michonne still said I’m gonna remember to put on this bracelet from my man before we go. Here for it. 😊

gif cred: @ricksmarlene

And then I so appreciate that we get a moment for Richonne to acknowledge the valuable and important life moments and milestones Rick missed because of Jadis as Michonne says, “She robbed us of you being there to see your son being born. Taking his first step.” 😭

I love that she says robbed ‘us’ because Rick being there to see his son being born and RJ's first steps would have been such incredibly special moments for Rick and Michonne to share. 😢

And Jadis really took that from them. Because while yes Rick was going to need the kind of medical assistance the Civic Republic could provide to survive the injuries he got from that rebar, he eventually would have been healed up enough to go home and recover there and be present for at least the tail end of Michonne’s pregnancy and birth. If only he hadn’t been held captive somewhere he couldn’t leave. 😞

Then I absolutely adore that, upon hearing Michonne mention super special milestones that Rick has missed in his wife and son’s life, Rick is immediately on the kill-Jadis train as he says, “Okay, what do we do after she’s dead?” I love the switch-up and how he’s instantly on board. 😋 He knows Jadis has got to go for, as he said before, stealing their family.

Michonne says they’ll do whatever they have to do and sis is not playing. 👏🏽 Jadis ain’t making it out of today alive if Michonne has anything to do with it.

gif cred: @nerd4music

Michonne rams into Jadis’ car and then they eventually get Jadis to crash off the path. As they continue their Jadis hunt down on foot, Jadis flees and enlists the help of that one noodle-less trio. She clearly has a scheme in mind because one thing about a snake...

In the woods, Rick tells Michonne that the CRM's bases are spread out across the country and they have to figure out which one Jadis hid the dossier in. Rick suggests there might be a route where they can take Jadis alive and talk to her to get some info.

Rick notes how Jadis clearly hated being called Anne and he thinks that the Anne-version of Jadis is still in there somewhere. (Both versions gotta go, in my book 🤷🏽‍♀️)

He says, “If there’s something she can give us first - something to keep Alexandria safe.” But Michonne feels they don’t need Jadis for that when she says, “We’ll keep it safe." And then, determined for Jadis to meet her maker before the sun sets, Michonne adamantly says, "But she’s gonna die.”

You already know I'm with that energy. But I get where Rick is coming from too as he says, “We need to keep it safe without risking anything."

Rick then adds, "I couldn’t see some things. I couldn’t. You helped me. Maybe we can help her, and if we can’t...” And Michonne is in her full deadly mode as she finishes Rick’s sentence saying, “Then I can kill her.” She is not interested in deprogramming that lady. 😂

gif cred: @taiturner

First; I love that Rick stays giving Michonne credit for how she helped him. He knows that after the mental warfare the CRM did on him, he was finally able to see the light - the real light not ‘the last light of the world’ - because of his wife.

And second; it’s admirable that Rick has it in his heart to want to help even someone who has done him so wrong. However…Jadis done had too many chances for help and she squandered it or took advantage of it every time cuz she’s a snake through and through. So the time for helping her has passed, which is why Michonne is hellbent on killing her.

gif cred: @taiturner

Rick says, “Be my guest." because while he knows Jadis can be a resource to getting things they need, he also doesn't mind if she gets sent six feet under. I mean, killing her was a dream of his so he gets it. 👌🏽

Then Rick says, "Maybe just maim first.” and that delivery is great and always makes me smile. 😊 Rick trying to talk killing down to maiming - you can tell he knows his wife is gonna rip Jadis up somehow someway for everything she’s done to him and their family.

gif cred: @taiturner

I don’t think Michonne even quite heard Rick's 'maim' comment cuz she spots some fresh blood on a tree and as a lethal woman on the hunt, she’s immediately ready to follow where it leads. And as they go, this pursuit leads to Richonne's final confrontation with Jadis. 😌👌🏽

[harukadrawsthings]

Super Mario is the second reason why I'm an old Nintendo customer. I've played many games in the franchise, the first being the 8-bit classic Super Mario Bros.

When you ask a fan what the best Mario game is, the answer is likely to be Galaxy 2 or Odyssey, but for me it's not either of the plumber's key titles (although the two I've mentioned are excellent 3D platformers).

I was one of those people who was overjoyed when it was revealed in September at the Nintendo Direct that they were bringing back "Paper Mario: The Thousand Year Door" for the Switch with improved graphics and dialogue and with extras that didn't exist in the GameCube version! (And a good solution to the problem of scalping in the grey market of retro gaming).

I've loved the Paper Mario they made for the Nintendo 64 since I was a kid and I had the chance to play the sequel almost a decade ago and I thought it was amazing how they took everything that was good about the first game and made it even better. Never has a Mario game absorbed me as much as this one; Thousand Year Door is a lot of fun and a turn-based RPG that's both accessible and challenging. It's a shame that the sequels don't follow the same type of gameplay, although I really enjoyed Origami King in general. Here's a suggestion for my followers who have a Nintendo Switch at home. It was great to relive this story in search of the Crystal Stars to save the world and for me it's undoubtedly one of the best games available on the console. 😊

Do not repost. Do not modify. Always credit me!

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Paper Mario, Goombella, Koops, Flurrie, Yoshi Kid, Vivian, Ms. Mowz and Admiral Bobbery © Nintendo

[essycogany]

Why Sonic Prime Shouldn’t Be Canon

There will be 0 disrespect to anyone involved in this post.

Introduction

Think whatever you want to think and make your own conclusions after reading this. Prime is an entertaining show. This is only for whoever wonders why I talk about this show a certain way. Yes, the consistency in the franchise is already shattered to pieces, (no pun intended) but the excuse implies the mistakes in the past shouldn’t be improved upon. Making things worst doesn’t fix anything. Also, give the franchise a little credit, there’s more obvious reasons to believe this show isn’t canon then stuff in the games and IDW.

Why Are We Told Prime Is Canon

1. The writer for the games/comics and the director stated Prime was canon. I assume in order to sell the show and make it seem more important than it is. That’s not even an insult because so far, Prime impacts nothing in canon.

Ian Flynn: “It doesn’t matter, b/c Prime wipes itself out. It’s something after Advance 3, but otherwise, it’s moot. I didn’t want to sour anyone’s expectations or investment by spoiling how Prime resolves, that’s all. If you enjoyed it, awesom. Savor it. If you didn’t, then you can safely ignore it. Simple as that.”

2. While I don’t remember who said this, it’s also been stated Prime went through changes. It was originally meant to be written as its own thing and hilariously ended up feeling less canon because of this change. Which you’ll probably notice in a bit. Long story short Sonic Prime, like the movies and shows, is a disposable adaptation you can love or hate.

3. Aside from Sonic and Shadow, you aren’t able to spend enough time with the OG cast or world, so you’d need to know and understand them outside of Prime. Which debatably isn’t enough, but that’s a can of worms I feel plenty have already opened up, so I’ll only simplify it later. In the end, the show never gets time to establish itself in the OG world. Which has a terrible impact on the writing, but let’s move on.

Side Note: No, the shatterverse crew don’t count in my opinion. While they are similar to the OGs they are still their own characters with separate personalities and issues in their own worlds. They are similar, but not the same.

Evidence

Prime feels more like an origin story without the continuity of the games.

Example 1: Green Hill is Sonic and his friend’s home. Despite the games and IDW have them live everywhere that isn’t Green Hill. Classic timeline included. They barely talk about the place. I recommend watching “Where The Heck Does Sonic Live?” on YouTube. If you want the short of it, I’ll explain a few points and add my own as well.

Here’s most of the different homes these characters lived in.

Station Square, the Mystic Ruins, Emerald Town, and others use to be homes they stayed in and they’re never mentioned. It’s like they put the modern cast into the classic timeline. Which still had them not live in Green Hill. Heck, Shadow, Rouge, and Big are shown in Green Hill too and they didn’t even exist during the classic era.

This is how Green Hill is seen in IDW.

Sure looks like people use to live in this place. Sarcasm aside, Green Hill either wasn’t special enough for them to keep living in or they never lived there before and this was conjured up because Green Hill is constantly used in the games.

Even people who knows the bare minimum about Sonic lore would understand how baloney this is. Especially since Sonic and the gang has been established to be found in other places. Which is shown in the Origin cutscenes. They don’t clarify in the show who exactly lives in Green Hill and who doesn’t. They treat it like everyone’s home. Shows how much we know about these characters within Sonic Prime, doesn’t it?

Example 2: No other group of Sonic characters, locations, or worlds are ever mentioned/referenced. In Prime the blue blur meeting Chaos!Sonic should’ve reminded him of Metal!Sonic, but he talks as if he’s never seen another version of himself in his life. “Is that a… knock off me?” The lack of robot knowledge in this show is crazy when given more errors.

“Robots without flickies? Now that’s new.” I believe everyone knows how false this line is. Also, Orbot and Cubot doesn’t exist until Colors. (though Orbot is in Unleashed) Which is a problem because Prime is suppose to take place directly after Advanced. Which had several games before Colors. Where they didn’t exist.

Example 3: The OG cast though similar, still have their differences.

Big: He’s treated like a core member of the team when he’s not in anything else. Bro doesn’t even get much to do or say at all. He’s just there for the most part.

Knuckles: He meets Sonic in a completely different setting then in actual canon and doesn’t seem to live on Angel Island for some reason. At least not by what was shown.

Eggman: Still relatively fine, but teaming up with anyone even himself never turns out well. He usually doesn’t care for sharing his spotlight.

Rouge: Same thing as Big besides Dream Team. In the games/comics she usually does her own thing. And is also more sneaky and unpredictable while Prime shows off her more leadership side. She’s kind of half and half in the same to different category.

Tails: Surprisingly more closed off then usual and almost seems to switch sides with Sonic in the personality department. Emotionally that is.

Amy: She’s more of a motherly figure than anything else. Amy’s bird friend is pink instead of blue like in SA1. They also treat it like it’s always been with her but hasn’t. She’s also incredibly calm and collected compared to how she was during the 2000s. The time the Advance games where coming out. She was written pretty differently to say the least.

Not to mention one line in the entire show is the only indication of Amy’s crush on Sonic. It was implied not shown.

Sonic: He’s almost treated as an amalgamation of different variations before him. Except it’s his first time getting into an issue he isn’t ready to handle. Because he caused it. On top of that, this guy also carries most of his friends emotional traits. Amys’ excitement, Tails’ saddens, and Knuckles’ anger. Here’s why.

Prime!Sonic seems to be naturally affectionate then in canon since he hugs almost everyone in it. He’s also more emotionally triggered, childish, and inexperience while Game!Sonic isn’t. And has never been shown to be either. Not even in the IDW comics or games with Classic!Sonic. A younger version of him. Don’t get me started on the differences to the 2000 games like Advanced. Game!Sonic then was more introverted while Prime!Sonic is very extroverted. He also panics a bunch. As if he’s not use to terrible things happening frequently.

He can be very wimpy and whiny when it comes to confrontations. Which was never a thing before in any other media. At least not to the point where he’s begging and pleading to people over and over again. I’ll even admit this Sonic isn’t the smartest either. He’s the Sonic you’d be the most convinced to believe is a teenage boy. Besides Movie!Sonic.

Of course Prime!Sonic is still Sonic, but he’s as much of a Sonic as every other version of him. He’s not the same guy who use to not be a fan of hugs. Who can deal with atrocities without freaking out once. The character who hasn’t even officially cried up to this point. Who is just now starting to open up and is still having trouble with it. The silly hedgehog isn’t too out of character but is enough to not be called the same character. Sure, Sonic’s characterization is inconsistent in the games, but I’d say the 2010s is less out of character and more one noted. He at least carries these traits even if not written well.

- The “sentimental” line in S1 Ep6 is one of the few out of character things he says. Even if the blue blur thought this, he’d never say it out loud.

Shadow: He’s the best written character in the show. Not to mention the most accurate to how he is in canon. Even compared to some of the games and comics. He’s the true MVP of Sonic Prime and has the most common sense. I only hate how he’s literally pushed to the curve in every season. And how Shadow’s backstory is never referenced. Only implied by Sonic screaming his name when he plummets to his doom. But I’d argue that’s more so because Shadow is the last person left who isn’t implied to be dead. Sure, it reminds people of SA2, but that’s all it really is. A reminder not a direct reference.

I will clarify I don’t dislike the show for being different. I dislike the show calling itself canon despite it’s differences.

Conclusion

I know Prime “wipes itself out” but the original world doesn’t have the same continuity of the games either. The established world and lore in Prime is barely connected to the Games due to the writing, so wiping the shatterverse out doesn’t help. These may be small details but if you’re a person who might be interested in getting into the fandom it becomes small details that makes big differences.

I’m not saying if you think the show is canon you’re wrong. Actually you are 100% correct. It’s been confirmed multiple times and the deed was already done. I just don't think it should be. Does it really matter? It depends on what you think. Is Sonic Prime being canon a bad thing? I’d say yes and no. While I don’t think it was the best move, as long as Sonic Prime exists on its own, there’s nothing to worry about. Prime being canon isn’t a crime. It just makes no sense. I’ll leave it at that.

Stay Creative! 💜

[monstersandmaw]

Here's August's offering for you! Hope you enjoy it - I had fun with writing it! We return to Starfall Springs!

Content: seemingly-grumpy, slightly older, scarred, Shire centaur meets peppy human female in a DIY store after his niece spills a lot of pink paint on the floor, and each is instantly attracted to the other. When the reader's truck breaks down a week later, it must be fate when the same centaur comes across her on the side of the road and offers to tow her truck to his mate's garage in Starfall Springs. One thing leads to another, and the two get better acquainted. Mention of alcohol, but no inebriation.

Nsfw: non-penetrative sex, messy intercrural sex, outdoor but not public sex, reader receives oral, cis female terminology used. Both parties also say 'fuck' a lot.

Wordcount: 9453

Preview:

Despite having moved to the foothills of the Glasspeak Mountains almost six months ago, you’d only been into the quaint little town of Starfall Springs a handful of times.

Now that you’d fixed most of the structural issues in your off-grid cabin — at least the estate agent had been very open with you about the modernisation needed on the property — you were turning your hand to making it prettier.

The urgency of the advancing year and the upcoming winter had driven you into a DIY frenzy over the summer months to get the place functional, and now that it was done, you never wanted to feel PTFE tape between your fingers, or see a wrench or a screwdriver again. You’d had drywall dust in places you never wanted drywall dust too. But, while the place was no longer letting water in from places it shouldn’t, or letting water out from places it shouldn’t, it did look very stark and very bare, with raw wooden surfaces and no colours or comforts.

Right on the edge of Starfall Springs was a small industrial park which somehow still managed to look leafy and quaint. The lot was made up of three large warehouses, one a rambling garden centre overflowing with verdant life, another a dealership for all sorts of motor-vehicles, from centaur-accessible vans to naga-accessible motorcycles, and the last was a DIY and home improvement centre, selling everything from plumbing supplies to lumber, and even offering bespoke kitchen and bathroom refurbishments. You’d saved yourself the cost of the latter by doing them yourself, but the staff there knew you like family for how many times you’d been back to ask where to find all the things you needed for the cabin.

You’d supported Dhurak’s small hardware store nearer the centre of Starfall Springs when you’d first moved there, thinking it would be better to support an independent business, but as it turned out, these stores weren’t franchises of larger chains, and were in fact also independent businesses. The parking in the centre of Starfall Springs also wasn’t great, especially since you drove a huge pickup truck, and this place had literally everything you could ever need. It even had a crafts section on the off-chance you decided to take up knitting for the winter months.

So it was that, halfway down the lighting aisle, you heard a high-pitched, whinnying whine coming from the next aisle over, followed by the stamp of small hooves and then a loud clatter. Someone inhaled sharply as if about to curse, and then a deep, resigned voice said in a rather clipped, northern burr, “I told you to let me get it down, Clara. Now we’ll have to pay for that as well.”

“I- I’m…” came a quavering response, and then the sound of a child crying in quick, ugly gulps.

You pushed your laden trolley around the corner and saw a huge, black-coated centaur’s muscular backside as the figure bent one foreleg and ‘bowed’ down at the front. To your surprise, he scooped up a much smaller centaur under her belly, like a fashionable lady grabbing a wayward handbag-dog, and lurched back up onto all four hooves. He stepped easily away from a slowly-spreading mess of spilled pink paint all over the tiled warehouse floor, still with the young centaur tucked under one arm.

Backing up a few paces on hooves that had to be as big as dinner plates, the figure set down the young child and said in a strained voice that was clearly trying very hard to be patient, “I’ll have to go and tell someone we made a mess. You need to stay here while I do that. Do not move, Clara, and do not touch anything else. You understand me.”

“Yes. I’m sorry, Uncle Jack,” she sniffled as she got a hold of herself again, cuffing at her face with her sleeve.

Unlike him, she was tiny, but like him, her equine coat was jet black, and the skin of her upper, human torso was dark. To keep her equine body warm from the nippy, autumn wind outside, she wore a cosy-looking pink coat like a horse rug, and her human upper body was swathed in a voluminous, pink puffer jacket. Her hair was tied up in two high buns that looked like mouse ears and secured with pink scrunchies. With her dark eyes all watery and her mouth crumpled up into a pout, she looked adorable, and thoroughly miserable.

‘Uncle Jack’ did not look adorable. He looked… intimidating.

If Clara perhaps resembled a shaggy little Shetland pony, her uncle looked like a Shire centaur, with massive muscles in his bare equine body, and a shaggy, dark coat. To your surprise, he had a short and traditionally-docked tail, and his lovely, fluffy, white fetlocks were now spattered with pink paint. The pink didn’t lessen the impact of his presence at all. Your eyes travelled up his torso, swathed in a brown, waxed jacket, up to his weathered face, and you tried not to let your shock show when you found a set of four, huge, scars slashing across his rugged features. He looked like he’d been mauled by a bear at some point in his youth. His textured black hair was long and tied back in soft, fuzzy dreads at the nape of his neck, with flecks of grey streaking through it at the temples. His eyes though, were a startling, sapphire blue.

He turned carefully in the limited space that the aisle afforded him, and caught sight of you. You’d stopped in the dead centre of the aisle, and there was no way he could squeeze past you unless you tucked yourself right up against the side, so you hitched him a shy little smile and nudged your heavy, ungainly shopping cart over to one side so he could pass.

“I’m sorry, ma’am,” he said, ducking his head in a tight nod. “I’ll get this mess sorted out.”

“Don’t worry,” you smiled. “You want me to stay with her while you go find someone?”

He eyed you up and down with a frightening scowl on his scarred face, and then he scrubbed one rough-looking hand over his mouth, his short, dark beard rasping against what you could only assume were calluses on his hand to make that kind of noise. “Would you?”

You smiled. “Of course. I’ve had my fair share of paint related disasters in DIY stores, trust me.”

The centaur gave you an odd look at that, but he didn’t pry, and just nodded again and turned to look over his colossal shoulder, where the poor kid was standing and sniffling beside the widening tide of pale pink paint. “Clara, this kind human’s going to stay with you, ok? Don’t give her any trouble.”

Clara shook her head, giving you a wide-eyed look that told you she wasn’t entirely comfortable with being left with a stranger, and then mumbled, “Ok.”

“I’ll be two minutes,” he growled at you, and then stalked off to find a store attendant.

Read the whole 9.8k word story on my Patreon right now, plus gain access to my entire Patreon back catalogue. You'll also get access to any free stories a week early, and you can come hang out in our chilled Discord server too.

[master-thief-gray-shadow]

There have been a handful of shows that have come to me in my life at a time when I needed them most and saved me from myself. If you've been following me for a while you'll know that Revue Starlight is one of them.

So I'd like to talk about another one. In september of 2022, I sat down one morning and finally decided to watch Revolutionary Girl Utena. And I can say with full confidence that this was one of the best decisions I have ever made in my life. Obviously because I got to watch Revolutionary Girl Utena, perhaps one of the greatest serialized animated shows ever made, so massively influential that you can see its DNA in almost any yuri series you can think of.

But also because a week after finishing RGU, feeling like a changed man who had seen the truth of the universe, this aired.

Now, I had been aware that this was going to be a thing for the few months preceding. I have a friend who was very excited for a mainline Gundam series to have a female protagonist for the first time (and when they explained this to me I was very shocked that it had never happened before. You mean to tell me that a franchise old enough to be some people's fathers has never had a female protagonist in its entire history?) I had sort of a passing interest in it. I was sort of on the tail end of my Arknights era, so that had been the fall 2022 show I was looking forward to the most. Hey, if it's good, I'll watch it, I reasoned.

Imagine how I felt opening twitter two years ago tonight to see my entire TL screaming "UTENA IN SPACE???!!!!"

Well, Utena is the greatest thing anyone has ever made. If this is like Utena, it's gotta be worth checking out, right?

I was floundering throughout 2022. I couldn't do the hobbies that I loved because of burnout, I was stuck at home most of the time because I couldn't drive and didn't have a means to leave otherwise, and everything I had planned out or started to look forward to ended up getting cancelled or delayed in some way, so I was robbed of the little exciting things that are supposed to keep me going. I was deeply unhappy and in need of a mental anchor of some kind. And Suletta Sundays proved to be just that.

I loved G-Witch. I've loved the other Gundam things I've seen, too. I'm happy that this show got me into Gundam, because that had been something I'd been meaning to do for a long time. Suletta and Miorine's relationship proved to be the thing that broke me out of the creative rut I'd found myself in, and since the beginning of last year when I started writing SuleMio fic I've measurably improved as a writer. I've made a lot of friends through our shared love (and frustration) with this show, and it's been a long time since I've been able to bond with people in a fandom space this tightly.

For years the bar for how much fun an anime was to watch while it aired had been Love Live Sunshine season 2. G-Witch surpassed that before its first season even finished.

Happy anniversary to Mobile Suit Gundam: The Witch from Mercury.

[greghatecrimes]

Baby Ducks AU Teenage Headcanons

(Only Chase and Thirteen this time since I'm still not exactly sure how I'm going to put Kutner in this AU, but eventually I will write some for him too)

Both Chase and Thirteen are one hundred thousand percent 'nerds'. In both the academic and the hobby sense.

Both of them are quick as a whip (they're House's kids, how could they not be?). On the Honor Roll, all honors and AP classes, that sort of thing. There's never any pressure from House or Wilson to be high achieving; they're very self motivated, but it's not for the grades or the GPA. Growing up with House meant that his thirst for knowledge rubbed off on them. They always want to know more about the world, the body, the brain, etc.

Chase is quiet about it, but he's a bookworm. He's always got one in his backpack or on his bedside table.

Thirteen enjoys reading too, but she's a bit more of a TV nerd. I think her favorites would be Xena: Warrior Princess, Buffy, most of the Star Trek series, etc. (Probably also really liked the '80s She-Ra as a kid, even though it was a little bit before her time in this AU)

Thirteen and some of her friends get into D&D when she's 12-13, and she LOVES it. She (lovingly) bullies Chase into trying it despite his many, many complaints, but he ends up adoring it, too. They manage to convince House and drag Wilson into doing one-shots with them a couple times a month, and eventually start trying to wheedle their way into a full campaign. (They succeed. House DMs and has too much fun with it.)

(Wilson is supportive of the nerdiness and D&D, it just takes him a while to wrap his head around how to do TTRPGs)

Neither one of them is quite as into video games as House is, but they both enjoy playing them. There are definitely many extremely intense family Mario Kart nights, and Thirteen and Chase have one hundred percent gotten into a physical fight that started over Mario Kart (lmaoooo).

Thirteen is into the Legend of Zelda games whereas I think teenage Chase would enjoy faster paced games like the Sonic franchise. Both of them like the Pokémon games and would probably play the ones you could link up with each other on (the ones on GBC and GBA, and maybe later the original NDS) together.

Tweenage Chase and Thirteen (14 and 12) stay up way too late to play Pokemon together. There's a period where almost every night they're hidden in one of their bedrooms, lights off and covers pulled up over their heads, with a flashlight and their Gameboy Colors.

Teenage Chase takes after House and plays the guitar. He can definitely carry a tune (read: he has a great voice but he's modest about it/doesn't ever tell anyone outside his family about it), but he'd keep singing as something for himself, just at home or in private.

Thirteen takes up the piano to improve her dexterity and fine motor skills once she's old enough to understand that she's at risk for Huntington's. Music theory isn't her style, but she does love the challenge in teaching herself progressively harder and harder pieces, and the control and detail it takes to master something particularly tricky.

House has absolutely shown them anime and manga. More on that in a later post for sure.

[wordsandrobots]

IBO reference notes on . . . the lie of Agnika Kaieru

This is a post about McGillis Fareed.

Originally presented as an antagonist ala the Gundam franchise's 'Char clone' archetype (named after Char Aznable, an expy of the Red Baron by way of the Last of the Romanovs), McGillis turns out to be one of Iron-Blooded Orphans' key protagonists, his initial appearances reframed by an eventual alliance with Martian mercenary group Tekkadan, home to the more obvious lead characters. In large part, it is his story we watch unfold, as he attempts to secure control over Gjallarhorn, the repressive extra-national military in which he serves.

And it's hard to discuss that story without reference to Agnika Kaieru, the man credited with founding Gjallarhorn to counter AI-controlled 'mobile armours' three hundred years earlier. The apocalyptic conflict between humanity and the armours known as the Calamity War is the source of the current social order, not to mention the titular Gundam mecha. Agnika is responsible for leading Gjallarhorn to victory, an achievement for which McGillis idolises him. He is also a non-character, haunting events solely through McGillis' commentary, at once vitally important and entirely absent.

I thought it would be interesting to examine how that works. I ended up writing 7000 words about it. Spoilers for everything and content warnings for mentions of child sexual abuse.

The character who wasn't there

If we take McGillis at his word, his personal philosophy was defined by reading a biography of Gjallarhorn's founder at a young age. More specifically, at a young age, while being sexually abused by his adoptive father, Iznario Fareed, who had extricated him from working at a brothel, a situation he was previously forced into after being abducted while homeless on the streets. The Life of Agnika Kaieru was a light in this darkness, offering a path out of a situation that, though seemingly improved from his original impoverishment, continued to be highly coercive and harmful. McGillis was made heir to a powerful family, yet had to sneak out of his patron's bed in the middle of the night, naked, with visible bruises across his body. He was desperately in need of hope.

The abuse appears to have been baked into this plot-beat from the start, with hints to it provided at multiple points during Season 1. Iznario being accompanied by a blonde boy and blonde young man (echoing the excesses of Carta Issue, a character who surrounds herself with McGillis lookalikes owing to an unrequited crush), McGillis' reluctance to spend the night at the Fareed estate, and the questions of legitimacy surrounding his inheritance all take on darker significance when the truth is revealed in Season 2. We may safely assume he was always planned to be reacting to this form of exploitation.

I suspect Agnika was a later creation. Comparing the outline of the Calamity War provided at the very start of the show to the ways it later becomes relevant suggests a considerable amount of fleshing-out in the interim. There are few outright contradictions, or at least, few we cannot explained by assuming in-fiction ignorance. Nevertheless, the importance of Agnika as a historical figure, the myths surrounding his mobile suit, and the very existence of the mobile armours each enter without previous set-up. This is inelegant, in the manner of much of IBO's exposition: workmanlike additions to propel the plot along, extending exactly as far as required and no more. But we cannot discount their importance to the final result and since McGillis aspires, in a very real sense, to become his hero, it is instructive to consider what the show tells us about Agnika.

Immediately we run into the fact we know nothing at all about him as a person. The only 'canonical' description of his personality was provided by the series' director, who compared him to 'the hero in a shonen manga': a charismatic character who always saves his friends. Apart from reinforcing my belief any spin-off set during the Calamity War would be more typical fare than Iron-Blooded Orphans turned out to be, this tells us little. Within the story as it plays out, Agnika is blank space. Being three hundred years dead, it does not actually matter what he was like – itself a statement about how people can be forgotten even when their names reverberate through history. Indeed, the thematic parallel to the fates of a large chunk of the cast is a potent one. Time has rendered Agnika a cipher, subject to the judgement of distant strangers, his exact morals and intentions long-since stripped away.

What remains are his legacy and beliefs. That we must speak of these separately is telling. The Seven Stars, descendants of Agnika's fellow Gundam pilots and Gjallarhorn's present-day leadership, show little deference to the man who commanded their ancestors. There are no statues memorialising him and though Gundam Bael has its attendant ghost stories, of Agnika's spirit living on inside and how it will only awake for his true inheritor, it is shuttered away, a monument nobody ever goes to see. One gets the strong impression McGillis is the only person to pay him more than lips service in centuries.

Consequently, McGillis' personal interpretation of Agnika's philosophy is the only window we get on his beliefs, and the most thorough explanation of that interpretation is given to his eleven-year-old child-bride, Almiria Bauduin.

Fairy tales told by a pied piper

From what we see on screen, McGillis is never overtly abusive towards Almiria, to whom he becomes engaged as part of a political scheme. He is pushed into the arrangement by Iznario and in the side-story covering its commencement, he goes out of his way to provide Almiria with the choice he lacks – something that spurs Almiria to form a genuine attachment to him. However, the engagement also serves his personal ambitions extremely well and he unquestionably manipulates her over the course of it (hard to think of another term to describe comforting her on the loss of her brother Gaelio, for which McGillis is himself responsible). We could and probably should label his apparent concern for her emotional wellbeing and indulgence of her desire to be seen as a grown-up as an attempt at grooming her, not in the sexual sense, but to make her a more amenable chess-piece. On the other hand, McGillis prevents Almiria from killing herself when the truth comes out, at the cost of an injury that severely disadvantages him in battle shortly thereafter – a notable action when her political utility has just evaporated. On the other other hand, this incident prompts him to describe her, quite disdainfully, as 'troublesome'.

What I'm saying is, the question of whether McGillis sees Almiria as a tool or somebody he truly cares for is thorny, as it is for virtually every single character with whom he has a meaningful relationship. Nevertheless, I think we are meant to believe he is being honest when he talks to Almiria about The Life of Agnika Kaieru. What he says fits his actions elsewhere and there are no on-screen indications he isn't being truthful – at least from his perspective – when he credits Agnika's principles with 'saving him'.

McGillis states Agnika wanted a world where “humans could live as humans”; that is, where humans of all backgrounds could compete fairly to achieve their dreams. To a child of low-birth, abused behind closed doors, this is an enticing prospect. McGillis goes on to entice Almiria in turn with the promise of 'loving whomever you wish' and of neither of them being mocked for the age imbalance between them. He concludes the scene by saying it is time to “pry open the door to that world with my own two hands.”

A few episodes later, in an internal monologue, he refers to Agnika as the “greatest symbol of power the world had ever seen. Authority, vigour, might, capability, vitality, influence, as well as brute force.” Inspired by this man's life story, he is determined to usurp rule over Gjallarhorn and finally address the want of power that had defined his own life since birth.

Like everything to do with Agnika, what this tells us about his principles is somewhat vague. Quite literally the child-friendly version (sort of; McGillis openly tells Almiria he contemplated suicide prior to reading the book and is likely a poor judge of age-appropriateness). Still, the philosophy described combines individualism with egalitarianism. The stated goal is a level playing field, free of artificial advantages like wealth or social status, where everyone can pursue their dreams as far as they are each able. This is implied to be a natural state for humanity, such that achieving it would be a form of reclamation. Further, the kinds of power McGillis lists are personal – physical strength, intelligence, charisma – and he works obsessively to cultivate them. We don't get confirmation that self-improvement is another of Agnika's ideals, but it would fit from what is presented.

If you are anything like me, your brain will have turned to all sorts of weird capitalism fans and their buzzwords for justifying frantic competition between people at every level of society. Phrases like 'personal responsibility', 'rugged individualism', and 'rational self-interest', possibly with a side-helping of – gods help us – libertarianism. You may also be asking, if this is what Gjallarhorn's founder espoused, how did it end up enforcing disparities between different populations, oppressing workers and maintaining social hierarchies, at large and within its own walls?

To which I might reply, have you looked at what all those weird capitalism fans get up to, recently? This is an unsatisfying answer, though, and to properly examine how Agnika's legacy intersects with the dreaded c-word, we need to take a couple of side-steps, starting with why it should be a natural connection to make within the context of this show.

A digression into narratives about capitalism

Iron-Blooded Orphans is one of the few entries in the franchise to directly engage with capitalism as a major source of global problems. That probably sounds a little strange if you're aware of the the reputation Gundam has as a whole, so let me explain.

[Also, let me remind everyone the definition of capitalism is “an economic system based on the private ownership of the means of production and their operation for profit.” (Wikipedia; emphasis mine). It's worth being exact.]

When the concept of space colonies is introduced in 1979's Mobile Suit Gundam, they are framed as a response to global overpopulation and the consequent ecological decline of the Earth (pause to appreciate the massive fuck-off dog-whistle; we'll come back to that in a second). The war the show depicts is presented as a matter of sovereignty, whereby those offloaded into orbit rise up against rule by an indifferent terrestrial government. The colonies themselves are cities built within artificially landscaped environments inside O'Neil cylinders. They do not appear to serve any commercial purpose in and of themselves; when we see labour happening in space, it is in service to the colonies, rather than something they are for (the Zeon miners in sequel series ZZ; there is also the fuel-collecting Jupiter Fleet but they are a very odd entity and not fleshed out).

Contrast this to IBO where Mars' utility as a source of 'half-metal' is of paramount importance to its political and economic position, and the space colonies are explicitly shown to be factory complexes, company towns, resorts, and prisons. The middle arc of Season 1 is focused on a workers' revolt against the corporation running a particular group of colonies, the Dorts, while the impetus behind spin-off game Urdr Hunt is the lead character's desire to transform his home's fortunes by making it a popular tourist destination. There are also mentions of 'resource satellites' and glimpses of what appear to be colonies built to mine asteroids. And true, it isn't stated whether all the colonies originate as extractive operations and production centres. But those purposes are depicted the reason they are maintained to the present day, removing such dirty businesses far above the 'precious', 'unsullied' Earth (cue 'The Lightship', played with maximum irony).

[Side-note: the Dort Company runs its colonies as a 'public enterprise on behalf of the African Union', implying state ownership. However there are multiple references to 'rich factory owners from Earth', suggesting private control. Best I can figure, the colonies are state-owned while the production facilities inside them belong to private companies? Since everyone appears to work for Dort (every worker we see wears the same green jacket), I'm not certain how that functions. Perhaps the workforce is leased to private factories via the Company? That would be fittingly grim.]

Now to be clear, I am not claiming Gundam as a whole doesn't tackle problems caused or exacerbated by capitalism. The introduction of Anaheim Electronics into the original Gundam timeline marks clear interest in exploring the influence of corporate entities on warfare. We may also – from the outside – interrogate overpopulation concerns as deflecting blame from capital's destructive activities, going hand-in-hand with racism over migration, and obfuscating who exactly gets sent to 'colonise the unknown' (spoilers: it's the poor and vulnerable). I'm unconvinced the original run from Mobile Suit Gundam to Char's Counterattack is intended as commentary in this manner; equally, I don't think it's hard to get there (as Gundam Unicorn somewhat demonstrates).

What I'm trying to articulate is a distinction between 'being about a problem' and 'naming capitalism as the cause'. Most Gundam series tend to depict capital as part of an amorphous blob of 'Earth-sphere corruption' or 'greedy elites'. Even Anaheim acts as a third party in the Earth/space conflict, taking advantage of the war rather than shaping the fault-lines along which it occurs. Additionally, actual money very rarely tends to be a factor in the plot. Groups like Celestial Being from Gundam 00 appear to possess near-infinite budget; Gundam Wing's itinerant teenage terrorists have only erratic and arbitrary issues obtaining supplies (where are you getting the damn ammo, Trowa?!); and even in The Witch From Mercury, where you'd really expect expenditure to matter, it… doesn't. G-Witch toys with access to funds and the requirement to be profitable early on, but overall is more a courtly drama in business drag, unconcerned with why corporations work the way they do. Issues such as the exploitation of vulnerable populations for the sake of driving down costs are gestured to without becoming strictly plot-relevant.

Meanwhile over in IBO, the poverty of the Martian characters is an ever-present threat and come the denouement, whether they have any money left is of paramount importance. The show tells us bullets have a price-tag, using this to drive actions inside a world run for the sake of profit. It is mentioned that productivity in the African Union's colonies is expected to drop following the Dort labourers wining better working conditions, a boon to the competing economic blocs that leads to one of them sheltering Tekkadan in gratitude for helping bring this change about. The reason co-main character Orga Itsuka does not survive episode 48 is because arms-dealer Nobliss Gordon thinks it will be financially advantageous to have him killed. That fellow businessman McMurdo Barriston extends limited aid to Tekkadan after publicly cutting them loose for the sake of the Teiwaz conglomerate's reputation and revenue is highly relevant to his characterisation. And Teiwaz itself is run like a mafia, a riff on yakuza practices that erases the line between big business and organised crime – a hell of claim to make in a story where another of the leads' entire goal is uplifting Mars by playing the economic system.

Now, in my reading the major theme running through Iron-Blooded Orphans is exploitation. An acute depiction of how capitalist societies operate – the amorality of the profit motive, the colonial underpinnings, the sheer, monstrous cost – is a subset of this. I don't feel it's any surprise that an attempt to realistically depict child soldiers and other exploited groups should lead to a detailed rendering of the gears in which the world is currently caught. Equally, I don't think it fair to reduce IBO to being about capitalism, full-stop. Patriarchy, slavery and repressive class structures all have older roots and there is an argument to be made that where it touches those things, the show cares less about them as artefacts of modern economic arrangements than as evils in their own right.

It still manages to say stuff about the functioning of capitalism with more bluntness than most pieces of fiction I've encountered and, speaking as an Englishman, the thing that strikes me most is the decision to make the lynchpin of its world an aristocratically-led military force.

A further digression into aristocratic fables

Aristocracy means 'government by a hereditary elite'. It is sustained via wealth passed down through generations of a small group of families and was one of the key mechanisms by which the feudal system operated, prior to the slow capitalist revolution of the 16th to 18th Centuries. It is often treated as obsolete, having been superseded by more modern forms of 'being rich'. Certainly it seems quaint in these days of tech billionaires and oligarchs to talk of descendents of feudal lords who prize family trees traced back to William the Conqueror.

What you have to understand about the United Kingdom of Great Britain and Northern Ireland (official name used with illustrative intent) is that this country never properly rid itself of its aristocracy. We are a monarchy. Our parliament includes a House of Lords. And while these are both vestiges of earlier systems, they are neither of them ceremonial. The Lords and the Crown possess actual power that can affect decisions made by the House of Commons, our democratically-elected governing body. The Lords (who are not elected and include those appointed for life alongside ninety-two hereditary positions [this was a compromise]) can review and send back certain types of bills passed in the Commons, delaying their introduction into law. Meanwhile the Crown technically still holds an absolute veto at the end of the legislative process, which only by convention do they not use (royal assent is required for any bill to become law; apparently the last time it was withheld was 1708, but the threat remains and the Crown continues to interfere in proposals affecting their interests).

As you might expect, there have been murmurings for years about replacing the Lords with elected officials and we all like to pretend the King just exists for show. Regardless, these institutions – hundreds of years old and holdovers from a completely different social and economic order – persist because the aristocracy remains a useful tool of the modern British state. The Royal Family can be said to be its advertising wing, not in the sense of attracting tourism but of going around shoring up foreign relations, to help keep Britain the fifth richest country in the world. These diplomatic efforts are a key reason why they are worth the maintenance costs (and the noxious scandals). However it goes deeper than that.

Kings and queens don't make sense without the idea of hereditary superiority, and even with its overt political power reduced by changing times, the British aristocracy continues to shape our upper classes. We have an entire parallel school system preparing the children of the wealthy for life running the country. Our public schools (fee-paying schools open to all who can afford them; we call the free ones 'state schools') have been educating the sons of the 'best families' for centuries. They were the source of the officers and administrators who maintained the British Empire and they continue to be where a massive proportion of our diplomats, politicians, journalists, civil servants, and military leadership receive their education.

This system, funnelling kids through schools like Eaton and Harrow to Oxford and Cambridge Universities, is a factory for class solidarity. It allows students to network and, just as importantly, instils in them the signifiers of being 'the proper kind of person'. Ways of speaking. Ways of dressing. An awareness of who they should defer to and who they can look down on, so that they can be recognised by other alumni as 'correct'. Trustworthy. Reliable.

Above all, it reinforces the notion they have both a right and a responsibility to lead.

Because that's the heart of the lie nobility tells: 'there is something about us that means we must rule over them.' If Britain no longer entirely subscribes to this quality being inborn, it can at least be taught to those of the right stock, bringing them a little closer to the true aristocracy. They can elevate themselves above the plebs, as diligent servants of the Crown, who remains the untouchable pinnacle of quality. [Translation note: 'the Crown' refers to both the reigning monarch and the state. They are functionally the same thing. That's what being a monarchy means.]

Thus, the Empire was able to send its younger, weirder sons out to plunder far-off lands, and produced many an honourable sort to lead thousands against machine guns in Europe, and, in a post-imperial age, Britain can still present an impeccably polite face to the world, to negotiate better deals. Diminished as it is, the aristocracy's shambling husk continues on, manufacturing not the capitalists per se (although the successors to the original land-lords are hardly above enriching themselves and plenty of our lifetime peers are people who've run successful businesses), but the supporting apparatus for capitalist operations. The grease on the wheels and a permanent roadblock along the road to meaningful social change.

You literally cannot have equality if there's a guy at the top who gets a stupid hat and ungodly amounts of influence just for who his parents were.

The wrong story, at the right time

It isn't hard to imagine about how it happened.

Gjallarhorn is the only significant military force left standing after a quarter of a solar-system-spanning human race has been exterminated. Faced with the task of reconstructing civilisation, it splits the world into four blocs for easier administration, abolishing the old national borders. At those blocs' request, it then applies the same reorganisation to Mars and Jupiter, the better to funnel resources towards restoring the Earth. Throughout, it maintains the position of a neutral arbiter; Gjallarhorn was formed to stop the War; now it must ensure there will never be another.

To this end, the tools that allowed it to triumph – the Alaya-Vijnana augmentation technology and the Gundam frames that meant flesh and blood could out-compete tireless machinery – are buried. Victory is instead attributed to the resilience of pure, unadulterated humanity. The pilots slew the monsters not thanks to their equipment but their innate ability. The greatest among them are heralded as champions and natural leaders.

It is a small step to decreeing that their children will inherit their positions. Innate qualities can be passed down and heirs, raised in the image of their parents. Maybe this is an extension of those traditions from which sprang duellists bearing red flags. Maybe it is merely a result of the new-born legends. What matters is, Gjallarhorn endures, guided by its seven stars.

Over the following centuries, the system embeds. The ethos of human purity takes hold, measured by distance from the homeworld. Unfortunates born to space or on distant, dusty worlds posses utility for digging up half-metal or labouring in orbital factories but have no place inside Earth's atmosphere. They would make the place untidy, now the scars of the War are scrubbed away. Those who seek to upset this situation are dissuaded. Those subjected to augmentation, dismissed as subhuman. The peace is kept.

Sadly, new generations of the ennobled families lack the moral fibre of their forebears, accepting bribes, pushing the boundaries of Gjallarhorn's neutrality. There are rules and those tasked with enforcing the rules and yet still the rot spreads. These younger generations lack the moral fibre of their vaunted forebears. A sad decline.

Or perhaps that is bullshit and they are exactly the same: people come into power, who will justify anything for the sake of never giving it up and ensuring that all things flow towards the centre.

Gjallarhorn is the armed wing of the Earth super-state, operating for the benefit of the whole despite competition between the individual blocs. That is to say, it is the army of a capitalist state writ large, in the usual manner of sci-fi magnifying things across time and space. Broadly, a state's purpose under capitalism is to facilitate the smooth running of private enterprise by maintaining infrastructure, providing a workforce, and destroying anything that gets in the way of expansion. Tradition, upper-class solidarity and ideological frameworks all help hold the arrangement together. It is useful, after all, to train people to believe they're supporting a grand cause when they are in fact facilitating exploitation and theft for the benefit of someone else.

And it is here we must turn our attention back to The Life of Agnika Kaieru. Above, I glibly compared the things McGillis says Agnika stood for to capitalistic propaganda. What I mean is that it reads as the ideology surrounding free-market capitalism, where companies are released from all restraint and allowed to compete irrespective of consequence. This is often said to fuel innovation and create a healthy market that will – somehow – benefit everyone, despite observably driving owners to increase profits at the expense of large numbers of people, including their customers.

In that context, claiming you want to ensure everyone competes 'fairly' is disingenuous, since it entails the removal of both limitations and safety nets. No artificial advantages and reliance solely on personal strengths means those who are old, disabled, or otherwise lacking Agnika's stated virtues will automatically be left behind. This is not hypothetical; I see it around me everyday, as a result of policies predicated on exactly this basis, just as we see it represented in IBO by a wide-scale absence of social support and characters too vulnerable to survive a free-for-all (Atra, Builth, the Turbines, in flashback). But the ideological statement elides such problems.

Given the title of the biography, I assume it dates from after Agnika died. Any impression derived from it must therefore be suspected of being what Gjallarhorn required him to have believed. Historically, both aristocracy and capitalism alike have benefited from this kind of distortion, so it would be no great surprise if the book turned out to be more PR than honest report. While Agnika's principles are incompatible with the hereditary advantages enjoyed by the Seven Stars, there are ways to read them as being aligned with the wider social and economic arrangements. As such, it is entirely plausible the way he is remembered was designed to support those arrangements.

The right story, at the wrong time

The rhetoric of McGillis' attempted coup centres Gjallarhorn's failure to adhere to its original values, citing unwarranted attacks against civilians and inference in Earth politics. The Seven Stars must be replaced with sincere believers to correct a drift away from what Agnika intended. McGillis outright proclaims his 'revolutionaries' have the truth of Gjallarhorn on their side.

Even if this is a calculated stance designed to rile younger officers into being the army he requires, McGillis' internal monologues reveal a commitment to the ideal of the individual seizing their dreams through sheer personal strength. He seeks not only to prove this is possible, but also to inspire those who cower because “they don't know how to use their fangs” into following his example. From what we see, he has taken Agnika's words – as they were relayed to him – as gospel.

Is his interpretation correct? And if it is, was it what Agnika believed, or simply what it was useful for him to say? McGillis is manipulative, spinning tales to make others do what he wants. Was his idol the same, pre-empting biographical distortions by espousing a finely-tuned message that would reassure the masses while he built a system geared toward curtailing the power of all but a few?

Trick question. There's no answer in the text. As I said, Agnika isn't a character; what he really intended is irrelevant and therefore not present. Yet a distinction must be drawn between what is said publicly and what is said behind the scenes. This is a layering IBO captures via Rustal Elion, McGillis' rival for control of Gjallarhorn, who out-manoeuvres and defeats him. Rustal is a pragmatist unencumbered by quasi-mystic belief in Agnika or some 'true purpose' to Gjallarhorn. He does whatever it takes to best McGillis, casually breaking centuries-old weaponry restrictions and even provoking a fresh war to undermine his opponent's plans – all while presenting as a bastion of lawful rule. Privately, he admits to being 'shady', willing to deal with whomsoever furthers his goals (e.g. Nobliss Gordon, who starts violent uprisings to spur sales of his merchandise). It is this capacity for realpolitik that means Rustal comes out on top.

The narrative does gesture at motivations beyond self-interest. When Rustal reforms Gjallarhorn in the wake of the Seven Stars decimation at McGillis' hand, he abolishes the aristocratic council (of which he is also a member) and replaces it with a more democratic form of governance. That he is immediately elected to the role of supreme commander gives us some reason to doubt his sincerity. Offsetting this, he is also shown to be working towards the abolishment of slavery in his society.

Regardless of his exact degree of progressiveness, however, Rustal appears entirely uninterested in changing what Gjallarhorn is for. See, institutions and social structures have specific purposes, which need not be the ones they claim, via statements or appearances. A capitalist business may claim to exist to provide a product or service, but its actual purpose is the generation of profit. The police may claim to be an institution of citizen protection, but their purpose is the enforcement of the law, which can be detrimental to some or all of those selfsame citizens.

Gjallarhorn's purpose is to control the colonial holdings of the Earth and maintain the current division of the world. They administrate the extraction of resources, quash attempts at social change, and crush resistance to exploitative business practices. Moreover, Rustal is certainly well-aware this is what his job entails. It is his fleet that carries out a calculated massacre of the Dort workers' unions when they push for better conditions and he personally orders an orbital strike on defeated child-soldiers as an exercise in image management. His reforms thus smack more than a little of an army or a weapons manufacturer improving its hiring policies: sure, they now employ women and members of minority groups; they still exist to kill people.

For these kinds of entities, purpose is all-important. You can dress them up however you want, so long as their function continues to be carried out. I bet, when I described my country's persisting aristocratic elements, you immediately went, “that sounds like [mechanics of regional upper class and attendant justifications for social division].” Yes. Precisely. We don't have feudal system holdovers at the centre of our society because they're the most efficient or only means of fulfilling those roles. They're simply the ones that make the most sense at this point in our history. A different environment would necessitate a different form, but the function would remain.

[I am glossing over the mutability of function here – the power of the king has reduced greatly via political and economic shifts, so he's no longer performing quite the same role as his ancestors – but hopefully you get what I mean.]

Rustal's reforms are an illustration of purpose superseding form. At the end of the show, the narration informs us trust in Gjallarhorn has been restored, indicating an end to meaningful opposition to what we have seen it do. Similarly, when Rustal states that the organisation's history matters more than its mythology, he is saying it has largely been operating correctly and should continue to do so in the future. The public claims can be altered, the set-dressing reworked. The function remains.

Poor delusions

Like the British state and its equivalents, Gjallarhorn is draped in heroic, mythological imagery. From uniforms to equipment naming conventions, it presents as grand and noble, even possessing heraldry, as if originating in a gathering of brave knights. We, the audience, know that this is a veneer plastered atop the material reality. Scenes of its foundation are comparatively mundane: sober men wearing drab suits, shaping the future with the stroke of a pen. The dress-up played since is pure embellishment.

McGillis, however, takes the imagery seriously.

His plan hinges on 'awakening' Gundam Bael and being 'accepted' as its new pilot, fulfilling an old rule/tradition whereby whoever possesses this particular mobile suit is the undisputed leader of Gjallarhorn. By taking a disgraced Iznario's place among the Seven Stars, augmenting himself with an Alaya-Vijnana system, and capturing the facility containing Bael, McGillis intends to anoint himself the new Agnika. At a stroke, he believes he will gain the loyalty of all Gjallarhorn forces on Earth and thus the military strength necessary to defeat Rustal's Moon-based Arianrhod Fleet.

For reasons I'll detail another time, I don't think his strategy is necessarily ridiculous. But it doesn't work. The other Seven Stars do not automatically bow down to Bael's new pilot, instead adopting a neutral position awaiting the outcome of the impending battle, and there is no mass uprising among the ranks below them. Since Rustal otherwise commands an overwhelming number of troops, this turns the conclusion into a foregone one. The few who do join McGillis' cause are annihilated and he is forced to retreat, eventually dying in a one-man attack on the Arianrhod flagship.

It must be stressed that McGillis isn't stupid. He is a canny political operator who correctly identifies the biggest obstacles to success, and while his analysis of Gjallarhorn's corruption is deployed principally as a rhetorical tool, he's not wrong. The leadership are complicit in a lot of extremely shady activity, including experimentation with Alaya-Vijnana technology, contravening the taboo against augmentation their ancestors propagated. They do act against their publicly-stated values, to the detriment of ordinary people and in the interests of those who benefit from a hideously exploitative system.

His mistake is to treat this as a bug, rather than the feature we might more correctly diagnose it to be. Within The Life of Agnika Kaieru, McGillis believes he has discovered the hidden truth about Gjallarhorn. He imagines by setting Agnika aside, the Seven Stars obfuscated mechanisms to curtail their authority and an ethos more welcoming to people like him. (There is a lot we could discuss about the ways McGillis is immunised against some forms of bigotry by his station, despite his illegitimate status, and how he exploits more disadvantaged soldiers like Ein Dalton and Isurugi Camice for his own ends. It's just, that'd be another two thousand words and I really need to wrap this up.)

Yet if we follow Rustal's advice and heed history, the timeline shown in Season 1 has Gjallarhorn dolling out sections of Mars to the blocs a mere three years after the Calamity War ended. Among the many things we don't know about Agnika is if he survived the War, but whether he did or not, his organisation pretty instantly became a tool of social division and exploitation. The most we may allow is that its original purpose was truly noble. Its actions once the apocalypse had been averted speak for themselves.

This has been long walk, I suppose, for the fairly succinct summary of McGillis as a character who rejects private truth in favour of embracing a public, propagandising lie. I am compelled by the idea even so. Capitalism is far from the only system to have claimed universal virtue while benefitting merely a select few, but it has gone uniquely hard on the idea 'you can make it too'. Given IBO's uncluttered depictions of a world run for profit (with the complicity of ostensibly non-capitalistic institutions), taking a cynical read on Agnika's supposed ideology is trivial. Human triumphalism and Gjallarhorn conceptualised as the arbiter of fair competition dovetail into the show's unjust present in a manner too neat to discount. More than anything else, the choice McGillis makes is a common one in real life.

Sometimes, that's a positive thing, pushing people to insist on making promises come true to the detriment of the swindler proffering them. Others, it is a source of profound disorientation, leading in very dark directions as blame for the dissonance is attributed to anything but the root cause.

[This seems is as good a juncture as any to remark that McGillis is not a proponent of anything we can easily label fascistic. He focuses on individual freedom irrespective of national identity; he is attacking people genuinely perpetuating his world's ills; and he definitely doesn't bother courting a disaffected public by playing to middle-class anxieties. He doesn't need to. His plan is to enact a coup from high up inside a military hierarchy, while promising to lessen the force exerted against society. Though there are links to be traced between his ideology and fascist rhetoric, it isn't the avenue his circumstances compel him to go down.]

[I am 100% certain he would've gone in that direction if they had, but that's a counterfactual, not what the show actually presents.]

How McGillis got to where he did is another of IBO's many examples of adaptations to extremis that look utterly bonkers when seen at a remove. An outsider, thrust into the realm of a vicious upper class, he accurately declared the whole thing a nest of lies and hypocrisy. He could never buy the pretences it sold, to others and to itself. His very existence was damning disproof. Then, at his lowest ebb, he found a story about what it should be and that – that he bought, hook, line and sinker.

Already primed to consider power the be-all and end-all of life, he took Agnika's story as a guide to gaining the upper-hand, going so far as to tell Rustal (then a young adult) that the only thing he now desired was Bael. Though it seems he lapsed into a wait-and-see approach between prepubescence and his mid-twenties, witnessing children from Mars fighting using Gundams makes him believe destiny is taking a hand in events and the time has come to act. He betrays Carta and Gaelio, his two closest friends, both heirs to other Seven Star families, for the sake of clearing his path forwards. These were the first people to treat him like a normal child and he admits with his dying breath that he reciprocated their affection. This was part of why he killed/attempted to kill them: in their company, he started losing the will to pursue his dream, put off guard by finally having something positive in his life. So he chose to violently reject them, unable to give up on what he'd started.

That could easily be McGillis' epitaph. He is characterised by an overwhelming commitment to seeing through his power-grab, even if it means fighting an entire fleet to go personally kill Rustal. This is very far from a sane response and we might say likewise about everything he does prior. From his gleeful divinations at the sight of ancient relics, to his rapturous exultation on activating a machine he knows just required the appropriate brain/computer interface, the personality lurking beneath his habitually polite mask is little short of unhinged.

Which is of a piece with a group of teenage orphans clinging tight to the idea a good life lies just beyond the next battle, having internalised that proving their strength is the only way to survive. McGillis has to think taking on Agnika's mantle will bring him what he wishes, because otherwise his actions have been for nought, nothing can be changed, and the misery he endured is inescapable. It's the same self-reinforcing spiral, turned up to eleven.

(Re)imagining the world

In the final outcome, Iron-Blooded Orphans refutes McGillis' individualism, albeit not without caveat. Destabilising the Seven Stars creates space for incremental change and self-interestedly assisting independence activists lays the groundwork for Mars' eventual freedom from Earth. McGillis does create a “storm in this stagnant world,” with lasting consequences regardless of how swiftly it subsides. Nonetheless, his death is a futile one compared to the other causalities during the finale, who all manage to make their last acts count for something. Where Tekkadan share a mutually-supporting community – they are a 'pack of wolves' – he stands alone and saves nothing of what mattered to him.

As I said above, I don't want to treat IBO as a story solely and absolutely about capitalism. In a similar vein, I'm not trying to position an interpretation of Agnika as a vector for capitalist propaganda as the intended one. There are multiple moving parts here, spinning out from that serious consideration of child-soldiers as more than just a trope in fiction aimed at teenagers. My read on those parts is contextualised by my cultural background (I do now want to look into how Japan's own aristocracy mutated with their forced induction into global capitalism).

At the same time, McGillis indisputably misapprehends how a structure within a capitalist environment works because he wants to believe a version of what says about itself. And The Life of Agnika Kaieru is an artefact of that environment. Even without knowing more about its authorship, publication or veracity, and setting aside what McGillis brings to the table (his desire for power was set years before he'd heard of Agnika), the fact he finds it in Iznario's library speaks volumes. Biographies are not neutral objects. As alluded to above, the act of public remembrance shapes culture and hence society. I think it both reasonable and interesting to look at McGillis' arc with the assumption the book is ultimately commensurate with everything he was reacting against.

What would have happened had McGillis won is another moot question when the narrative hinges specifically on his failure. But a land of competition, overseen by the supreme authority of Gjallarhorn, where the only moral law derives from the dreams of the strong?

Perhaps the most damning thing to be said of McGillis' principles – of Agnika's principles – is that they would produce a world functionally identical to the one we started with.

———

Postscript:

For the sake of absolute clarity, I do not believe whether a story is about capitalism or not has any bearing on its quality. My discussion of the other Gundam shows is intended purely to highlight what I see as a fundamental difference between what they are doing and what IBO is. I don't think it is a problem that G-Witch is a personal/courtly drama, or that Wing is focused on fighting in a more philosophical than material sense, or that the franchise has overall tended towards addressing conflict per se, without any serious interrogation from an economic angle.

Stories can only fail at what they attempt, not at what they don't.

I nevertheless stand by what I said. A piece of fiction concerned merely with some generalised notion of 'human greed' is not about capitalism in any meaningful sense, and I fear that's where most Gundam shows land, one way or another, when they touch on corporate interests.

[Index of other writing]

[thrushandson]

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[tailschannel]

SEGA Japan's division manager wants Sonic, with respect, to rival Mario's popularity in games and media

In an interview published by SEGA of Japan, 2nd Division manager Osamu Ohashi spoke about the state of the Sonic the Hedgehog series and its goals to expand the prominence of the brand, following successes with Frontiers, the two motion pictures from Paramount, the in-person activations around the world, and more.

In a reply to a question about Sonic's popularity, particularly against Mario, the manager acknowledged the latter's major presence, and expressed a desire for the blue blur to respectfully challenge the media rollout of Nintendo's flagship mascot.

"Simply put, I want to surpass Mario. Sonic was originally developed to compete with Mario, and it hasn't succeeded to this day. Because we respect Mario, our goal is to catch up and surpass him."

"We want Sonic to be played all over the world, including Japan, just like Mario, and we want the movie to be a bigger hit than Mario. That's our goal as Sonic lovers."

Sonic the Hedgehog is SEGA's strongest franchise, with a global cumulative rollout of 1.6 billion unit sales and downloads. Despite renewed interest from recent video game and movie successes, it is common belief that the franchise's popularity is concentrated in specific locales, like the United States and the United Kingdom. Sonic's relative unpopularity in eastern Asia, especially in the publisher's home turf of Japan, was a topic acknowledged in the past.

The manager's interview echoed SEGA's goal to take the Sonic franchise to new heights; by doubling down on movies, merch, games and animations, and improving Sonic's recognition in regions like eastern Asia and Latin America. The publisher hopes to set an example for other SEGA and Atlus properties to follow, like Like a Dragon and Persona.

(story contributed by Spectre and Scarlett for the Tails' Channel newsfeed.)

[romancemedia]

Aladdin and Tangled

These days I have been watching nothing but Aladdin and Tangled, my two all time favourite Disney series/franchises, the best of which Disney has ever created and they have forever remained a special place in my heart. Anyway, I thought I try and point out the similarity/differences they share together just for the fun.

Aladdin and Flynn/Eugene are both thieves who fell in love with a Disney Princess: Jasmine and Rapunzel. When they first met the girls, neither knew at the time they were the Princesses of their Kingdoms. Aladdin found out soon at the start of the movie while Eugene found out off-screen at the end.

Aladdin and Eugene met their long lost fathers later in the franchise. Aladdin met his father, Cassim in the final movie, The King of Thieves while Eugene met his father, King Edmund in the second season finale of the TV series. Both their mothers are also deceased with Aladdin's mother dying in his childhood while Eugene's mother died in his infancy.

Aladdin and Eugene were originally the only 2 Disney Princes who became royalty through marriage until it was later discovered Eugene is the long-lost Prince of the Dark Kingdom in the TV series. This revelation leaves Aladdin as the only Disney Prince to become royalty through marriage while Eugene is royalty by both birth and marriage.

Rapunzel and Jasmine long for freedom. They were both trapped in the confides of their homes and longed to see the outside world until they eventually decided to sneak out, changing both their lives forever.

Aladdin and Eugene had different relationships with their future in-laws. Aladdin and the Sultan got along right from the start and remained on good terms throughout the franchise while Eugene was intimidated by King Frederic until they gradually built a relationship over the course of the show.

Aladdin and Eugene had a rivalry with the Royal Guards, specifically Razoul and the Captain in their movies, but gradually improve during the TV shows.

Jasmine was originally the Disney Princess who had the longest hair until Rapunzel was introduced.

Jafar and Mother Gothel, the main antagonists are killed at different times. Jafar dies in the sequel movie, The Return of Jafar while Gothel dies at the end of Tangled.

Aladdin and Tangled each had 3 movies and a TV show.

Agrabah and Corona are each one of the Seven Kingdoms and Deserts in their franchises.

Both franchises have a movie that focused on the weddings between the main Disney couples, but with the difference being Rapunzel and Eugene's wedding was a short film while Aladdin and Jasmine's wedding was a full length movie that also served as the finale to the franchise.

Aladdin and Tangled's timeline within their TV series each took place over the course of 3 years.

TV Series

Aladdin and Tangled's series each ran for 3 seasons, but with a few differences...

Aladdin had the most episodes and a crossover with Hercules.

Tangled included musical songs and sequences while Aladdin did not.

Rapunzel and Eugene are dating and attempt to get engaged at various points while Aladdin and Jasmine are officially engaged, but are waiting until they are ready to get married.

Aladdin continues living in his hovel until his marriage to Jasmine while Eugene lives alongside Rapunzel in Corona Castle.

Tangled made several hour long specials while Aladdin only ever did a single two-part special episode.

Both Rapunzel and Jasmine had an episode where they suffered from amnesia, but with MAJOR differences; Jasmine believed she was the daughter of Abis Mal while Rapunzel experienced life outside the tower again. The main themes of their respective episodes focused on Jasmine's romance with Aladdin and Rapunzel's friendship with Cassandra.

Both had a time travel episode; Aladdin's group traveled back to the founding of Agrabah while Rapunzel traveled back to Eugene and Lance's teenage years.

Episodes

Both had a beach episode, involving a mermaid and romance. (For more info, I made a separate post)

Rapunzel and Jasmine crashed a wedding to stop Aladdin and Eugene from marrying their love rivals.

Both Rapunzel and Jasmine were forced to work together with their love rivals; Sadira and Stalyan and the end result; the girls reformed and gave up their romantic pursuit of Aladdin and Eugene.

Aladdin and Rapunzel's groups fell under the affects of a device/potion that made them the opposite of their personalities.

Eugene and Aladdin went on an adventure with their future fathers-in-law.

Both had an episode revealing how Rapunzel and Aladdin first met their animal sidekicks/best friends, Pascal and Abu.

[talk-danmei-to-me]

(hello @nanyangjj here) care to write a little something set in modern au/college students ximang? 🤭

Always <3

How's about a little implied family drama on this fine Friday night:

‘Thanks for doing this,’ Mo Xi said, awkwardly opening the door for Murong Mengze.

She smiled back at him, obviously pleased by the gesture. Together, they walked into the function room to be greeted by the other billionaires. The whole scenario made Mo Xi feel unwell. He hated the false hope he gave her, but despite racking his brains for the better part of the morning, he’d failed to come up with a better solution. Whatever his mother demanded, Mo Xi provided. Especially now, when he was dependent on her to pay the rent of his one bedroomed apartment. If he lost that, he would have no where to meet with Gu Mang. It wasn’t like he could visit him in his dorm at leisure. And so, he asked Murong Mengze to be his date.

Scanning the function room, Mo Xi recognised the old money faces amongst company executives. His mother really had outdone herself this time. As a student, he failed to see what he brought to the table, apart from proving that it was absolutely fine the woman who gave birth to him married his uncle a month after his father died. Grief did strange things to people after all. He saw his mother chatting animatedly with the head of the Murong family and hoped she wasn’t trying to arrange their marriage. Though no one could say she didn’t fit in. Dressed in a red silk dress with her hair pinned up so neatly, she was practically in camouflage amongst the other wives. Her make up was subtle and her demeanour demure. Murong Mengze would never offend anyone. She would smile in all the right places and delight everyone around them with proper tales. For many men in Mo Xi’s position, she was perfect. If anything, that made Mo Xi want her even less.

He needed a drink, something to take the edge off the stifling atmosphere. He noticed a waiter with a tray of champagne and subtly moved away whilst Murong Mengze was deep in conversation with the wife of a CEO for a franchise of karaoke bars. As he moved towards the drinks, Mo Xi glanced at his watch and tried to figure out if Gu Mang would still be awake once he was finally free. It would be too late for him to visit, but at least they could speak. He wanted to hear his voice. Lost in thought, Mo Xi picked up the nearest glass of champagne and proceeded to down it.

He almost choked when the waiter beside him spoke.

‘She’s very pretty,’ Gu Mang said, eyes fixed on Murong Mengze.

Mo Xi’s voice was hoarse from coughing and his face and eyes red as he forced out his response, ‘I hadn’t noticed.’

‘Bullshit,’ Gu Mang smiled and handed him another glass of champagne, ‘You should marry her.’

‘Fuck off,’ Mo Xi said. As he sipped the drink Gu Mang offered, he scanned the room to make sure nobody noticed the scene he’d caused and more importantly the fact that the son of the host was currently engaged in a conversation with the staff. Seeing Gu Mang had improved his mood immensely.

‘I was going to call you when I got home.’

Gu Mang hummed beside him, ‘How come you didn’t invite me?’

His words cut at Mo Xi like a knife. It hurt that he couldn’t invite Gu Mang, but what would he say? That they were classmates? That he wanted to show the scholarship student how the other half live? That they were working on a project together that required Gu Mang to remain beside Mo Xi for all the public events he was required to attend. At times, Gu Mang resembled an untamed beast, if the mood took him, there was no accounting for the carnage he could cause, it was part of the reason Mo Xi loved him so much.

‘Relax, Princ-’ Gu Mang cut himself off. Now it was his turn to be embarrassed. He cleared his throat and looked down at the floor, tapping his foot against pristine floor tiles before he finished his thought, ‘I was joking.’

‘What time is your break?’ Mo Xi asked, suddenly feeling the ice-cold gaze of his mother upon him. He glanced in her direction and she gestured for him to join her. Immediately.

Gu Mang answered, blissfully unaware, ‘Half 10. No one needs serving when they’re supposed to be listening to speeches. Although, I only get fifteen minutes, I doubt anyone’s going to have wrapped things up by then, why?’

‘Meet me in the bathroom, the one next to the kitchen.’ Mo Xi helped himself to another glass of champagne, ‘I better go and show my face to my mother.’  

Mo Xi proceeded to fixate on his watch for the rest of the evening. Unable to concentrate on a single conversation that took place around him. All he craved was the fifteen minutes he was about to spend with Gu Mang. The precious moments that would make tonight’s ordeal worth it. He arrived at the designated bathroom first and hid himself away in one of the cubicles. The proximity of the bathroom to the kitchen ensured privacy. Nobody wanted to go home smelling like friend beef and onions after all. Plus, it enabled them to spend Gu Mang’s full fifteen minute break together. The door opened and Mo Xi instantly recognised Gu Mang’s footsteps. He swung the cubicle door open and pulled the other man inside. Mo Xi sat on the toilet seat and Gu Mang straddled his lap.

Wrapping his arms around his shoulders, Gu Mang placed a tentative kiss against Mo Xi’s ear before whispering, ‘Does your girlfriend know how eager you are for this poor boy’s hole?’

Mo Xi turned his head, capturing Gu Mang’s lips in a punishing kiss, designed to silence him. Their kiss echoed around the empty bathroom. If anyone did come in, they would be left with no doubts about the kind of activity taking place behind the closed door, but Mo Xi felt no shame. Instead, he nipped Gu Mang’s bottom lip as he pulled away, ‘I told you, she’s not my girlfriend. Just a friend helping me out a bit.’

Gu Mang rolled his hips against Mo Xi’s rapidly hardening length, ‘And what is this friend doing? Am I also helping you out?’

His teasing tone was enough to drive Mo Xi to madness, he wanted to pin him against the cubicle door and fuck him until those beautiful tears began to spill from his wicked eyes. His hands lazily roved his back, as though they had all the time in the world. Mo Xi rested his head on Gu Mang’s shoulder, eyeing the door that featured in his fantasies as though it taunted him on purpose. He didn’t want to check his watch and find out their fifteen minutes were down to seven or worse, three. Subconsciously, Mo Xi held Gu Mang a little tighter. Realistically, whatever time they had in that tiny cubicle would never be enough to sate either of them. Plus, Gu Mang was working, he couldn’t return to the kitchen a tearful dishevelled wreck stinking of come. Mo Xi would never do anything that might get Gu Mang in trouble with either the University or an employer. He wanted to keep him safe and make him happy.

‘Come home to me tonight?’ Mo Xi planted an open-mouthed kiss against the juncture of Gu Mang’s neck for good measure, though he remained careful not to mark him.

For a moment, Gu Mang’s entire body stiffened, ‘Will you make me breakfast?’

Mo Xi nodded, ‘Whatever you want.’

[mixtapemag]

FEVER VS DREAM IN INDIANAPOLIS, IN.

Photos by Christopher Hall

Aliyah Boston scored a career-high 30 points and grabbed 13 rebounds as Caitlin Clark ran up 26 points with 12 assists to help the Indiana Fever overcome the Atlanta Dream 104-100 in overtime on Sunday. The Dream’s Rhyne Howard's continues her hot streak with a third consecutive game with more than 30 points.

Boston shot 11 of 16 from the field and was a perfect 8 of 8 from the free-throw line while Clark set a franchise-record with her 14th double-double of the season for Indiana. Kelsey Mitchell scored 21 points and Lexie Hull added 12 on 4-of-5 shooting from 3-point range.

The Fever improved to 19-17 for the season - currently sitting at sixth place in the WNBA standings as the playoffs approach. They have a tough two game stretch with the Las Vegas Aces this week at home before finishing the regular season next week in Washington DC.

Previously on Mixtape:

Photos of the Fever vs. Sky in Indianapolis, IN.

Photos of the Fever vs. Mystics in Washington DC.

Christopher Hall posts over here. CC x 3.