#I guess this is what inevitably happens when a series goes 8 seasons past its intended run time

[mishaesque]

Spn season 1: hot guys in sexy car kill monsters

Spn season 13: Satan is driving the rescue bus to the world portal because his son got stuck in the wrong universe

[mia-cooper]

2019 fanfiction in review

I usually put more effort into pimping my favourite fics of the year, boosting a few new writers in my fandoms, etc. This year, however, I have not, for reasons both within and beyond my control. Which is pretty much my excuse for not Doing Better with writing for the past month or so, but hey. At least there’s this.

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1. Best fic(s) you read all year, and why?

How can I even begin to list all the beautiful, shocking, feel-good, feel-terrible-but-in-a-good-way, envy-inducing, page-turning, soul-destroying, fluffy, hilarious, infuriating and horny fics I’ve read this year? I can’t. So I will instead list three that come immediately to mind.

@curator-on-ao3 – The Dismissed Protocol (rated T, VOY, TNG, Janeway & Crusher)

This fic made me angry. So angry that I left a ranty and incoherent comment, slammed down the lid on my laptop and stormed around the house for a bit. Why was I so pissed, you ask? Because this fic hit a good few of my personal triggers around bodily autonomy and the right to make informed choices, and because although the fic ends triumphantly, it’s somewhat of a pyrrhic victory and it left a really bad taste in my mouth. Which, considering this is fiction, is the mark of some really good writing. When it comes to tackling difficult topics with a fresh and thought-provoking perspective, and without opting for the easy answers, Curator never disappoints. This story is just one of many examples of that in her work.

@love-in-the-time-of-kolinahr​ – it will take place without witnesses (rated E, DSC, Pike/Number One)

Okay so let me start by saying it was the author’s fucking EXCELLENT pun of a pseudonym that made me read this in the first place. Then it was the poem they quoted (Discovery by Wislawa Szymborska, which is like a portentous rocket in the guts). Then it was Una’s scales-off-the-eyes, we-are-true-equals, don’t-bullshit-me-lover candidness in the way she sees, talks to, knows Chris Pike. I adore Pike in his laconic-space-cowboy-with-a-heart Disco incarnation, I like him a lot as the CoolDad in AOS, but this fic? This fic gives me smart, forthright, deeply tender Number One, and Pike as the fractured and very human hero I hope like hell we’ll see more of because they are definitely making a Pike series RIGHT? It is written. Anyway… this fic is beautiful and harsh and deft and real and sexy and poetic and at its core it’s about love, and who doesn’t love love?

@captacorn​ – Stars in a Ruined Sky (rated M, VOY, Paris/Torres)

It took me a while to read this one because CaptAcorn was posting it at the same time I was writing my epic, and I had no brain space to maintain a hold on someone else’s dark and compelling plot. But when I picked this one up, I couldn’t put it down. It is AMAZING. A Timeless AU, set in a universe where Voyager crashed and most of the crew survived, this goes where no other 100k+ epic I’ve read before has dared to tread, and it does so without flinching. The details are what make this unforgettable – there’s no magic reset button, so when something bad happens to the crew, there are actual lasting consequences – but it’s the humanity of the characters (if I can use that word to describe a crew that includes aliens) that makes it unputdownable (fuck off, my nana said that’s a word). This is not an AU I want to think happened, but CaptAcorn makes it one that rings true. And I’ll definitely read this again when I have the emotional fortitude for it.

Wow, there’s no Janeway/Chakotay in my top three. What? So here’s a bonus:

Northernexposure’s trilogy – Soft Light, Aftershocks and Resolution (rated E, VOY, Janeway/Chakotay) – three for the price of one! I mean, when northernexposure posts a new fic I race to read it no matter what, but smut! Beautifully written, true to character, sexy sexy smut from one of my all time favourite authors! How could I turn that down?

2. Best fic(s) you published all year, and why?

Mmmyeah to be honest I kinda feel as though my writing peaked in 2017, but here we go.

Desperate Measures (rated E, VOY, Janeway/Chakotay and other pairings) – because there’s angst and smut and the plot is twisty as fuck and I feel like there’s a pretty satisfying payoff. And it’s really long and relies on the reader engaging with my OCs which people seem to have done, which makes me think that if I ever do want to go write another original novel, maybe I won’t want to burn it as soon as I’m done.

This Is The Moment (rated M, DSC, Pike/Tyler) – because these two have exhausting chemistry and I couldn’t not write this but it was hard to make it come out of my brain the way I wanted it. But I’m really happy with it.

And I have a soft spot for First Officer’s Log (rated T, VOY, Chakotay & Tuvok, implied Janeway/Paris), because I just really love Threshold, okay? And while the episode is wack on so many levels there are really dark and heavy themes to explore there which I feel have gone very unexplored and I hope my fic struck that same balance between moral philosophy and holywhatthefuckery.

3. Favourite opening line(s) in a fic you published in 2019:

From Bad Maquis (rated M, VOY, Janeway/Chakotay):

The only thing more restrictive – and bosomy – than this outfit, Kathryn mused as she stared at her reflection, was her holodeck governess costume.



Still, at least she didn’t have to leave her quarters wearing this getup, and thank goodness for small mercies. Because she was on the verge of backing down from this challenge as it was, and Kathryn Janeway did not chicken out. Ever.

I mean, it sets the scene, doesn’t it? Who doesn’t love Janeway in leather.

4. Favourite closing line(s):

This is maybe cheating a little bit because this fic isn’t finished, but this first chapter can stand alone and I won’t be continuing it for some time (first, I have to finish the two prequels, haha). Anyway, these are the closing lines from Inertia (rated T so far, VOY, Janeway/Paris and others):

When the daze clears and Tom looks up to discover that his hovercar is parked in front of an address he’s never visited but has nonetheless memorised, maybe he should feel a little bit surprised.



He doesn’t. No matter how far he tries to go or how long he stays away from her, turning up at Kathryn Janeway’s door is inevitable.

Why do I like it? Well, I have an everlasting appreciation for Janeway/Paris, for one thing. For another, if you read the rest of the story and understand what Tom has just learned, you’ll want to know what happens next. I hope. I sure want to know.

5. The fic that was best received, and your favourite comment(s) on it:

That would be Desperate Measures again. It’s my longest fic by far and I was absolutely bowled over by the response to it, but one of my favourite comments on it is this one:

It actually looks like Janeway is saying gimme and it cracks me up.

Honestly though… the depth and kindness of comments on that fic in particular, the time and thought and effort that people have put into their reviews … it made up for every moment I wanted to chuck it in and never look at that fic again, or any other.

6. The fic you wish had gotten more love:

Honestly, I was surprised there was so little response to my @voyagermirrormarch​ fic trilogy, Heaven in the Shape of Hell. I really thought they’d be crowd pleasers, but it shows what I know, lol. I haven’t even finished the third one because the lack of interest made me wonder if they were just really shite, but I’m not so butthurt about it anymore and I will come back to it someday.

7. How many fandoms you wrote for in 2019, and which inspired you most:

Does Star Trek in all its incarnations count as one fandom? If so, I wrote for two (Trek and Marvel). If all the different versions of Trek count separately, I wrote for seven (MCU, AOS (that’s Trek Alternate Original Series, not Agents of SHIELD), Disco, Mirror, Enterprise, DS9 and Voyager).

Anyway, I guess I’ll never stop being inspired by Voyager, so even if Disco season 3 and the Picard show do nothing for me, I’ll always have that.

8. Your favourite pairing(s) to write for:

I mean, Janeway x Chakotay, for sure. But I’m deeply, deeply invested in Janeway x Paris at the moment.

9. What you’re writing now/next:

I’m struggling through the second part of what was supposed to be my contribution to @25daysofvoyager​. I’m actually going to post the first part once I’m done with this quiz in the hope it’ll kick my ass into gear. I’m also on semi-hiatus from Kinetic Friction, but I’ll be going back to it as soon as I’m done with my 25 Days fic. At some point after Kinetic there’ll be the sequel, and then the rest of Inertia. I’m also contemplating something for Threshold Day, possibly throwing something into @voytalentchallenge​ (don’t count on that one), and I have an idea for a pre-Enterprise D, pre-Voyager meeting between Picard and Janeway (with smut, obvs), plus all the other fics I’m definitely going to write …

And of course there’s my meat raffle. Time to pimp that one again. Donate to AO3 and if I draw your name out of the hat of randomness I’ll write you a fic to your specifications (roughly).

10. Writing goals for 2020 (word count? new fandoms/pairings? anything?):

Look, I’d just really like to actually write to some of the prompts I’ve had sitting in my ridiculously complex filing system without getting sidetracked by the newest shiny thing to catch my eye. In terms of fandoms, I hope I’ll write more for Discovery, I’m looking forward to Picard, and I would like to branch out from Trek a bit. More MCU, definitely, and maybe others if I get inspired. The main thing I want out of writing fanfiction at the moment is for it to continue making me happy, though, so I just hope I keep having fun with it.

[littlepurinsesu]

V Watches MagiReco - Season 1 Review

*Spoilers for Magia Record Anime*

If you’ve been been following my weekly reviews on the Magia Record anime, you’ll know that my “reviews” are really more like general impressions, thoughts, and fangirling as I mentally recap the episode after my initial viewing.

For this final review of the season as a whole, however, I’m actually going to try and make it more like an actual “review" and discuss each aspect of the anime separately. I’ll be splitting my points of discussion into individual sections and giving each a score out of 10, before rounding it all off with an overall score/grade.

Oh, not sure if this needs to be emphasised, but these are just my opinions! You may agree and you may disagree, and either way is cool!  (・ω・)b

Before I begin, I just want to make it clear that one very, very important thing to keep in mind when watching and reviewing MagiReco is the fact that it isn’t a direct continuation of PMMM. So many people find themselves unable to enjoy the series because it’s “not the same” or “not the PMMM they know” etc. But it isn’t and was never intended to be. It’s a spin-off, not a sequel. To expect a spin-off to have the exact same impact and level of quality as the original is unrealistic to begin with, not to mention that although comparisons will be inevitable, the original PMMM anime has reached a legendary status where it isn’t really fair to compare anything with it xD

(And for the PMMM fans who are unhappy with MagiReco simply because it isn’t “dark enough” and there isn’t enough “suffering”, all I can say is that if a lack of darkness and suffering automatically means the show is bad, then this one just isn’t for you. Dark doesn’t equal good, and suffering isn’t essential. MagiReco is not intended to have the same tone as PMMM, and those elements do not entail everything that defined PMMM to begin with anyway.)

For these reasons, I’m going to try my best to review the MagiReco anime as a standalone piece and try not to make too many comparisons with PMMM, unless explicitly necessary. Also, as a game player, the inevitable curse of “expectations” was a major issue I needed to overcome when watching the anime. I will therefore also try my best to look past these expectations and try to see the anime as a story of its own. However, there will be discussions on the changes that the anime made and how I feel the anime did in adapting the game story for a television series.

Anyway, sorry for all the additional rambling. Let’s jump into the review before I lose everyone’s attention ^^;; 

Plot: 8/10

One thing I love about the MagiReco plot is that they take the original world and concepts of PMMM and actually come up with a whole new story. It’s familiar yet different, and a perfect way to please the nostalgic fans while also offering something fresh. The PMMM world always had a lot of potential to explore other girls’ stories, considering how many Magical Girls there are, and it’s nice to meet a whole new cast of characters with their own story that’s still set in the same world and uses the same concepts we’re familiar with.

I think my favourite thing about the MagiReco plot, which is the same both in the game and in the anime, is the idea of the Wings of Magius. Any story that involves Magical Girls somehow trying to undermine or overthrow the Incubators’ system always has a lot of potential, in my opinion, and it’s a creative way to delve even deeper into PMMM’s unique take on the magical girl genre without being repetitive. But the key to what makes the Wings of Magius so compelling and intriguing as antagonists is the moral issues it raises. The grey morality going on with the Wings of Magius is not too different from the issues presented by Kyubey, and these kinds of moral debates get the audience really thinking about what’s right and what’s wrong, what’s good and what’s evil. The Magius are presented as being very similar to the Incubators in many senses--sometimes even worse--and I always love a compelling villain or villain group that actually gets the audience pondering whether the bad guys really are that “wrong" after all. Plus the whole idea of salvation and liberation and the whole cult impression we get from the Wings of Magius really adds another layer of that dark and creepy atmosphere that PMMM does so well.

However, I do strongly feel that many of the important scenes and major plot points were presented much better in the game. As mentioned earlier, having played the game meant I was going in with expectations for how I wanted/hoped/expected certain things to be done, and this is a common issue that adaptations have when there’s an audience familiar with the source material. I’m okay with completely changing parts of the game’s story to create something new, but there were instances where the anime intended to replicate the scene as it was in the game but somehow fell short in its presentation. These cases of inadequate storytelling thus hinder the unfolding of the plot, ultimately creating problems with coherency and pacing. (I mean, if you think about it, the “main plot” doesn’t really even truly begin until all five main characters have been introduced.) I have dedicated a whole section to this pacing issue, so I’ll go into detail when we get there xD

Characterisation: 7/10

The anime’s presentation of the characters ranges from fantastic to extremely lacking. Iroha has moments where she’s extremely passive, but also times where she’s shown to be quite proactive and brave as well. I’m honestly not too sure what to make of Iroha’s characterisation so far due to this big range, but I’m hoping that she’ll show more growth and that her changes will be written in a way that actually makes sense, rather than abrupt shifts that make you question how and when she had it in her. Either way, she’s a lovely sweet girl and a very likable character, and I do like that even if she isn’t necessarily always doing anything or contributing to a fight, the sole reason she’s in Kamihama in the first place (to look for her sister) is a good sign that she knows what she’s doing and has taken the necessary measures to go about her quest.

Yachiyo didn’t seem to display much uniqueness until her past was unveiled, and that wasn’t until we were well into the second half of the first season. In my opinion, this took way too long. I find this to be a slight problem because of how central to the plot Yachiyo is, and while I understand that backstories being revealed later on can have a bigger impact (like Homura’s in Episode 10 of PMMM), the way they portray Yachiyo throughout the majority of the season doesn’t have that constant loose thread hanging. She almost seems too “normal” at times, blending into the cast, and only when certain things happen or when someone says something in particular do you actually remember that we still don’t know what her deal is yet. I guess what I mean is that a more looming sense of “mysteriousness” could have justified the late reveal a lot better. The reveal of her past and her wish were slightly underwhelming, too, seeing as we hardly got to know Kanae and Meru before they were killed off, making it difficult to connect with those characters and thus relate to Yachiyo’s grief at losing them. And as for the revelation of her wish, I’ve ranted enough about it in my review for Episode 13, so you can check that one out if you haven’t already xD

Tsuruno has it even worse than Yachiyo because they literally haven’t revealed or even teased anything about her. All we know is that she works at a Chinese restaurant, was already friends with Yachiyo in the past (this “mystery” was later explained in Yachiyo’s flashbacks), and is super cheerful and energetic. Her backstory is the only one that hasn’t been shown yet, and they never really even hinted at there being something deeper about her character. While I completely understand that they’re intending to leave all that for the Rumour Tsuruno arc (which will most likely be done next season), I feel that they really needed to give us at least something for now. Even in the game, we got a better sense of who Tsuruno was as a person before the Rumour Tsuruno arc revealed her hidden sadness. I guess I can’t really fault the anime for this, since they’re just going in chronological order, but a little more insight into Tsuruno’s character would have been a better decision so that we don’t get another round of “info-dumping” when we do get to Rumour Tsuruno, and the reveal about her inner emotional turmoil would actually be a slight twist that adds even more depth to her character, rather than random information that never seemed important because there were never any signs of it.

But while Yachiyo’s and Tsuruno’s characterisation could have been better, Felicia’s and Sana’s were handled superbly. The anime actually made me adore Felicia as a character when I merely “liked her enough” in the game. She’s so much more than just the spoiled and rowdy child who goes berserk when seeing a Witch, and her introductory episodes (namely Episode 7) actually managed to move me to tears. Her bond with Iroha is also portrayed even more nicely in the anime, and I have a newfound love for the friendship between these two, which is quite underrepresented in the game. Felicia manages to retain all the lovable traits she displayed in the game with just the right amount of brattiness so as to not seem too annoying, and the anime hasn’t even really touched upon the cruel reality behind her wish. Whether or not they venture into that territory at some point, I just hope they continue doing as amazingly as they’ve done with Felicia so far, because she really is super cute and a lot more likable in the anime version <3

As for Sana, she’s more or less the same as her game counterpart, but something about the way the anime unveils her past makes it even more tragic. We’ve always known of her terrible “family” and the unfortunate circumstances of her home life prior to joining Mikazuki Villa. But the episodes that detail her story did a stellar job at bringing out and actually showing the sheer horror of having a family like Sana’s, and just how deep and suffocating her sense of loneliness was. Her story is absolutely miserable, but the anime manages to present it in a way that doesn’t make it seem like they were “trying too hard” just to make it as sad as possible. The things happen for a reason, and the consequences it has on Sana as a character are all realistic and believable, and even a wish as extreme as hers made perfect sense after seeing everything she had to go through.

Other characters don’t seem to have as much of a presence to warrant a paragraph of their own, but I will give honourable mentions to Rena and Tsukuyo. Rena’s Magical Girl Story made me a sobbing mess when I first read it, and while the anime obviously couldn’t sidetrack and include all the details, I think they did a pretty good job considering the limited amount of time they could spend on a supporting character. The anime also did a really nice job at giving Tsukuyo that humanising moment during her conversation with Iroha at the cafe, emphasising the good inside of her despite being an antagonist, and also taking the chance to give her a sense of individuality so that she and her sister are not always seen as an identical and inseparable pair with no personal lives or traits, so props to them for that :) Mitama has hardly made many appearances and doesn’t even seem very story-relevant at this point, so I’m wondering how they’re going to build up her importance in the next season so that she doesn’t seem like the “token shopkeeper character” who’s there for no real purpose outside of gaming mechanics (because we all know that Mitama is so much more than that). And as for characters like Kaede, she’s been changed so much that I’ll reserve my judgment for now because I simply don’t know where they’re intending to take her character. Same goes for Kuroe and her still-unclear purpose in the plot lmao

I think it’s important to remember that a lot of characterisation we get in the game is from Magical Girl Stories and Event Stories, both of which are obviously not viable to delve into too much in the anime. As a result, I guess it’s “to be expected” that the anime will have to give up quite a bit of the details that make all these characters so real, likable, or relatable. I’m not an anime writer, nor do I know anything about adapting games into anime, but I do feel that it would have been so much better if they had come up with some other way of compensating for the lost characterisation moments that are only shown in the game’s side stories. Not sure how else they should have done it, but simply removing some of these vital bits of information does harm the portrayal of these characters, especially when they’re part of the main cast.

But yeah, mixed feelings because while some characters really needed more work in the characterisation department, others were handled amazingly well xD

Pacing: 4/10

Okay, let’s be real. The pacing was almost definitely the anime’s weakest point, and possibly one of the main reasons why someone would find the show hard to enjoy or even understand. I’ve seen people complain that the story is too fast, and I’ve also seen people complain that it moves way too slowly. In my opinion, it really is a combination of both, and I’m honestly quite fascinated at how the anime somehow manages to pull off being both too fast and too slow at the same time xD

The story is almost excruciatingly slow in that it takes a whole ten episodes before the main cast is fully assembled. I thought a bit about this and, to be fair, some classic magical girl shows also take many, many episodes before all the main characters are introduced, such as Sailor Moon taking a whopping 33 episodes before all five Inner Senshi have gathered. So I guess this slow episode-by-episode “collection” of team members really isn’t something new. But MagiReco isn’t really a long-running anime that has filler episodes back-to-back to justify the slow pace of the plot. The plot is moving every week, yet it still feels like it takes forever to get the main cast together, which is slow enough to make the viewer question what they had been sitting through all this time when it’s been ten episodes and the story is really only “actually beginning” now.

And at the same time the plot somehow manages to feel too fast at the same time. How is this even possible? My answer to this is simply the fact that they introduce conflicts and mysteries, only to quickly resolve them and then immediately jump to the next one before the audience has even had a chance to really process or understand what they just watched. We’re not given the time to really absorb the development of the story or the subtle changes the characters are undergoing before we’re immediately thrown into a new mini “arc” the next week. In some ways, it almost seems like the “Monster of the Week” formula that many magical girl series adopt, only instead of being aware that we’re seeing trivial conflicts that are intended to last for one episode with characters we are likely not going to see again, MagiReco is throwing out new ideas, new terms, and new plot-relevant characters almost every episode, vomiting out information in a way that viewers who haven’t played the game will find very difficult to keep up with.

And that brings me to one of the biggest problems I had with the anime: important terms and concepts are often thrown in as a “by the way”. (This is most apparent with anything to do with the Wings of Magius before Episode 10, most notably Alina’s introduction.) Game players will obviously know what they’re talking about, but anime-only viewers are left confused and lost as to what exactly is happening half the time. I’ve seen more than a few instances where a viewer who wasn’t familiar with the game needed extra clarification and explanation before they understood certain things, and honestly that isn’t a good sign. All the important stuff should be made crystal clear so that even anime-only viewers will be able to grasp all the concepts without game players to spell things out for them. The anime should be a standalone piece on its own, not a “supplement" to the game. And the consequence is that anime viewers are constantly raising their eyebrows and wondering what the heck just happened or when the heck something was ever established, because crucial information is thrown around with no emphasis and the fast pace doesn’t allow viewers to digest anything properly. This unclear storytelling wastes the opportunity to present mysteries that are intended to keep the audience invested; rather than continuing the series because you just have to find out what something means or why something is the way it is, you’re left with question marks popping up all around your head because you’re confused af and wondering if you forgot or missed some crucial information at some point.

Another issue I had with the anime was what I’ve decided to dub the “one-shot curse”. Witches and Rumours alike are one-shot-ed so quickly and fights resolved so suddenly that I was often left wondering what the point of that fight was. Not to mention that a lot of the battles lacked real “action”. Witches appear, get one-shot-ed, and the characters return to whatever it was they were doing before as though nothing had happened. So... what was the point? I guess they really wanted to emphasise just how many Witches there are in Kamihama and just how easy it is to come across one everyday? Or maybe it was just for the sake of including an obligatory battle in each episode so there’s at least some action each week? Either way, if you’re going to include Witch battles, you may as well do them properly. For crying out loud, InuCurry, the guy who designs the Witches, is the director of the MagiReco anime! You’d expect a bit more emphasis and flourish to highlight what he’s so good at! But to be fair, there were some good Witch battles, such as the ones in the first episode, the ones in Yachiyo’s flashbacks when Kanae and Meru died, and of course, the epic battle between Holy Mami and Sayaka in the final episode. So they’re not all that bad, but I just feel like there was a lot of wasted potential.

I find that the main problem is a lack of balance between the battles, the exposition, the plot, and the fluffy slice-of-life stuff. All these are crucial to a good anime, and a lot of these moments were done quite nicely as standalone scenes. But the way the MagiReco anime has packaged them together and tied a very unattractive Bad Pacing ribbon on top just doesn’t work. It’s like a giftbox that has some lovely things inside if you look carefully at them one by one, but the way the gift is presented just isn’t very appealing and ruins the goodness of the content inside.

I get that the anime probably has issues with pacing because it’s essentially adapting a mobile game. I’m not sure if the pacing would be better if this weren’t the case and the MagiReco story was scripted for an anime to begin with, but I really, really hope they fix these pacing issues next season.

Visuals and Animation: 8/10

To me, the visuals were nearly always top-notch, and definitely a huge improvement from the original series. They managed to retain the art style of PMMM while also updating it so that it looks a lot more sleek and polished. The characters looked great, the scenery is gorgeous, the labyrinths all unique and intricately designed, and there was a lot of clever visual symbolism going on in the still shots and subtle scene transitions. I’m not an expert on animation or visual arts, but I definitely think this series deserves a very high score for this section.

There were a few instances where we saw some wonky “meguca" shots, but those were rare and nowhere near bad enough to detract from my overall enjoyment of the series. I don’t really have much else to say because, like I said, this really isn’t my forte, but I genuinely loved most of the visuals we got.

Music and Soundtrack: 9/10

I know a lot of us were disappointed when we learned that Yuki Kajiura would not be returning to do the music for MagiReco. And we all knew that whoever they hired would have very, very, very large shoes to fill. And I can definitely say that I was not disappointed at all.

Guys, the music for this series is AMAZING. Takumi Ozawa managed to capture the style that Kajiura used for PMMM in a way that retains the original tone of the franchise without seeming like a mere carbon copy of her work. I don’t think there was a single musical piece in there that didn’t make me feel like, “Ah, this is no doubt a PMMM anime!” And none of them gave me the impression that he was “trying too hard" to “rehash” Kajiura’s style. No, there’s familiarity and there’s originality, and it’s all packed together in a way that allows MagiReco to retain the charm of its predecessor while also standing strong as a work of art by itself.

I only docked one point because there were so many amazing tracks from the game and I don’t really understand why they didn’t use them when there were moments that seemed perfect for those tunes. It would be a nice sense of familiarity for game players, and it’s still considered “new stuff” for anime-only viewers too, so I really don’t get why xD Maybe they really wanted to separate the anime from the game? Which is also fair enough :)

I wasn’t so sure about “Gomakashi” as the OP when I first heard it in the trailer, but it’s definitely grown on me! While I still think “Kakawari” is superior and has a more catchy and iconic sound to it, “Gomakashi” is sweet and girly, very much like the kind of song you’d hear in a magical girl series. I don’t think this is an OP that will be legendary enough that everyone knows the tune (like the theme song for Sailor Moon, for example), but it’s a lovely song and I do like it a lot ^^

“Alicia” was beautiful from the very first time I heard it, and I’ve only grown more and more fond of it with each listen. Definitely one of my favourite EDs of all time, and perhaps my favourite OP/ED song out of the entire PMMM franchise.

And that ED song for the final episode? Gorgeous, too. Almost has a “Magia” kind of sound, and definitely sets a darker tone for the upcoming season where (I assume) sh*t starts getting real.

Overall: 7/10, B+ or A-

Despite my criticism and picking the anime apart in this review, overall I still genuinely enjoyed it a lot :D It’s far from perfect, but I was nowhere near as disappointed as I’ve been in the past with other anime adaptations, and while some parts could definitely have been handled a lot better, it was mostly still decent in my opinion. Get rid of the pacing issues and I’d probably give it a solid 9 (for context, I rate the original PMMM anime a 10/10, perhaps even higher if possible).

Again, I think my experience and knowledge as a game player definitely influenced my view on the anime as an adaptaion. For example, I already love the characters and know enough about them, and so I probably didn’t really feel the consequences caused by the anime’s sometimes lackluster characterisation. I also often have ideas of how I want or hope a part gets adapted, and then get disappointed when it’s done in a different and underwhelming way compared to what I imagined. I’m sure my impressions, comments, and scores would be very different if I were an anime-only viewer and had no idea how things went in the game. But alas, you can’t have both experiences to compare, so it is what it is xD

Anyway, no matter how much I nitpicked, I still love MagiReco a lot, both the game and the anime, and am really looking forward to Season 2! With the obvious changes they made in that last episode, I get the feeling that it’ll only diverge even further as the story unfolds. I’m okay with these new surprises and new takes on characters, but I do hope that they aren’t changing it all completely, because there’s a lot of good stuff in the later chapters that I really hope gets animated, e.g. Kanagi’s entrance, Rumour Tsuruno, Yachiyo vs. Holy Mami, basically everything that happens at Fenthope in Chapter 9, and of course, the big reveal about Ui, Touka, and Nemu’s wishes in the final chapter. Just imagining these things animated already gets me super excited, so hopefully we’ll at least still keep the core of the game’s story despite the changes (and hopefully these changes are all improvements!) ｡^‿^｡ 

~~~

And since the anime is taking a break, my reviews will also be going on a break ╥﹏╥ I’ll probably still pop up in the MagiReco tag every now and then if I can think of something to talk about, though? Depends on what I can come up with xD But yeah, I don’t really post updates about my gameplay here (unless it’s something major like pulling my favourite character lol), so if you’re interested in seeing any of that stuff, you can follow me on Twitter instead, since I’m much more active there nowadays. I’m always happy to discuss things and scream with fellow fans, so whether it’s here or on Twitter, please feel free to approach me anytime if you want someone to fangirl with (๑ゝڡ◕๑)

I’ll be ending this post here! Thank you so much for reading, and please continue to love and support MagiReco while we wait for the second season ღゝ◡╹)ノ♡

[swshadowcouncil]

“Predictable” Is Not A Four-Letter Word

Well, looks like it’s that time again. That’s right: it’s time to talk about our good friend, Subverted Expectations™.(WARNING: Game of Thrones spoilers below the jump)

Hey, who’s super excited for the upcoming Benioff and Weiss Star Wars trilogy now?

I’m alluding, of course, to the latest episode of HBO’s Game of Thrones, in which, after an 8-season-long journey learning to own her own power, master her fate, lead armies, free slaves, and reclaim her family’s place on the Iron Throne, Daenerys Targaryen evidently got just a wee bit too much girl power and decided to become…bad? I guess? Boy, who could have foretold such a stunning subversion of expectations?

(I mean, a woman gaining power, being gradually resented by the men around her for her ascent, and eventually being viewed as a megalomaniacal villainess who needs to be taken down a peg is kind of the opposite of a subversion, it’s actually pretty much what happens to most women in power, fictional, or non-fictional, but I digress)

Fan response, needless to say, has been…mixed. Generally, folks seem to be unhappy with this course of events, given that, aside from some allusions to “Targaryen Madness” throughout the series, the buildup to Dany’s heel turn has been widely seen as rushed and somewhat arbitrary. True, she’s suffered a lot in the past few episodes, but the series has also put quite a lot of effort into making Dany a sympathetic character. Complicated, yes, and flawed, as most GoT protagonists are, but still heroic and generally good. Even as a conqueror, she holds her armies to a code of conduct, shows sympathy to the downtrodden, and overall seems to want to be a good, ethical ruler even after she’s taken the Iron Throne. So, uh….what gives?

Those of us who were Star Wars fans during the release and aftermath of The Last Jedi will recognize this feeling all too well. And, much like with TLJ, the backlash itself spawned a backlash. “Actually,” declared the internet masses, “It’s good that Rian Johnson subverted our expectations. To follow through on what Abrams set up would have been obvious and boring. The whole point of storytelling is to be unexpected!” But if this is the case, why did so many people walk away from TLJ, or this past episode of GoT, feeling so unsatisfied? And why, for god’s sake, do we find ourselves constantly having this argument any time a new piece of media comes to an end?

The internet certainly provides many examples of the attitude that objection to an incongruous shock ending is somehow weak, entitled, emotional, and juvenile. There’s a sense that true fans of a franchise are tough enough to absorb an unsatisfying ending, that they actually find satisfaction from the dissatisfaction, and that to want an ending that ties up loose ends and closes character arcs (dare I say, even happily, at times) is to want one’s hand held, or to be incapable of handling nuance or bittersweetness. “Life isn’t always happy!” the internet masses cry. “Life doesn’t always make sense! Life is disappointing too! Deal with it!” But stories aren’t vegetables we’re supposed to choke down before we can leave the dinner table. The purpose of storytelling, for adults, at least, is not just to condescendingly remind the viewer that bad things happen sometimes, and force them to suck it up. Which, of course, isn’t to say that all endings have to be neat and happy, either–there are stories with dark endings that are deeply satisfying (Breaking Bad) and ones with happy endings that are deeply unsatisfying (How I Met Your Mother). There are even stories with subtle, unclear endings that still feel logical and satisfying to many viewers, albeit not all. The ending of The Sopranos, for instance was famously controversial for its ambiguity, but even this ending was tied to themes and concepts planted earlier in the series, and several perfectly cogent arguments have been written to explain this quite persuasively.

But what satisfying endings tend to have in common, that unsatisfying ones don’t, is a feeling of appropriateness and completeness. Most fans who hated the finale of How I Met Your Mother did so not because they resented that it was “happy,” but because they felt it was a 180-degree turn from the arcs of all the characters and storylines up until the last few minutes of the last episode. Conversely, people didn’t love Breaking Bad’s ending because it was “difficult” or “dark,” they loved it because it was a believable, complete, fitting ending to the story that had come before (funny enough, I would wager that more people guessed the ending of Breaking Bad than guessed the ending of How I Met Your Mother, though that’s neither here nor there). But in the current cultural environment, a person can gain quite a bit of attention for boasting that unlike those blubbering fake fans, they LIKED that this ending didn’t conclude the arcs that had built for years, didn’t pick up dropped plot threads, didn’t allow protagonists to learn anything or achieve their goals, and so on and so forth. That they, by virtue of some unspecified quality, didn’t NEED an ending like that in order to enjoy what they were watching. Do I believe people who say this? Well, maybe. Human opinions are varied, and I don’t allege some conspiracy where everyone secretly hates the same things I hate. Nonetheless, I often find a degree of disingenuousness in these statements. A good ending can be obvious, unexpected, happy, sad, or even ambiguous–but more often than not, what makes it good is that it is satisfying. And loving an ending because it is unsatisfying, because it gives the audience nothing it wants, runs counter to this instinct, like it or not.

To use one example of a satisfying ending (albeit not a true ending, since it comes in the middle installment of a trilogy), Darth Vader’s revelation that he is Luke Skywalker’s father has gone down as one of the greatest plot twists in cinema history. Indeed, if you didn’t know that a mystery like this was building, you’d never think to put the pieces together–the ominous references to Luke having “too much of his father in him” or having “much anger…like his father,” the Chekhov’s gun of Anakin’s murder that goes unaddressed throughout A New Hope, and so on. But this twist is somewhat unique in that much of the buildup to it was done retroactively. During the writing of A New Hope, there was no plan for Vader to be Luke’s father–instead, the decision was the result of looking back at what the story had built, and following it to a coherent, unexpected, yet somehow totally natural conclusion that set up compelling stakes for the subsequent chapter. That is why the Vader twist works–it wasn’t chosen purely so the audience couldn’t guess the ending of the film, it was chosen because that was a compelling direction for the story to go, because it complicated and heightened the stakes, and because it deepened the existing text through unexpected means. In other words, arguably the greatest movie twist in history wasn’t great just because it was hard to guess, it was great because of the emotional impact of looking backwards and realizing how well it fit into the framework that was already in place despite the twist being unexpected. The surprise on its own is only a surprise; the surprise filling in the blanks of the story so effectively is what makes it sublime.

So why, then, do we find ourselves sucked into a maelstrom of hot takes every time we say we dislike a shock-value ending? And why does this trend seem to have gotten so much worse in recent years?

Well, it should come as a surprise to nobody that fandom culture to begin with is notorious for the ways in which elitism, gatekeeping, and all-around dick-measuring feature in its social interactions. Anybody who’s spent time in a major fandom has undoubtedly encountered this bizarre form of competitiveness, whether it’s being quizzed by strangers on their knowledge of canon or listening to boasts of “I was into it before it was cool” that would make a Brooklyn vinyl store owner blush. What has changed in recent years is the increased integration of the larger internet into these fandoms, shifting fan discussions from the confines of in-person hangouts or small online chat rooms, into massive public forums such as Tumblr and Reddit. Suddenly, said dick-measuring is not only happening for a far larger audience (including the general public, not just hardcore fans), but likes, reblogs, gold, and upvotes actually give fans a metric by which they can “win” or “lose” these competitions, further incentivizing them as a go-to mode of interaction among fans.

Now, with longform franchises, such as Star Wars, Marvel, and Game of Thrones, this who-is-the-nerdiest-of-them-all dynamic runs headlong into another common form of fan interaction; that is, speculation. When fans of a certain TV show or film series gather together, it’s only logical that one of the main topics of discussion is what they think might happen to their favorite characters next. These two dynamics in conjunction with one another form a fertile breeding ground for the almost gladiatorial style of fan speculation we see in most major forums nowadays. One person theorizes about a certain future plot line and receives a shower of upvotes, likes, favorites, and so on. Another comes back with a biting critique, and is given even more praise. Eventually, what might otherwise be a simple discussion becomes an outright competition, complete with points and ranking systems to keep track of who is “winning.”

This paradigm, in turn, incentivizes a very specific style of speculation. If I begin telling you a story about a girl named Cinderella who lives with her wicked stepmother and two wicked stepsisters, who asks to go to the prince’s ball, and leaves a shoe behind on the steps of the palace, your inevitable prediction that the story will end with a shoe fitting and a royal wedding may be correct, but it’s hardly cause for bragging. Of course you could predict how the story would end, because the ending was obvious. However, if I gave subtle clues in my story that the ending would go a different way, and you were the only one to predict that in this version, Cinderella was actually a vampire the whole time, and the story would end with her turning all the other characters into vampires, you could get praise for your attention to detail and ability to pick up on clues others had missed in this (absolutely bonkers) adaptation of Cinderella. Those of us who have followed the Star Wars online fandom since the release of The Force Awakens will recognize this pattern of behavior, especially in the areas of Snoke’s identity and Rey’s parentage. Though most agreed immediately on the heels of TFA that Rey was heavily implied to be Luke Skywalker’s daughter (or possibly Han and Leia’s), it only took a few weeks for the tide to shift to increasingly fantastical theories. First, the relatively mundane theories that she was a Palpatine or a Kenobi, then the slightly more perplexing suggestions that she was a Lars or Naberrie, and eventually theories that she was an immaculately conceived Force baby, or a clone, or a reincarnation of Padme Amidala.

The simplest explanation for this progression is just that people get bored of talking about obvious theories and want to mix things up with more unusual “what if” scenarios. But it’s hard to ignore the way that the competitive nature of social media fandom fosters this paradigm as well. Like someone betting on horse races, the lower the odds, the higher the reward and the sweeter the victory. Guessing that Rey is Luke Skywalker’s daughter, immediately after The Force Awakens, would be like guessing that the story of Cinderella ends with a wedding–yes, you’re likely right, but so is any schlub off the street who watched the movie once and made an idle guess. However, if you guess that Rey is the reincarnation of Padme Amidala, conceived through the Force, and you’re right, you may well be treated as some sort of prophet. Cue the showers of fake internet points.

I should be clear here–I don’t think there is anything wrong with wanting to guess the right answer to a mystery, or come up with a particularly clever solution to a problem that nobody else has thought of before. To the contrary, these are very normal human desires, ones that anyone who follows my writing knows that I myself engage in. The problem is, again, that this incentive to up the stakes of speculation with increasingly nonsensical, out-of-left-field proposals, purely to outdo others, makes it so that cohesive storytelling without shock value is stigmatized in fandom discussions. Which, of course, makes it harder to call content out for being unsatisfying without being accused of being childish, unsophisticated, or foolish. And so, we wind up in a self-perpetuating cycle. When we set up a paradigm where guessing the plot of a story is a competition, any predictable, reasonable, ho-hum answer becomes “too easy.” We expect content creators to structure their stories to make our guessing games harder, because after all, what’s the point of consuming media if the sweetness of “victory” is undercut by a simple, obvious answer? And if setting up these unexpected endings comes at the expense of a satisfying story, the response from many fans is “so be it.”

Which brings us to an even more pressing issue: the actual impact this discourse has on media itself. Content creators are praised by this subset of fans for creating endings that viewers didn’t expect, because, as established, this style of writing enriches the “game” that they play with one another in various forums. Consequently, fans begin to assume it is in longform media writers’ best interest to structure stories this way–to build a story that seems as though it will go one way, only to pull a U-turn at the last minute just to ensure nobody guessed the ending. Fan discourse, in other words, is normalizing bait-and-switching as a core pillar of storytelling, rather than one of many techniques writers can use to build a compelling story. And, as more people who came of age in the internet era grow up to become content creators themselves, I fear that this recent spate of shock-value media is going to become more of a trend than an aberration. Much has been said about the internet creating political echo chambers, but so too can it create artistic ones–and without dissenting opinions at the table, those reverberations will only get stronger.

So, am I advocating that people fearlessly defend “predictable” storytelling in its common connotation of “boring” and “unoriginal?” Of course not. But even if a story isn’t predictable, an audience member with a keen eye, a good instinct, and some time and attention, should in theory be able to predict it. It shows that the writer has put thought into foreshadowing, thematic congruence, consistency of character and motivation, and overall cohesion. Great, surprising endings are not created by building false decoys of these things. Instead, they’re created by rendering them subtly, slipping them in under the audience’s nose so they’re not aware of a surprise building; or sprinkling in deceptively contradicting information so the audience has to struggle to reconcile these conflicts in their minds. To expand upon a metaphor from our own HypersonicHarpist, a good storyteller–like a good magician–may disguise what they are doing with sleight of hand and misdirection, but ultimately they don’t stop mid-act, set down the hat and wand, and then pull a rabbit out of a nearby air duct vent instead. Put quite simply, we are hard-wired to want stories that leave us feeling satisfied. And the beauty is, we all have different ideas of what that looks like–that’s where good, productive discussion comes in.

But when we let disingenuous, performative internet groupthink make us doubt our instincts that something is amiss, for fear of appearing uncultured or childish, we do ourselves and our media a disservice. Bad-faith criticisms of “predictable” story arcs have poisoned fan discourse to the point where even genuine appreciation for certain shocking endings are drowned out in the cacophony of hot takes. And until more people begin to honestly admit it when they don’t see the Emperor’s new clothes, discussions on media will remain that way. As fans in the age of the internet, we have unprecedented voice and access to content creators, and more tools at our disposal to create content ourselves than any generation before us. Now more than ever, the way we talk about media guides media. It’s up to each of us to make sure we have a voice in that conversation.

[gunterfan1992]

Episodes Review: ‘Islands’ (S08E20–27)

Airdate: January 30–February 2, 2017

Story by: Ashly Burch, Adam Muto, Kent Osborne, Jack Pendarvis

Storyboarded by: Sam Alden, Graham Falk, Polly Guo, Tom Herpich, Seo Kim, Hanna K. Nyström, Kent Osborne, Aleks Sennwald, Pen Ward, Steve Wolfhard, Somvilay Xayaphone,

Directed by: Elizabeth Ito, Cole Sanchez (supervising), Sandra Lee (art)

Here we are: Islands. This is the second miniseries that the creators of Adventure Time have made, after Stakes (2015). I was a big fan of the last one, and I particularly enjoyed this, one too. I have quite a bit to say about it, so instead of doing a recap, I’m going to jump right into what I have to say about the 8 episodes that aired this week.

What Works... What Doesn’t...

Within the middle of Islands are arguably two of the most emotionally compelling episodes that the series has ever produced: ��Hide & Seek” and “Min & Marty”. Both of these take characters we already knew about (Susan and Martin, respectively) and have them interact with new characters (Frieda and Minerva, respectively). In the end, we learn a great deal about what makes them them. I have gained a new respect for Susan, with the revelation that she was forced to betray her friend (and possible crush). Likewise, Martin’s characterization makes much more sense now—he was not originally an evil guy, but his experience losing Finn and Minerva presumably broke him.

I was worrying how the show was going to handle Finn’s mother, but Minerva is an excellent character. It now makes sense where Finn’s heroic traits—his desire to help others, his inability to rest until wrongs have been righted, etc.—come from, as his mother is a Helper (which is basically a person with the expertise of the best doctors, but with the bed-side manner of the best nurses). I had predicted that the show would present Finn’s mother as a some trite warrior-goddess, so I’m glad Adventure Time instead went down the medical route instead. It’s fresh and creative, and it also makes Finn’s subplot in “Do No Harm” more relevant.

It is rather heartbreaking to realize that Minerva’s post-mortem computerized existence means that Finn will probably never be able to see his mother again, but at the very end of Islands, when Finn slips on the VR headset and is able to embrace his mother in virtual reality, this heartbreak somewhat subsides, if only for a moment. Finn got the chance to meet her, Minerva finally learned that he didn’t die, and the two finally connected with one another. Finn leaves the island with tears in his eyes, and it’s a bittersweet moment. He met his mother, but he can’t physically interact with her. This doesn’t really matter, however, because in the end, Finn’s mission was a success, and he now knows that Minerva is a wonderful, caring mother whom he never had the pleasure of being raised by. That knowledge, and sense of inner peace it brings, is worth all the Finn-cakes in Ooo.

Unfortunately, the beginning three or so episodes after the premiere are, to put it bluntly, somewhat unnecessary. While “Imaginary Resources” is just really funny (Man-BMO is horrifyingly hilarious), “Whipple the Happy Dragon” is a non-starter, and “Mysterious Islands”, while certainly cool, doesn’t really establish much outside of what we already knew (namely that humans are great at killing themselves via their technology). This isn’t to say that these episodes are bad—they are not, and this needs to be stressed. However, the pacing of the miniseries and ultimately the character development within are affected by them. Perhaps Zack Blumenfeld of Paste magazine puts it best when he writes:

An origin arc done well should hit hard in the feels department. And there are moments of Islands that do so, most notably the heartrending story of Susan Strong (Jackie Buscarino) and her childhood flame, Frieda, as told in “Hide and Seek,” the emotional peak of the miniseries. [But] none of the Finn-centric moments in Islands has as much impact as you’d expect. Perhaps this is because Adventure Time here makes inefficient use of its 11-minute format; Finn simply isn’t given the time to process the society he discovers, and the “Islands” episodes that would be totally fine as one-offs—the deadpan, hilarious “Whipple the Happy Dragon” and the sweet “Mysterious Island”—instead take valuable time from the character-driven focus.

If we compare how Islands functions to Stakes, one will see that the former goes from about a 3 to a 9 really fast once we hit “Hide & Seek”, whereas the latter is consistent all the way through. This issue with Islands is perhaps its biggest detriment... and honestly, probably it’s only detriment. But it can’t be ignored.

MVPs

You can probably already guess who I’m going to praise.

Yup.

Hanna K. Nystrom and Sam Alden.

Both do just stellar work. Sam’s episodes go from good to great, in that order. Hanna’s episode is, to put it bluntly, perfect. She and Aleks Sennwald do wonders with Susan, giving her depth and a purpose. Susan, for the longest time, felt like an abandoned and awkward season two story arc, and so with the reveal that she was a Seeker, her character seems finally justified.

I also appreciate that Hanna inserts people of color into her episodes. First, it was Marceline’s mother, and now Frieda. This diversity is great, and the show does it in such a low key-yet-major way that it successfully normalizes what is already very normal feature of human society (namely, that people of different shades, beliefs, and cultures all call this planet home). It’s sad that shows have to ‘normalize’ something that is as important as the reality of diversity (since it arguably should be reflected in media in the first place), but Adventure Time succeeds, and I would argue makes the world a bit of a better place.

Humans and Technology

Whereas Stakes was a meditation on the eternal return (a topic that, given all the events that are happening in the world today, is of critical importance), Islands instead focuses on the practical and philosophical implications of technology on humanity. Every one of the islands that Finn and pals land on shows amazing technological progress: Alva’s island features tech that can control the weather, the VR island features a mega virtual reality serving hundreds of humans, Dr. Gross’s islands is the seat of transhumanism, and Founder’s Island is a veritable utopia. But each of these islands also holds a dark not-so-secret. Alva’s island was ravaged by the elements, killing most of its inhabitants. Those on the VR island are helpless and weak outside of their faux-reality. Dr. Gross’ experiments are an affront to nature (more on that later). And Founder’s Island is a nanny state.

According to seminal communications theorist Marshall McLuhan, every technological advance is an extension of humanity (in that it enables us to do things that we were not able to do before), but also an amputation (in that it renders unnecessary previous attributes). An example is the book. While the book allows us to store information for posterity, it also negates the need for us to remember every single detail of an intricate story (as such was tradition with oral stories). This might seem like a pretty good trade-off (I would argue that it is), but it means that we don’t have to put as much effort into remembering things, and so our skills at remembering can weaken the more we rely on the written word. This idea was espoused by Socrates via the story of Ammon, wherein he notes that humans “will not use their memories; they will trust to the external written characters and not remember of themselves.”

Perhaps Socrates was being a bit hyperbolic, but I believe there is a definite truth to McLuhan’s understanding of the issue. Technology is great, but because it redefines what it means to be human, certain factors/attributes/advances/etc. that humans once relied on will fall to the wayside and eventually atrophy. It seems that this is clearly what Islands is trying to show by taking us to the extreme limit: by putting all our trust into technology, we will inevitably lose what makes us human.

Adventure Time consistently proves to be a very humanist show. I don’t mean that in the secular humanist pseudo-religious way, but rather in the full embrace of what it means to live as a human. This is perhaps best illustrated in the sixth season finale “The Comet”, wherein Finn affirms his desire to see his meat existence through until the end. This means embracing all that life has to offer: happiness, sadness, joy, anger, loneliness, love, desire, peace, etc. If we substantially modify our reality and bury ourselves in tech in the desire of escaping the ‘bad’ parts of the world, we will inevitably lose the good as well. At the end of Islands, Finn beseeches his mother to realize this. Life is really not worth living if you only experience the good, because without the bad (or the dangerous, or the risky) your understanding of good is so shallow as to be meaningless.

Now, I’d caution that Adventure Time isn’t espousing a Luddite philosophy. After all, Finn is perhaps the best example of McLuhan's extension/amputation philosophy (i.e. he has a robot-arm that functions as an extension of the body, but it is also an amputation because he is lacking a ‘meat’ arm), and he seems to be doing fine. In fact, he feels that the arm is natural. Finn therefore represents the proper balance between living the human existence, but also embracing technology to a healthy degree.

It is this ‘healthy embrace of technology’ that separates two other characters: Minerva and Dr. Gross. The two are presented as opposites sides to a similar coin, as both have embraced technology as a way to hold off death. However, the two cannot be more different.

Dr. Gross was attempting to modify the natural world so as to make it 'better'. Her song about evolution in "Preboot" expresses this ideology. In her mind, the material world is not firing on all cylinders, and so it is up to her to upgrade and improve it. However, she does not seem to be doing this for some sort of altruistic reason, but rather to control the world around her (otherwise, there'd be no reason for her to have the ability to 'over-ride' her cyborgs' minds and effectively eliminate their free will). Why does she desire control? The excuse of 'protection' is given, but that doesn't justify the extreme measures she goes to.  No, the way I see it, Dr. Gross is motivated by one thing: a fear of death. This terror drives her to modify herself with technology in an ill-advised attempt to escape that which comes for all of us.

Finn's mother, on the other hand, has also embraced a transhuman post-mortem existence, but she is portrayed in a good light. This is intimately connected to the reason for why she uploaded her consciousness: not to live forever, but rather to aid others. We know from the episode "Helpers" that the antics of Dr. Gross caused all of the helpers to eventually be killed off by a virus. Minerva was the last one, but she too was dying. However, her will was strong, and she still had a desire to help others rather than herself. Instead of uploading her consciousness so as to escape the reality of death, Minerva uploaded her essence so as to continue serving the community that she so very dearly loved. Her embracing of transhumanism was ultimately for an altruistic reason.

At the end of Islands, when Minerva finally understands what her son is trying to say, becomes the type of person that Adventure Time is wont to praise: someone who does things (even fully embraces technology) for good and altruistic reasons, but who also realizes that life is worth living, even if that means putting ones self in danger.

(OK, I’m going to talk about some really, really dark stuff right now.)

I might seem like a deathist with this essay... and I guess I am. Like J. K. Rowling, I view death as inescapable, but also something that should not be feared. Dr. Gross fears death, and that fear drove her to do terrible things. Now, I will admit that the concept of death has terrified me since I was 12, but I also realize, in a somewhat Stoic manner, that worrying about it is not going to help things. Even if technology were to advance to the point where we can all live forever, we have to remember that eventually the Universe will burn out and then we’d still bite it. We can’t escape, and we need to realize that. Adventure Time seems to make this point pretty clear.

Mushroom War Evidence: Almost too much to count. We get a glimpse into the world of humanity following the war, but before the present day.

Final Grade:

[beautifulboycast-blog]

Nat's TV round up - 2017 in Review

Television is an unusual beast when we discuss how great it is. The last year marked a few key notes, notably the increasingly large presence that streaming services have thanks to A Handmaid’s Tale, which went on to win Best Drama at the Emmy's, becoming the first streaming show to do so. Normally, it would be smarter to discuss television in the middle of summer when most notable series are in-between seasons. That's no longer the case, thanks in large part to streaming services, as well as basic and premium cable.

I don't have a list of every show I watched this past year and I won't be handing out a dozen awards for how great a singular show was. Instead, I'll offer up three separate awards: Best Returning Series, Best New Series and Best Animated Series. It's pretty self explanatory. Best Returning series is for shows that are in their second season or beyond. Best New Series is for shows in their first season, mini-series included. Best Animated series is simply for animated shows in general which are no longer following the strict yearly season format of live action shows.

Best Returning Show: Game of Thrones (Season 7) There really wasn't another option. Despite the season being a few episodes shorter and arriving in the middle of summer as opposed to its usual spring premiere, game of thrones remains the best show currently airing. Season 7 had a slower start, but quickly catalyzed into one grand moment after another. The thrilling seven episodes that aired featured massive battles on the water, on the ground and in the frozen wastes beyond the wall. Gone are the slow politically driven conversations that were featured in earlier seasons, only fitting and satisfying conclusions to loose ends remain.

Perhaps the only detractor for this season is the smaller episode count. While the cast is much smaller this season, the missing few hours of content would have been appreciated to once again flesh out conversations and character motivations. And while the finale promises even greater things for season 8, the wait until then is an unpleasant one. The final season probably won't see light until 2019.Game of Thrones remains the only show on tv that sends the collective masses into hysteria. Season 7 led to more “Did you catch that?” moments than any other season yet and we hope the wait for season 8 isn't too long. Perhaps some news on those spin offs would be enough to keep us from going insane? Your move, HBO.

Highlight moment: Episode 4 - The Spoils of War This episode features the single greatest battle in game of thrones yet. It's the only time in recent memory where my jaw was on the floor in awe. I actually had a fork in my hand when the scene started and by the end it had fallen to the floor. For what was only about half an hour, I was 100% drawn in with zero distractions to my television screen. It wasn't a plot twist or a satisfying end to a subplot. No, the greatest moment in television last year was something that only multi-million budgeted movies get right and it was glorious.

Other Notable Series

Stranger Things (Season 2): This is probably the closest a returning series got to beating out Game of Thrones and it wasn't even close. Stranger Things continued the story of the first season with all of its 80’s charm. This season, however, loses points for splitting up its characters too often and the pacing issues it suffers. While there is some great action and character moments (Dustin is the star of this season), it just doesn't hold a candle to Thrones.

Comedy Series (Its Always Sunny in Philadelphia, Brooklyn Nine-Nine, Modern Family, The Good Place): This is my junk food. I love comedy series and these are the four most notable ones that I keep track of. Always Sunny continues to be one of the best written shows on tv and the season finale was fantastic. Here's hoping for at least one more season from the gang. Brooklyn Nine-Nine had an excellent year notably for tackling issues like police brutality and the rights of the accused, something that would have never happened on a network comedy ten years ago. Modern Family had a decent year and here's hoping that the series reaches its conclusion soon. Some of the jokes are starting to get old and the lack of interesting new characters has made the series start to become stale. The Good Place is the most recent series on the list. I loved the twist ending to season one and the direction season two has taken so far. There's a lot of potential here.

House of Cards (Season 5): Oh how the mighty have fallen. A year ago I was so excited for House of Cards to return and now I'm ready to put it out of its misery. Production issues aside, season 5 was a bloated mess that took an idea and spent an entire season trying to make it come off as a big deal. All it left was the watering down of Frank Underwood as a character and a sloppy gateway for a sixth season. Luckily season 6 is coming so our other lead, Claire Underwood, will have a fitting conclusion.

Orange is the New Black (Season 5): After struggling to find its footing a few seasons ago, Orange is the New Black is stronger than ever, mixing comedy with real drama. Most of season five deals with the aftermath of the final episode of season 4 and the writers run with it. My only concern is the show’s main character, Piper, taking a back seat for most of the season. Here's hoping she plays a larger role in season 6.

Better Call Saul (Season 3): With it's best season under its belt, Better Call Saul remains one of the best shows on tv that unfortunately isn't garnering the audience it deserves. Season 3 picked up the pace and is slowly transforming into its own beast of a show outside of its predecessor’s shadow. While AMC isn't the Titan it was a few years ago, their commitment to this series gives me hope that its wings won't be clipped too soon as there's a lot of potential here. Please, please check this show out. It's well worth it.

Best New Series - Glow: I made it a goal in 2017 to check out new series whenever I could. While I didn't watch as many new shows as I had hoped, I found myself struggling to crown a winner for best new series. I ultimately settled on Glow, a new series from Netflix starring Community-alumni, Alison Brie. Set in the 1980’s, Glow is a show about a group of wannabe actors and wash ups, trying their hand at women’s professional wrestling. As someone who has always loved the absolute cheesiness of professional wrestling, watching a show about it is a treat. The series is a comedy with some dramatic moments, similar to Orange is the New Black. In fact, the series has a lot in common with Orange is the New Black, but wins out for having a greater sense of theming. It knows it's a comedy and plays with it perfectly.

The biggest detractor is the length. At ten episodes with a 30 minute run time, the show is over just as it really begins to get good. Netflix has renewed the series for a second season, but still at only 10 episodes. An additional 5 episodes in the season would have been perfect. It would also give the large supporting cast a chance to shine.

I'm eager to watch more of Glow and I think it has the legs to replace some of the older shows in Netflix’s line-up in the coming months. Highlight moment: Episode 10 - Money’s in the Chase The entire season is building up towards their first public performance and the season finale spends its entire run time showing us that performance. I loved this as it really feels like we're watching the show with the audience. It's full of some great twists and some absolutely corny wrestling moves. Here's hoping season 2 features more of these performances.

Other Notable series:

Ozark: My runner up for best new series. I really enjoyed this show, especially Jason Bateman as the lead. It has a similar theme to Breaking Bad, which is always fantastic. The biggest problem for Ozark is that I'm afraid it won't have the legs to last more than a few seasons. I could be wrong, but that and some pacing issues are what made me choose Glow over it for best new series.

Mindhunter: This show has an absolutely horrible pilot, but a pretty solid show follows that. I'm excited to see where the series goes from here. The pilot almost killed the series for me and hints of its problems last throughout. Poor direction, awkward camera angles and bloated writing aside, the show gets better the more you watch.

A Handmaid’s Tale: I believe I'm one of the few people out there who did not enjoy this series. It's well made and the acting is top notch. I have no major problems with the series from a design standpoint. It's the story and characters that lose me. Everything is so drab and dull. I never cared for the characters because they kept trying to keep things a mystery. Maybe I wasn't in the right mood or mind set for this show. I found the most interesting character to be on who barely appears in the show and one that they inevitably cut out entirely. I expect a season 2 for the show and hopefully it'll grab me. Until then, I would say to watch the first episode and see if it's your style. If not, it's worth skipping.

Girl Boss: There is nothing notable about this show. It isn't good. It's not necessarily hot garbage either. It can be funny, but it isn't hilarious. It's 100% average, or perhaps, mediocre. Why does that matter? Because this was the first “Netflix original series" that I experienced like this. Netflix has pumped out some garbage before, but they usually let you know in advance. Not this time. Girl Boss was hyped up to be another great series from the streaming giant and it failed to make an impact. I guess that explains why it was cancelled, a rarity for Netflix.

Best Animated Series: My Hero Academia (Season 2) If there’s one thing I watched more of in 2017 than previous years, it was anime. While it was mostly re-watching various Dragon Ball related shows, I decided to check out a new series that my friends had been raving about. That new series was My Hero Academia. I thought the 13 episode season one was good enough. It had an amazing set up for the world and the characters started to grow on me towards the end. Season 2 is fantastic. It covers three arcs from the manga in 25 episodes and really begins to put the series into perspective. I normally avoid long running series like this until they’re closer to the end, but this is my exception. Season 3 is coming sometime in 2018 and I’m excited to start reading the manga soon. This is an absolutely fantastic series with some great fight scenes, interesting characters and really well done animation.

Highlight Moment: Episode 10 - Shoto Todoroki: Origin Season 1 introduced us to a lot of new characters, but only a handful got enough time to be fleshed out. Season 2 began to fix this immediately by turning Todoroki into Deku’s (Our protagonist) main rival. The entire arcs lasts for most of the season, but it’s the fight between Todoroki and Deku that puts this show as my favorite of the year. Weaving an origin story into the series’ biggest fight yet is a major undertaking, but doing it this well is a masterstroke. Much like the massive battles in game of thrones, I was left speechless while watching this episode. What makes it even better is that the entire arc has no villain. It’s simply our heroes battling for the spotlight in one of the best made tournament arcs in recent memory.

Other Notable Series:

Attack on Titan (Season 2): I watched the first season of AoT back in 2015 and fell in love with the series. I dropped it after catching up on the manga, however. With Season 2 releasing in the states finally, I picked the series back up and I’m in love once more. Season 2 has better pacing than season 1, but suffers from a shorter episode count (12 episodes vs the 25 from season 1). Because of that the story can feel a bit uneven especially with a major plot reveal happening at the very end of the last episode. The animation is still top notch though, perhaps even better than season 1. And thankfully, season 3 will be airing sometime next year. No more half decade wait times. Rick and Morty (Season 3): Speaking of wait times, thank god Rick and Morty is back. I was considering giving this my best animation series award, but it came up short compared to My Hero. I had a blast with season 3 however. It was laughing the entire time, even if some of the episodes weren’t as funny as others. Bob’s Burgers, South Park (Season 21) and Bojack Horseman (Season 4): I guess this is like my catch all category? Regardless, I enjoy all three of these series and felt like each of them had a somewhat decent 2017. Bob’s Burgers is basically my junk food cartoon show, even if it’s starting to wear a bit thin. South Park had a decent season; one that I enjoyed more as I watched it while playing the latest south park game. And of course, Bojack came around for a fourth season. It wasn’t quite as good as season 3, but I still enjoyed it.

That wraps it up for my favorite shows of 2017. I mentioned quite a few shows that I’m looking forward to in 2018 before, but I’ll give special mention to Westworld which is returning for its second season soon. I should also mention that there are a few shows from 2017 that I’ve been meaning to catch up on, but haven’t had the time. It mostly includes seasons released in December and I’ll get to them eventually. If I feel the need to discuss them further, I’ll write up a separate piece.

Until next time. Continue enjoying the new year and stay beautiful.