#It has zero impact on the plot

[loupy-mongoose]

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This takes place pretty much directly after the previous one. A little less eventful, but still important~

(We finally get some evidence of Randy eating on-screen lol!)

[babieken]

I was expecting so much more from Again My Life considering lee jungi was its main character but it was such a let down...

[uglygreenjacket]

It's not about the ship.

A majority of us BKDKs never believed the ship would become canon. That was never really on the table.

What it is about, is 10 years of character and relationship development completely nuked for the establishment of a different relationship that had faded into the background at best for a lot of that time.

Izuku and Katsuki are important to one another. There's zero denying that. Katsuki died for Izuku. All of his scars come from protecting Izuku in one way or another. Katsuki was devastated when he learned of OFA's loss. He worked for eight years to make sure Izuku could live out his dream.

Izuku has looked up to Katsuki since they were children. He lost the plot multiple times when Katsuki was insulted or in trouble. Shigraki himself said Katsuki was closer to Izuku than anyone else.

And all of that development brought us zero discussions about what they've been through. No talk about the impact of Katsuki's death. No talk of Katsuki's apology. No talk about Izuku's feelings about the demise of his dream. Instead, we got Izuku rejecting the idea of being partners with Katsuki, something his character for the entirety of the series would have undoubtedly loved.

Yes, people can grow apart. But show me that. Give me background on why. Give me something, anything that would explain why the Izuku at the end of the epilogue is in diametric contrast to the Izuku we saw at the end of chapter 430.

These two characters mean so much to me. I don't see myself in their story, but the love (whether platonic or otherwise) and care that they show for each other speaks to me so deeply. Katsuki's growth as a person and Izuku's acceptance of and willingness to forgive Katsuki no matter what speaks to me so deeply, and to see that thrown away stings.

It's not about the ship. It was never really about the ship.

[rowan-guerrins]

i love sebastian and i hate sebastian and i want to give him a maraca because i think it would be funny and ALSO i want to put him in a maraca and shake him around because i think that would be even funnier. i contain multitudes.

[demilypyro]

Idk maybe it's time to have Zelda be a game with a PLOT where THINGS happen that have STAKES and ARE INTERESTING instead of these constant softballs where the apocalypse is happening over there somewhere and no one in this world is interested in questioning or thinking about anything

Ocarina of Time ALMOST got there when the timeskip made the common people actually be affected by Ganon's nonsense, though all it really meant was they had to move cause Castle Town was kaput

Wind Waker ALMOST got there when they made Zelda a character with traits and motivations, but then they fumbled it by having her revert to generic damsel mode halfway through

Twilight Princess ALMOST got there when Zant took over Hyrule, but this didn't actually impact anyone because everyone just kinda lives on as ghosts, totally unaware of the threat, so there are no stakes. Midna was cool but she has like almost no agency for what is supposed to be Her game. Zelda is barely even in this one

Skyward Sword ALMOST got there by having Zelda seem genuinely troubled by her destiny and wanting to be with Link instead, but fumbles it by making Link run around doing Fuckall instead of spending time exploring those themes, again giving Zelda like zero screentime

Breath of the Wild ALMOST got there by presenting a more realized version of Hyrule, but failed to follow through on making the people of that world feel real. none of them seem to gaf that the apocalypse happened. the world is just a big sandbox for Link. Zelda is almost a character in this but she once again has almost no screentime or agency

Tears of the Kingdom fails to build on anything Breath of the Wild laid groundwork for. This was an opportunity to make the lackluster story deeper and more gripping. Instead they just did the exact same thing again. It's a holding pattern

The best Zelda in terms of story still remains Majora's Mask because at least that game had themes it was willing to explore with its characters

[bellabrady]

every tevan shipper who's surprised about the breakup or says that there was nothing pointing towards this simply has zero media literacy. like, i'm sorry but it's not everyone else's fault that you can't pick up on the most in-your-face hints possible.

i do agree that ultimately the reason they broke up was weird and came a little out of left field but the breakup itself? that absolutely didn't.

since the moment tommy came back, everyone in interviews said almost outright that he's an entrylevel relationship, that tevan becoming a thing was a spontaneous decision, that tommy's a plot device, etc. in the beginning, even lfjr said that! he only started baiting all of you when he realized he could get some money out of it.

there was absolutely nothing hinting that tommy would be anything more than temporary — the opposite was hinted at repeatedly, in the previous episode alone.

like, what did YOU think it meant that tommy got next to no screentime all season except for the episode before the one in which we knew buck and tommy would have relationship troubles? did you really think they gave him screentime all of a sudden for any reason other than to make the inevitable breakup more impactful?

what did you think it meant that they didn't share a single kiss the entire season? that there was zero PDA between them?

what did you think it meant that eddie was involved in 90% of their relationship?

what did you think it meant that they made it a point to show that tommy isn't actually all that close to buck or his circle (not knowing who sargeant grant is, not being in the gc, etc.)?

what did you think it meant that after 3 months they were still in the 'getting to know each other' phase of their relationship?

what did you think it meant that their last scene in 8x05 was at a literal graveyard and that there was a huge physical distance between them?

and all of that isn't even mentioning all the ways in which they're simply incompatible and have been from the start.

be disappointed if you want, but don't blame everyone else for your blind optimism

[skippersthecat]

Saiki K headcanons that have zero impact on the plot:

-Teruhashi has a growth spurt and is the same height as Hairo

-Kaidou can play an instrument (his mom made him learn) but it's not a cool one so he never brings it up

-Aiura knows a surprising amount of celebrities from her fortune telling

-Kuusuke talks in a British accent when he thinks no one is around

-Nendou has a YouTube channel but none of his videos get more than 80 views

-Saiki likes stuffed animals

[hetalian-veteran]

The Draw of the Hetalia Fandom (and Why You Can Never Leave)

From the perspective of a fan of (technically) twelve years or so.

Something occurred to me a while back, and I wanted to share it to get other people's thoughts. I'll try to add funny pictures and gifs to break up the wall of text so it won't be as exhausting to read.

I made a post the other day about how the Hetalia fandom always draws you back in. This was, of course, based on the joke about how you can never really leave the Hetalia fandom. A joke you can find virtually everywhere you look in fan spaces online.

But this begs the question. Why? Why can't you ever truly leave the Hetalia fandom? What is it about this fandom that consistently draws you back in?

And note that people don't talk about Hetalia itself, but rather its fandom. You could stop watching the show or reading the comics for years, but the fandom is what won't fully leave you be.

(The Hetalia fandom every time you check to see if it's dead yet).

One answer I've heard has to do with the phenomenon known as Associative Memory, where you can learn and remember the relationship between unrelated items.

For example, you watch Hetalia, a series about the countries of the world personified as anime characters. These characters have their own personalities, traits, quirks, etc. And the more you watch the show and get into the fandom, the more you start to associate these things with one another.

For instance, someone can say the word Italy, and I'll start thinking about Feliciano Vargas. Or someone could say the name Matthew Williams, and I automatically associate that with Canada. Or I could see bushy eyebrows and immediately start thinking of APH England. Heck, someone starts talking about Vikings and my thoughts almost always go to the Viking Trio of Denmark, Norway, and Sweden. I could go on, but you get the idea.

And there's also the fact that we live in a world full of the countries that the show has personified characters of, which would in turn likely remind you of Hetalia.

But there's something more here going on. I've thought about it for a long while, and I think I've realized one of the biggest reasons why you can't fully leave the fandom.

It's because of how versatile the characters of the series can be in fan content. Allow me to explain.

(Me preparing to explain to everyone the epiphany that came to me one dark, stormy night).

Hetalia is a series with literally no plot. Like, zero. Some episodes may impact each other, but the overall series is episodic in nature. The only episodes you'd have to watch in order would be the ones going over the miniature love story between Chibitalia and HRE. And then there's the sequence of episodes going over the Industrial Revolution in season seven, and then the sequence of episodes explaining the relationship between Czechia and Slovakia. But that's it. And the Industrial Revolution and Czechia and Slovakia episodes aired in the latter seasons, long after the fandom was already very big and well established.

The episodes are largely adaptations from the original webcomic and thus are all a bunch of skits haphazardly thrown together. So I'll reiterate what I said earlier; there is no real, canonical plot to Hetalia. There are canon events and facts about canon characters, but seeing as the show is largely skits, they aren't tied down to any real narrative.

(The Hetalia fandom whenever they're given a piece of canon they don't like).

This leaves a lot of room for headcanons. Which leads to fans sharing their headcanons online. And when headcanons get super popular, they become fanon. And when a piece of fanon gets super popular, where it finds itself getting mingled with fanart, fanfiction, and even fan theories, you'll have people who start to confuse it with actual canon. There's really a lot to be said for the wild fanon of Hetalia, but I'll get to that another day. I need to turn the focus back onto the characters themselves.

I'm just gonna put it out there. The Hetalia characters are largely one-note. This isn't to say there isn't some depth to a few of the characters, but these characters are largely the epitome of "what you see is what you get." Especially in the early days of the series. The characters all have a set of straightforward, basic character traits, with their interpersonal relationships often being displayed in a very simplistic manner.

For example, Italy is a pasta-loving coward who's a massive flirt. Germany is strict and authoritative with a no-nonsense attitude. Japan is quiet and soft-spoken, only speaking up when he feels the need. America is a bombastic dork with a hero complex. England is an arrogant stick in the mud. France is a hopeless romantic who flirts with anything that has a pulse.

(Me taking a moment to pause and push away the cringy middle school memories of me shamelessly fangirling in class).

And as I said, their relationships are typically portrayed as simplistic as well. Italy annoys Germany, but Germany doesn't want to get rid of him because he's one of his only friends. England and France hate each other. America is that hyper-extroverted friend trying to get his introverted friend, Japan, out of his shell. Switzerland and Lichtenstein have a sweet sibling dynamic. And Prussia and Austria are portrayed as old friends who like to antagonize one another.

Because of the way the characters and their interpersonal relationships are written, this also lends them open to a lot of headcanons and eventual fanon. Not to mention that most of the characters have canon, human names. So if you want to use these characters in a fanfiction, particularly one where you don't want to depict them as countries (which is most fanfics), you have names at the ready that you can use.

And because of the simple way the characters are written, you can potentially write or portray these characters however you want in fanwork without too many people complaining that someone "isn't in character." There is so much room for your own interpretations of the characters. As long as you keep some of their basic personality traits from the series intact, you can portray the characters however you want. Especially because there's no real canonical storyline to drag them down. Because of the lack of canon storyline, you don't have to worry about fanworks being canon-compliant, canon-divergent, or canon-adjacent.

(Fanfic writers when they realize canon cannot stop them from creating whatever they want).

Do you want to portray Romano as the notorious mafia boss, Lovino Vargas, in the 1930s? Go ahead. As long as you can keep some of his cowardly and stubborn nature intact, you can do what you want with little trouble.

Do you want to portray England as the infamous pirate, Arthur Kirkland, in the 17th century? As long as you maintain his disdain for France, have at it!

Do you want to write a college AU with all of the characters present? As long as you keep in mind their personalities and have a basic understanding of their interpersonal relationships, have fun!

Now you're probably sitting there thinking, "Big deal, people can create all kinds of fanwork, regardless of what its content is, or what property it's for. What makes the Hetalia fandom so special?"

It's special because, since Hetalia is a series with almost zero canonical storylines, and the characters are portrayed in such a simplistic way, both of which lend their way to boatloads of headcanons and fanon, as well as small scraps of canon information that we can choose to either ignore or elaborate like crazy on...

Hetalia is a freaking goldmine for creating all kinds of fan content.

(Hetalians when creating the 2p! variations of the characters, probably).

So much fan content is out there. From creepypastas, to Hetaoni, Dreamtalia, the 2p! characters, historically accurate AU's, school AU's, and so, so much more. All because the canon is just loose enough to allow all kinds of fan content to be created and not seem too far off from the series or characters.

And that fan content ends up being way, way more fun than the actual series itself! Don't get me wrong, I still love the show, but I'd be lying if I said I didn't (or currently don't) have a freaking blast every time I engage with fan content. The creativity is insane, and the fanon is even more fun and entertaining.

The reason you cannot fully leave the Hetalia fandom isn't just because of Associative Memory, but because of the immense amount of fan content and fanon where, because of the nature of the series, you can do, write, draw, and create whatever you want. You can project onto these characters and their stories and interpret them to your own personal tastes. And you know what? That's a heck of a lot of fun.

And there you go, that's my two cents.

[night-triumphantt]

I have some thoughts about the arcane ending w nowhere to go but uh, if ur not here for some critique keep it pushing loll

Now that I’ve had a day to digest I’m actually v disappointed w the way the story gave up on its revolutionary messaging. The focus of season one is the piltover and zaun plot, the oppression of Zaun and its impacts on the characters, it is how vi and powder are orphaned, it’s why viktor is disabled, it is why the undercity struggles, Zauns independence is what silco was fighting for, vander and silcos ideological disagreements are based on it etc etc. the tensions between the two cities is rising and rising and then it just, fizzles out and pivots and makes viktor the main antagonist without any recognition of how he got here. And don’t get me started on how there’s zero consequences for cait who is?? Still an enforcer??

The plot highlights through Vi that the enforcers are an oppressive arm of a system w how she was treated as a CHILD and even as an adult and she betrays her ideals, to do what she thinks is right bc she thinks she has to take out her sister and bc cait asked her to do so as an enforcer. And then in doing so she betrays her ideals so aggressively that she is now the exact thing that hurt her, an enforcer, traumatizing a child, utilizing the gas on the undercity, excusing the consequences. And when she faces Caitlyn, cait obfuscates and says she wouldn’t have missed even tho that’s not *better*. Bc ok let’s say she didn’t miss, she just kills jinx in front of isha? and she just gassed the city w what we know is toxic gas? And then she discards vi bc vi isn’t going along with what she wants. Cait then is never shown reckoning w the biases and cruel things she’s done and said after that. There is ONE conversation w her and Vi and it’s framed as Ambessa is the issue which, she is partially but like, topside enforcers were all behind her and Cait was quick to lean into all her preconceived notions of zaunites. (Speaking of making what’s her name a mole was stupid and imo done just to make it so Cait doesn’t have to have that convo w her?? Idk)

Also, Vi goes on a drinking spree in which we never actually see her reckon w what she did as an enforcer, (it’s mostly framed around Cait) and then she hurts isha and,,, nothing?? No sorry?? Nothing. Vi has no plot that shows us her thoughts, her reckoning w what she did, or anything. In my opinion it’s bc the writers wanted cait/vi to work and if Vi actually had to think about what happened and what she did then they wouldn’t have worked out. Vi w/ no one to protect who has to rebuild her identity and really decide how she ended up where she did, I would have loved to see it. Her and Jinx’s convo where she says u don’t need me to protect u was actually rlly good, them reconnecting as equals & Vi seeing how jinx became a symbol of the undercity, fighting for it together, finding how she lost her way, like, cmon. Jinx not ending her story w yea actually u should die previously suicidal character, (don’t worry, this is a good way to die) and instead doing the hard work of rebuilding, and seeing a future for herself that isn’t painted in tragedy, surrounding herself w ppl who love her and help her grow (while silco loved her he could not help her grow bc of his own unhealed wounds) using her ingenuity to rebuild w ekko, like, ugh. These are very rough thoughts that got kinda, long, but yea in conclusion, while I loved the characters, the refusal to *commit* to the political message they started hurt the show a lot, and I’m rlly sad for what could have been.

I have a lot more thoughts about sevika and Mel as well but I’m mostly just bummed.

[genericpuff]

ten storylines u think could have been amazing in lo if they had been handled better?

10 already feels like so much for a story like LO buuttt:

1.) the act of wrath plotline, seriously this one felt like it had some of the most lost potential as one of LO's more unique plotlines (and it lost that potential as soon as it was turned into some "oopsy" committed by persephone due to her wrath being a 'gift' from eris when she was a baby??? still bugs me so much ugh) give me back that dichotomy of Persephone and her internalized wrath, dangit.

2.) the Eros and Psyche plotline. it started off so promising as a parallel B-plot to H x P and then seemed to just get dropped halfway through S1 when Psyche got turned into a nymph.

3.) Echo's involvement as a double agent for Zeus. that was clearly the intention when she was introduced but then she was promptly dropped and only showed up again to say "fuck you Zeus" with zero build-up or implication that she had a change of heart. Like imagine if we actually saw her leaking info back to Zeus but then also getting closer to Hera on a personal level and realizing that she didn't want to keep snitching on her. it would have also made the 'big reveal' of Hera kissing Echo a lot more impactful because then they would have had an actual story arc.

4.) Persephone's character development into becoming the Dread Queen. Right now the story wants us to think that Persephone is somehow "better than ever" despite the fact that her version of the "Dread Queen" is being an absolute Karen. But think of how it could have been if her character de-evolution was the point, to show how Hades had corrupted her. Or if they were meant to be actual shitty people and not shitty people that the narrative was trying to convince us were good.

5.) Hades' and Minthe's relationship. It goes without saying that Minthe was wrong to turn to physical violence, but I'll die on the hill that Minthe wasn't being treated fairly by Hades, either. Those three flashback episodes in S2 leading up to Minthe getting turned into a plant were such a missed opportunity to showcase how Minthe became as bitter as she did towards Hades and what their relationship was actually like in the beginning (and why they liked each other in the first place which they very clearly did) but instead it just dragged its heels because obv Rachel didn't want people empathizing with Minthe.

6.) Ares being used as a tool for war by Zeus. It's clear being sent off to these wars is taking its toll on him and it's created a steep divide within the family, especially concerning how protective Ares is of Hera esp when it comes to how Zeus treats her.

7.) The Aphrodite / Hephaestus plotline. Good god I have no idea what the thought process was behind this one, some of the myths she kinda got away with flipping but this was the one that made the least sense to flip. There was so much potential there that was squandered, a lot of it at the expense of Aphrodite and Ares as traditionally powerful and respected gods.

8.) Hades' alcoholism. Minthe was right, simply falling for Persephone and dropping the cigars and brandy to make himself look better for her doesn't make him a changed person. If the alcoholism was linked to his trauma, why didn't we explore that more? Why couldn't we have seen him actually pursue proper recovery and have it not just be "I'm hot for the 19 year old girl but if I'm drinking constantly that'll make me look bad so I'm just gonna put on the best fake persona I can to make her fall in love with me" instead of actually getting to the root of his issues?

9.) The SA plotline. As much as I talk about how shitty it is, I have zero issue with the original depiction of it, I think it was very accurate especially when it comes to coercion. A lot of people assume SA has to be violent, kicking and screaming, begging for help, but coercive assault is often a lot quieter and more about manipulation which that scene nailed in depicting. It's just everything after that that feels completely misfired and more so for the purpose of making Hades look like a better person simply by comparing him to Apollo on the basis of "he never assaulted Persephone!" and it drives me nuts.

10.) Demeter's winter. In the most recent FP episode, while discussing it with pals, all I could really say was, "This was supposed to be a retelling of the Abduction of Persephone". And Demeter's winter is a core part of that story, one of its biggest purposes in Greek culture was using the myths to explain the creation of the seasons. Despite this being a "retelling" of the Abduction of Persephone / Hymn to Demeter, one of the most important characters in the entire myth has been reduced to, at worst, a Mother Gothel Disney villain, and at best, a pointless NPC.

[jeidafei]

Hi, DGM fandom! I'm jeidafei. You may have seen me in Kougeki-scans' scanlation of D.Gray-Man.

I know Kougeki releases have been delayed for these past few chapters. And people have taken to releasing their own translations on Reddit and MangaDex as early as a few days after the Japanese release. We at Kougeki have asked people to wait if they could. People have told us to, basically, go d*e.

And of course, you are perfectly entitled to say so. You are perfectly entitled to release your own translations and not wait. After all, we at Kougeki are just fans of D.Gray-Man, similar to you. We have zero claim over the series.

I normally stay out of the fray when it comes to quarrels with these 'snipers' until now. When I saw the quality of the translations some of these people are putting out.

(Specifically, Chapter 250 on MangaDex)

Japanese is a difficult language. D.Gray-Man is a difficult manga to translate due to its ongoing status, complex nature and plot twists. I have made mistakes myself that others have pointed out. I have my own interpretations that might be different. I readily forgive mistakes I understand are due to the complex Japanese grammar, and the confusing mysteries of the D.Gray characters.

But these are not it. These are just blatant laziness and lack of basic knowledge of even the most recent developments in D.Gray-Man. Or even simple logic. These are the results of people dishing out sub-par work quickly just to get the most exposure possible.

So while we wait for Kougeki's version, I am going to point out these egregious mistakes. We need transparency so that going forward, you can make your own decisions on whether it is speed or accuracy you are looking for.

The original Japanese text says "7,000 years ago" (七千), not "17 years"（十七）. A difference any beginner Japanese learner would notice. Even most D.Gray-Man fans without Japanese knowledge would probably realize something is off based on what we know of the story so far.

The original text says "Do(es) the passion/sentiments run so deep, you must reincarnate into a human who resembles Nea?" (the word 'regret' is simply not there). I think 'passion' or 'sentiments' are more compatible here, considering earlier theories about Tyki, the Noah of Pleasure.

Jasdevi is saying they were at their limits anyway and wouldn't be able to keep restraining Apocryphos for long. When Wisely orders them to dispose of Apo, they scream "Oni!" (Demon) which is quite similar to "Onii-san" (Elder brother), but most people would probably know which one is more fitting in this scenario, even without Japanese knowledge.

When Desires asks Wisely if he is just going to set Apo free like that, Wisely explains that this way, Apocryphos (not Desires or Wisely as in the translation), can keep searching for the Heart for them. Again, basic story knowledge.

Wisely didn't say "Fine, enough already"; this bubble is a continuation of the earlier bubble, spoken by Desires. Together, he is saying "Wouldn't you just spit it out already!?"

In Japanese, many words sound the same and the meaning can only be determined by context or the Chinese characters (kanji) used. In this case, "kikai" can mean either "machine" (機械) or "opportunity" (機会) or "strange" (奇怪), among a dozen others.

Yes, it's difficult, I know. But, you see the kanji. You know the context. I'm sure you can take a guess.

There are a couple more minor mistakes (ones that don't impact your understanding of the story too much). But I'm just going to leave you with one more, the most conspicuous mistake:

The chapter is named "Curse's End" by this translator. Actually, it's the opposite in Japanese. "Owaranu" is a form of "Owaranai" which means "not ending", which fits the revelation of this chapter by Wisely that their 35-year curse has yet to come to an end.

So, there you have it.

As you can see, I'm not shaming people for not being as fluent in Japanese. Not everyone can dedicate almost two decades to learn a language. As I have pointed out, most of these mistakes are rookie-level, and should have been picked up in double-check if that someone is familiar with D. Gray-Man at all. With these nigh unforgivable mistakes, even Deepl and Google Translate are more accurate.

This is a matter of someone not giving enough of a sh*t, plain and simple.

I'm also not gatekeeping scanlation whatsoever. I'm just pointing out the mistakes and actual text because the fandom deserves to know. With the localization drama going on, it proves faithfulness to the actual text and accuracy matters.

Of course, anyone has the right to put out their translation. And I have the right to point out whether they can be trusted. I'm not passing judgment. I'm just providing evidence so the bystanders can decide for themselves.

Lastly, from the bottom of my heart, I thank everyone who has supported the work of Kougeki Scans and waited for our release. I apologize for the delays. We're working on the latest chapter and will release 249 and 250 very, very soon.

[physalian]

How to Subvert Expectations Without Compromising The Story

Whoo boy, is this a contentious topic with the last few blockbuster franchises. To “subvert expectations” is to do the opposite of whatever your audience expects to happen. Your audience expects the story to go a certain way based on the archetypes and tropes your characters follow, the tone you’ve set for your story, and the level of mature themes that tone allows.

It might mean your long-lost princess doesn’t actually reclaim the throne she’s been fighting for. Or the presumed hero (or any of their straight friends) of the story dies halfway through their arcs. The mentor pegged for death actually survives to the end credits. The villain’s plan actually succeeds, or the heroes fail to deactivate the bomb before it explodes. The “will they/won’t they” is never fulfilled.

Supporters of SE argue the following:

It’s refreshing, novel, new, a fun twist on a classic tale

They like that it’s unpredictable and bold

They’re tired of stories fitting within the same wheel ruts of every other story that came before and like to see creativity thrive

It gives audiences something they didn’t even know they wanted

Haters of SE argue this:

It’s only done for drama at the cost of fulfilling character arcs

It’s a cheap gag that only works once and has zero rewatchability with the same impact

Tropes and archetypes have stood the test of time for a reason - to entertain

Plot holes ensue

When expectations are subverted and the story changes in a more positive light (like a beloved character who doesn’t die when we all think they will), the reaction is not nearly as emotionally charged as when the story changes negatively. Thus, the haters have plenty of evidence of bad examples, but minimize the good ones. Good SE is novel, or a pleasant surprise, or a quaint relief. Bad SE trashes the story and spits on the fans and destroys the legacy of the fandom.

What makes a bad subversion?

Like killing any character for shock value, bad SE takes all of the potential of a good story and gambles it for a string of gasps in the movie theater. It exists only to keep the audience on their toes, or because the writer went out of their way to change the direction of their work when fans figured out the mystery too quickly and now *must* prove all the clever sleuths wrong.

So, say your subversion is making the hero lose a tournament arc when they made it all the way to the final round and the entire story is riding on this victory. They may have stumbled along the way and had some near-misses, but they must win. Not just so the audience cheers, but because this is the direction their arc must take to be at all entertaining and fulfilling.

Then they lose, because it’s *novel* and irreparable consequences are reaped in the aftermath. They lose when, by rights, they were either stronger or smarter or faster than their opponent. They lose when the hand of the author rigs the fight against them and everyone notices.

Sure, it’s not at all what audiences expect, but you, writer, your first responsibility to the people consuming your content is to entertain them. So what purpose does this loss serve this character? How does it impact their arc, the themes that surround them, the message of your story?

Even if mainstream audiences don’t care on the surface about themes and motifs, they still know when a story fumbles. It’s not entertaining anymore, it’s not satisfying. Yes, crap happens in reality, but this is fiction. If I wanted to read about some tragic hero’s bitter and unsatisfying demise, I’d read about any losing side in any war ever in a history book. I picked up a fiction book for catharsis.

On the topic of “gritty fantasy/sci-fi anyone can die and no one is safe” – no author has the guts to roll the dice and kill whoever it lands on. Some characters will always have plot armor. Why? Because you wouldn’t have a story otherwise, you’d just have a bloody, gory, depressing reality TV show with hidden cameras.

What makes a good subversion?

Now. What if this character loses the final round of their tournament, but it’s their own fault? Maybe they get too cocky. Maybe it’s perfectly, tragically in character for them to fall on their own sword. Maybe the audience is already primed with the knowledge that this fight will be close, that there might be foul play involved, but still deny that it will happen because that’s the hero, they won’t lose. Until they do.

Then, it’s not the hand of the author, it’s this character’s flaws finally biting them in the ass. It’s still disappointing, no doubt, but then the audience is less mad at the author and more mad at the dumbass character for letting their ego get to their head.

If you write a character who’s entire goal in life is to win that trophy, or reclaim their throne, or get the girl, and they *don’t* do those things, then the “trophy” had better be the friends they made along the way, that they learned it wasn’t the trophy, it was something *better* and even though they lost, they still won. Even when expectations are shredded, the story still has to say something, otherwise the audience just feels like they wasted their time.

A good subversion does not compromise the soul of the narrative. You might kill a fan favorite character or even the hero of the story, but their impact on the characters they leave behind is felt until the very end. The hero might lose her tournament, but she still walks away with wisdom, maturity, and new friends. Heck, sports movies leave the winner of the big game a toss-up more often than not. Audiences know the game is important, but they know the character they’re following is even more important. Doesn’t matter if the *team* loses the battle, so long as the protagonist wins the Character Development war.

Good SE that should be more popular:

The “Trial of threes” – your hero faces three obstacles and usually botches the first two and succeeds on the third attempt. Subvert it by having them win on the first or second, lose all three, or have a secret fourth

Not killing your gays. Just. Don’t do it. That’ll subvert expectations just fine, won’t it?

Let the villain win

Have your hero’s love interest not actually interested in them because they realize they deserve better / Have the hero realize they don’t want the romantic subplot they thought they did

Have the love triangle become a polycule / have the two warring love interests get with each other instead, or both find someone they don’t have to compete for

Mid-redemption villain backslides at the Worst Moment Possible

Hero doesn’t actually have all the MacGuffins necessary at the Worst Moment Possible

Hero is simply wrong, about anything, about important things, about themselves

The character who knows too much still can’t warn their friends in time, but lives instead with the guilt of their failure

The mentor lives and becomes a bitter rival out to maintain their spot at the top of the charts

Kill the hero, and make the villain Regret Everything

More deadbeat missing parents, not just dead parents

Let the hero live long enough to become the villain

—

Why write a crown prince that never becomes king? What’s the point of his story if all he does is remain exactly who he was on page 1 and learns nothing for his efforts? Why write a rookie racer if he spins out in the infield in the big race and ends his story broken and demoralized in a hospital bed? Why should we, the audience, spend time and emotional investment on a story that goes nowhere and says nothing?

Cinderella always gets a happy ending no matter how many iterations her story gets, because she wouldn’t be Cinerella if she remained an abused orphan with no friends. We like predictability, we like puzzling out where we think the story will go based on the crumbs of evidence we pick up along the way, we like interacting with our fiction and patting ourselves on the back when we’re proven right.

Tragedies exist. There’s seven types of stories and the fall from grace is one of them… but audiences can see a tragedy coming from a mile away. Audiences sign up for a tragedy when they pay for the movie ticket. We know, no matter how much we root for that character to make better choices, that their future is doomed. Tragedy is still cathartic.

What’s not cathartic is being bait-and-switched by a writer who laughs and snaps pictures of our horrified faces just so they can say they proved us wrong. Congratulations? Go ahead and write the rookie broken in the hospital bed. I can’t stop you. Just don’t be shocked when no one wants to watch your misery parade march on by.

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 沙海/Tomb of the Sea/Sand Sea.

Sand Sea is the 2018 installment of the DMBJ/Lost Tomb franchise, which tells the story of the search for an ancient desert city, a fight against a secretive assassin family, the raiding of more than a couple tombs, and a whole bunch of other action-packed bullshit.

Have you ever watched an anime adaptation that outran the as-yet-incomplete manga it was adapting, necessitating it throw together a largely befuddling ending based on the available clues? That's Sand Sea. At time of production, only ~75% of the Sand Sea novel had been written. As I am making this post, that's still all of the Sand Sea novel that has been written. I finished watching the show and had a lot of questions about its loose ends. I read the book. It didn't help.

So, I'm not going to try and summarize the story, much less try to sell you on the show on the strength of the plot. What I am going to try and do is convince you it's a good time anyway.

As I mentioned earlier, it's part of a larger franchise, but you shouldn't let that stop you from diving in here. Most of the DMBJ shows and books are narrated by Wu Xie, the series' special little birthday boy. Sand Sea takes a different tack -- your main POV characters are completely new to the world of the tombs, meaning that the show explains things to you while it's explaining things to them. Wu Xie's still a major character, but you're seeing him through the eyes of a befuddled teenager who wasn't even supposed to be here today.

I'm going to give you five reasons to watch this series, and all five of them are relationships. I'm pitching it to you this way because, as was the case in my rec for Reunion (one of the other tomb-raiding dramas), I'm assuming you have zero familiarity with DMBJ, which means that any appeals to the larger franchise or its twists and turns will have no impact. Instead, I am here to sell this to you on the strength of character interactions. If you're interested in what the characters are doing, the plot will come.

1. Dudes Rock

The aforementioned teenager narrator is Li Cu, a too-cool-for-school underachiever who lives with his abusive father and has no direction in life. He comes with his two best (and only) friends: earnest pushover Su Wan and neighborhood bully Yang Hao.

They're a trio of problem children who cannot succeed by the metrics of society at large: Li Cu and Yang Hao are both from family circumstances that have hampered their ability to perform academically, while Su Wan, bless his heart, is just not that bright. They do, however, all do well when put in situations that play to their strengths and given appropriate mentorship. (Alas that all of their mentors are terrible people; see point 4.)

They're set up as an intentional next-generation parallel to the Iron Triangle, which is the term DMBJ uses for Wu Xie and his two closest people. Normally, the Iron Triangle would be the core of a DMBJ story -- but since that threesome is broken by Circumstances at the moment, these boys become the substitute triad whose friendship is one of the main bonds holding the narrative together.

They have such teenage boy dynamics, it's great. They're stupid about girls and alcohol and money and homework and all the other things teen boys are stupid about, while also being stupid enough to get themselves entangled in shadowy international conspiracies. Huge parts of the plot are fueled entirely by their dumbass decisions. But they also barely have any competent adult supervision in their lives, so you know, when you're seventeen and basically feral, renting a warehouse so you can beat a bunch of frozen snakes to death actually sounds like a good solution to the problem at the time.

It's not all comedy, though. Li Cu and Yang Hao in particular are deeply traumatized young men even before the story starts, and events of the series make it worse. They're definitely the "feelings are for girls!" type of young men, and they need Su Wan there as their eternally bippy buffer. When he's not, they can get mean.

What's also charming about this trio is that they're all pretty darn straight. In a franchise chock full of (unintentional?) homoeroticism, these three manage to keep their platonic dude dynamics pretty platonic. I mean, I myself come at most things with slash-colored glasses on, and even I'm of the opinon that they're befuddled heterosexuals struggling with how the entire tomb-raiding industry's gay. And even if you assume everyone in this entire show is straight, these boys are still going to get a bunch of real-time lessons in how to love other people, whether they like it or not!

So if you like a Teen Boy Squad of goobers who don't want to admit they're close or have emotions or anything like that, right up until they're all each other have, this may be just the thing for you.

2. The Only Good Het in the Tombs

DMBJ is not known for its high-quality heterosexual romance, to put it mildly. Most of the time, it makes the smart decision to not even try. When it does, you mostly wish it hadn't.

Therefore, you cannot imagine how shocked I was to find myself falling head-over-heels for the incredibly weird canonical love story between horny hot mess Dr. Liang Wan and emotionally constipated 80-year-old virgin and arsonist Zhang Rishan.

Their relationship goes a little something like this: He needs something from her, so he contrives a plan to ask her out. She declares him her boyfriend. He continues the relationship in order to continue getting things from her. She thinks he's hot, so she's fine with that. He warns her that continuing their relationship will involve messing with some very bad members of the Tomb-Raiding Industrial Complex. She's like, again, you're incredibly hot, so that's not a problem. He makes her memorize maps and sends her to a desert. She dresses up like him and pepper-sprays him. And somewhere in the midst of all that, he falls for her and she gets sick of his shit, and they wind up for-real dating as equals.

Part of what's so delightful about their relationship is how awful they are to one another. It'd be bad if that awfulness were one-sided, but man, they each give as good as they get. He's heartless and exploitative, and she's neurotic and insecure. She makes constant demands of him that he's almost too confused by to refuse, and he keeps putting her in situations no sane person should want to be part of. He comes from a cutthroat world of complete bastards, while she wears her heart on her sleeve whether she wants to or not. They're extremely good for one another, because he trusts her competencies and is going to make her demonstrate every one of them, while one of her chief skills is calling him on his bullshit.

It is at this point I need to sing the praises of Liang Wan, hottest of the hot messes. She's one of the principal POV characters for the novel, where she's just as boy-crazy (though for a different boy, because Zhang Rishan's not in this book) and just as far in over her head. The adaptation has absolutely done her character justice. What makes Liang Wan so charming to me is how much she absolutely refuses to let herself be stopped by being completely out of her depth. She doesn't know what the hell is going on most of the time, but fuck it, she's rolling with it. She's just also going to be applying moisturizer and anti-aging serum the entire time, because you know what, sometimes when your whole world is falling apart around you, the one thing you can count on is your skincare routine.

Zhang Rishan is surrounded by people so cool, butter doesn't melt in their mouths. He can be balls-out naked in front of them without batting an eyelash. It is her thirsty disaster charms alone that have set fire to his frozen heart. I love them to bits.

3. Enemies to ... ???

This is Sand Sea's Wu Xie. You're not going to like him at first, because he spends the first several episodes tormenting a teen who only mildly seems to deserve it. What you find out as the show goes on is that Wu Xie is having a bad time -- more than that, he's having a straight-up bad decade. He has taken a lot of psychic damage and decided to cope with it by being absolutely insane. He's a bitch with no sense of self-preservation living in constant gremlin mode. He is no longer under the active supervision of his husbands, and he's going to make that everyone else's problem.

The show chooses to start out by inflicting Wu Xie on a bunch of strangers through an arc that's bizarre, lengthy, and mostly completely unrelated to the larger plot. It does introduce a few elements that will matter, though, and one of them is Su Nan.

When Su Nan appeared as the badass head of a mercenary outfit, I was braced for one (or both) of two things to happen. Thing one, I figured she'd die or otherwise leave the narrative after the first arc, which made me not want to get attached to her, if she wasn't going to stick around. Thing two, I was all but certain the show was going to try and make her Wu Xie's love interest, which made me make such a face, because [see last point].

Neither happens. Su Nan is still around in the final episode, and what she becomes to Wu Xie is much, much more interesting.

They're not friends. They're never friends. They can't be friends, because they absolutely can't trust one another. Except sometimes they have to trust one another, and in return they have to allow themselves to be trustworthy.

In the last relevant chapter or so of the novel, Wu Xie gets his throat cut and shoved off a cliff ... and because the novel isn't finished, we have no idea why that happened or who did it. The drama decides that when he goes over that cliff this time, throat unslit, Su Nan needs to go with him. This means they spend much of the later part of the series depending on one another for survival, getting real vulnerable, sharing trauma, and occasionally fucking one another over anyway, because they are both bad and untrustworthy people.

And they're ... kinda into one another? But because it's not textual, it winds up being great. If the show had tried to write their romance, I would have hated it. Instead, it chooses to leave things fraught and unspecified, with the two of them obviously having a lot of feelings but not even knowing themselves what all those feelings are, much less how to react appropriately to them. That is delicious. Pour that right into my mouth.

I also choose to interpret Su Nan as being transfemme (complimentary), if only because that's the most charitable explanation for her dedication to keeping her tits out and her lipstick game sharp even in wilderness conditions.

4. This Man Should Not Be Trusted With Children

As I mentioned before, all members of the Teen Boy Squad wind up paired with adult men who act as their mentors. Li Cu and Wu Xie are the main duo, since they're the main character of this show and the main character of the entire franchise, respectively. Yang Hao winds up in an even more abusive dynamic with a bitch of a man who takes advantage of Yang Hao's capacity for rage. But precious baby Su Wan is lucky enough to be adopted by, well...

If you read my rec for Reunion, you will recognize him as the guy I called "this giant fucking loser" with all the affection in the world. Hei Xiazi is both the worst and the best, which makes him the perfect man to take care of the tender soul that is Su Wan.

Su Wan's a poor little rich boy who is happy to be bullied by his friends, because it means he has friends! He's a dipshit because he's sheltered by his family wealth, and he's also a dipshit because he'd be a dipshit no matter how much money he had. He needs someone to kick his ass in a way that builds him back up again and helps him make the transition from doormat to functional adult.

The circumstances that bring these two together are so batshit, they're not worth recounting here. Suffice it to say that as one adventure arc ends, Hei Xiazi is tasked with taking Su Wan home. Su Wan expresses interest in whatever Hei Xiazi's whole deal is, and Hei Xiazi responds by offering (in a roundabout way) lessons in what exactly his whole deal is.

Hei Xiazi is a terrible teacher, but he's a perfect teacher for Su Wan, who is the kind of boy who would go find the nearest dictionary if you told him the word "gullible" wasn't there. They're preciously weird at one another. The work so well together because Su Wan believes the best of everything, which leads him to see right past the parts of Hei Xiazi that other people (correctly) find inscrutable and offputting. With Hei Xiazi's questionable guidance, Su Wan finds for the first time in his naive, privileged life a goal for himself that is both achievable and worth the effort.

Later books give evidence that all three of the boys eventually go to work for Hei Xiazi, which I think is great, especially since he is somehow the least toxic and terrible of all the mentor characters. ...Man, though, that bar is low. It's a miracle anyone in DMBJ survives into adulthood.

It's also cute to think about how the boys are no doubt context-appropriately homophobic, because it's so easy to picture their respective reactions to finding out that their strong, terrible male role models are queer. Cue Li Ci and Yang Hao's respective no-homo freakouts, while Su Wan just has a million slightly offensive but ultimately well-meaning questions about how bisexuality works.

And I'm just going to say, if you watched the Untamed and loved Xue Yang? You owe it to yourself to see that actor suddenly become the sweetest little butterscotch muffin ever. ...Yes, if you didn't recognize him earlier, that's Wang Haoxuan, and he turns in an incredible comic performance here. Su Wan is consistently one of the funniest characters onscreen. The bit with the saxaphone kills me dead.

Anyway, unlike the first three relationships I've talked about here, this is one you have to wait a good long while for. Su Wan shows up in the first episode, Hei Xiazi appears about a dozen or so episodes later, but it takes their storylines much longer to cross. It's worth the wait, though, knowing that eventually you'll get to see these two weirdos bounce merrily off one another.

5. Everybody Loves Pangzi

This is the Iron Triangle I mentioned earlier. Obviously there's Wu Xie in the middle. The perfect boy in the hoodie is Xiao Ge, who is at the time of this series slightly stuck in what's basically a giant time-lock safe, so you're only ever going to see him in flashbacks. (Xiao Ge is trapped, so you can't have Xiao Ge.) And then, over there on the left is the man whose nickname translates to "fatty," Wang Pangzi.

Hold on to your butts, because I am now going to wax poetic about how much I love this fictional man.

Pangzi is the best. The best. He's funny. He's kind. He's got terrible taste in men and only slightly less terrible taste in women. He's a gentleman. He's the party shock absorber. He's prone to making things explode. He's impeccably dressed. He's charmingly superstitious. He's not subtle. He's got an excitable little stammer and an atrocious Beijing accent. He's a flexible fat man. He's the most fuckable person onscreen no matter who's onscreen with him.

He's also usually the DMBJ everyman character, except Sand Sea has a ton of everyman characters for a change, so he winds up filling the role of a badass insider instead. His job is basically to hold down the fort while Xiao Ge's indisposed and Wu Xie's off being insane. In the absence of both his beloveds, Pangzi's going to do what needs to be done, and he's going to be incredibly hot while he's doing it.

Usually, DMBJ shows serve up a huge amount of Pangzi and Wu Xie interaction. Sand Sea only puts them in the same room near the very end -- but they're collaborating throughout. In fact, the only way the whole story works is if they're basically so much in each other's back pockets that they can function as a single unit even across great distances. The record will show that I read them as husbands -- but more importantly, they're good friends who understand and trust one another completely. As much as it pains me that they're apart for basically the entire thing, they're never really apart, you know?

However, because Wu Xie is physically elsewhere for so much of the show, Sand Sea provides a unique chance to see Pangzi interacting on his own with other characters. Wu Xie is the special little boy who always takes up all the oxygen in the room -- and of course Pangzi doesn't begrudge him this, because Pangzi loves him. Without Wu Xie around, though, we get to watch all the other relationships Pangzi has cultivated over the years.

One of the best is with Xie Yuchen, a.k.a. Xiao Hua. In other series, we see the two interact, but only in the context of having Wu Xie around. Sand Sea presents us with a little window into what is clearly a longstanding friendship. From the tiny bit we get of their interactions, it's obvious they hang out on a pretty regular basis. They're chilling and having spa dates while their husbands are out there getting sandy and fighting snakes, proving that these two urbanites are absolutely the brains of their respective marriages.

...Hold up a second,

I hear you say,

IS this show actually gay? Because you keep using words like "husbands" and talking like it's intentionally, onscreen, boys-kissing-boys gay.

On the one hand, no.

On the other hand: Is Butch Cassidy and the Sundance Kid gay? Textually, taking it at face value, and especially considering the context in which it was made, no, it is absolutely not gay, nor was it meant to be gay. But when you step back and realize everything it's doing, you kind of can't avoid the really romantic implications. Maybe Butch and Sundance never smooch, maybe they don't even want to, but they're each other's other halves. We would instantly recognize what they are if one of them were a lady. In a narrative setting where gayness is unthinkable, nothing they can do can be gay, which loops around to making everything kinda gay, and ... look, I'm just saying, if Pangzi were a woman, we'd know immediately what she is to Wu Xie (and holy fuck she would be so hot). If Xiao Hua were as female as the opera characters he plays, we'd have no questions about her relationship to Hei Xiazi. Keep everything beat for beat, line for line the same, and there'd be no missing it.

This is something you get a lot with stories about men written by men, this unintentional homoeroticism from male authors who don't realize their misogyny has actually poisoned them against heterosexuality. Remember what I said earlier about DMBJ's regrettable het? So much of it stems from the assumption that getting a girl and a boy together will inevitably to romantic feelings from at least one of them, so there's no reason to bother spending time giving either of the participants any actual reasons to like one another. (Sand Sea does this too! Just with a character I haven't mentioned here, because I'm trying to talk about the good dynamics.) This kind of thinking treats women not as people, but as as basically interchangeable desirable objects. But men are people, which means the male characters' feelings are worth discussing in the narrative! So what you get is these well-developed, intimate relationships between men described in loving detail, sat right next to perfunctory heterosexual couplings -- and we're supposed to believe that one is romantic and one is not based solely on the genders of the participants? Yeah, no, I call bullshit.

And -- if you'll permit me to loop back to the boys for a minute -- we now have a model for how a straight Iron Triangle would behave, and it is not the way the actual Iron Triangle members are about one another. Those teens love one another in a way that is fierce and strong and not what Wu Xie, Pangzi, and Xiao Ge have going. Maybe it could become that, but it's not now. It's not better or worse now for being what it is, but it is different, and it makes by contrast some things very clear (and very queer).

So that is why I feel justified in referring to them as husbands and will continue to do so despite the lack of explicit textual support.

Anyway, back to Pangzi!

Where were we? Right, Xiuxiu!

Pangzi's always at his best when he gets to be a knight for someone he cares about. This time around, that's Huo Xiuxiu, who who only shows up after you've met several of her matriarchal family's other members, all of whom would be at home in a Tank Full Of Dangerous Ladies. Xiuxiu is not a fighter like they are, but she does have an object that means everyone's out to get her, and as such she relies on her Pangzi to keep her safe while she's trying to survive the fucked-up games her family is playing.

And Pangzi clearly loves it. He absolutely thrives on being the big brother/bruiser figure for her. He loves how cool it makes him look to her. He doesn't have Wu Xie around to be a tank for, so he's going to tank for her. In fact, he's even going to bring in reinforcements to help him do it. (What's the deal with the cute Tibetan boy? Look, shh, just appreciate that you've got a cute Tibetan boy.)

Then there's his dealings with the rest of the Tomb-Raiding Industrial Complex, who are a bunch of shady dudes with impressive family pedigrees and expensive suits, all of whom are trying to play twelve-dimensional chess with one another. There's going to be lots of names dropped, of families and of individuals, and the show is going to act like you're supposed to be impressed. And if you're familiar with DMBJ canon, yeah, you could be impressed! Or you could be like Pangzhi, who rolls up in his amazing Holstein shirt, not giving a single fuck what any of these rich bastards think about him.

This is actually some character development for Pangzi, who has in the past been cowed (pun unintended) by the wealthy, mostly due to his own financial situation. That stage of his life is over now. Honey badger has ceased to care. The cool, pretty people are going to try and give him shit, and he is impervious to it. You better believe the Iron Triangle trashed this fancy restaurant the last time they were in here, and if you give Pangzi half the chance, he'll fucking do it again.

No wonder Zhang Rishan likes him. A pair of little firestarters.

Don't let me oversell you on how much Pangzi is in Sand Sea, because he's not. There's maybe a dozen of the 52 episodes that have any Pangzi content, and he's only in small parts of those episodes. Pangzi is a rare and precious event, like an eclipse. Cherish the Pangzi moments and all the wonderful interactions contained within.

caveat: You call that an ending?

Buddy, if you'd seen how most other DMBJ series end, you wouldn't be asking me that. But because I'm assuming you haven't: Yes, I call that an ending, because it actually attempts to do a winddown and conclusion, instead of just wandering off on a cliffhanger. The ending isn't wholly satisfying, but it is an ending. There is a narrative, and that narrative concludes. Does the conclusion make sense and tie up all the loose ends? Absolutely not! But it does follow basic story structure and resolve the action semi-competently.

As I said about the sweet disaster that is Psych Hunter (which was also directed by the guy who did Sand Sea!), I think knowing in advance that an ending sucks makes the ending suck less. It removes the disappointment factor and lets you enjoy what is there, instead of making you grumpy about what isn't. No, you're never going to understand a lot of things. That means whatever you want to be true can be true. The book is unfinished. The series is nonsense. Canon has no hold on you. You are free.

As compensation, here's a picture of Xiao Ge without his shirt on.

Are you feeling like it's Tomb Time?

There are a couple places you can get this one! Try Viki, WeTV, this YouTube playlist (which is missing the first episode for some reason), or this YouTube playlist (which has the whole thing). Note that subtitles vary in quality from place to place. The YouTube versions also have the bizarre, amazing in-character commercials, and it's up to you if that's a plus or a minus for your viewing experience.

I love this bonkers show. It is balls-to-the-wall weird, to a point that will make you question the translation. I got to the part where Zhang Rishan explains that ancient people worshipped fish with snakes in their eyebrows, caught the fish, took out the snakes, and implanted the snakes in their own human eyebrows -- and I thought, surely that's not what he's actually saying. Nope! The subtitles are accurate. It's the show that's off its rocker.

Anyway, once you've watched Sand Sea, scroll down to the bottom of my rec post for Reunion and find out how you can get even deeper into said tombs! Trust me, there's a lot down here.

As those other posts would indicate, this would not be my first choice for how to get into DMBJ. It is, however, how a fair number of people have gotten into DMBJ, so what the hell do I know! Or maybe this post has convinced you that Sand Sea is worth watching, but you'd rather build up to it than go into it raw. That works too! Whenever you get to it, it'll be here: under a bunch of sand, tattooed and inexplicable, and extremely gay whether it knows it or not.

Go to the desert, they said. Find Gutongjing, they said. Solve the mystery, they said. Fuck it, we nap.

[buckevantommy]

they will absolutely never mention the Abby Tommy connection again. It was a cheap stunt that had zero impact on the rest of the story in 8x6 or beyond and Tim droped storylines that had way more sense than this one. Most of the people who watch this show prolly did not even remember the boyfriend that was mentioned years ago which is why they had Josh come in for an exposition dump cloaked in this masturbatory Glee speech. I also think the fact that the timeline does not fit AT ALL was the reason they cut the scene between Buck and Bobby that Oliver talked about. What was Bobby going to say? "Yeah, Tommy was engaged while he worked here to this women you were pining over for months and I never mentioned it not even when you started dating him"

Tim just has to pack is bags already and move to the spin off fulltime. He is creating a mess on OG

I mean yeah, it would be so easy to not mention it and it would track with how the show treats continuity - which sucks for most things but i will fucking welcome it for this. Also there's no reason to mention it, so. 🤞

'masturbatory Glee speech' has me chuckling because YES that's EXACTLY what it was! 😂 gawd i hated it so much.

What was the cut scene between Buck and Bobby? What ep was it supposed to be in?

But yeah - the og 118 would've known something about Tommy's supposed fiance, and also Josh? Did he work at dispatch same time as Abby? He would've known things. The whole thing just reads like someone who had a random plot idea in the middle of the night and wrote it down without remembering that previous plotpoints and established timelines and characters negate it, like it makes no sense, like it should've had a few more passes instead of rushing off the hot mess that it was to get published as the final edit, y'know?

If tim doesn't have the time or care to give these beloved characters the narrative they deserve then he should pass the torch now rather than run them into the ground. Because it's not just the Abby shit, it's the fumbling of Gerrard's storyline which should've focused on his bigoted bs and Tommy and Buck (giving their relationship more screentime and meaningful plot) and yes the rest of the diverse 118 should've played a key part in dealing with and dismantling that. But especially Tommy, given everything he'd mentioned about Gerrard and what we saw of the og 118 and Tommy mentioning his father - it was the perfect opportunity for some angsty backstory and the development of meaty dramatic plot.

And Hotshots? I was so looking forward to some actual meta fun but what we got instead was irritating, plot-hogging drivel and too much fucking Brad.

I still maintain that a great filler episode would've been Hotshots playing on the tv in the background of various scenes at the 118 and on calls and at their homes, the camera transitioning between on-set or high-def Hotshots scenes that pull out into rhe physical screens of tvs and then into whatever the firefam was up to at various points throughout the week(s). It might have started as a watch party for Bobby's premiere episodes and that kickstarts or clues us into certain firefam watching the show whether to poke fun and complain or because they like the dramatised plot. And they could've tied some of what was happening on the show into the 911 plotpoints.

Tim dropped the ball so hard this season (8A). The only episodes i enjoyed start to end and thought were written really well was the premiere with the bees and the halloween ep (although i think the car crash was a bit much, wish it was just a fun filler ep like the treasure hunt ep or the bank robbery).

[verdantcreek]

thinking about the reboot mw games collectively and it’s so sadly unfortunate because like. when put up against the other two, mwiii fails so visibly.

first of all you’ve got their thesis/emotional core, right. for mw19, it’s all about the personal motivation of being a solider, the cost of war on an individual. what it means to fight and discovering the importance of what you’re fighting for. for mwii, it’s about trust. the importance of knowing that your team has each others backs, the weight that it has between individuals. what happens when that trust is broken and how it’s found again through vulnerability, because that’s how you truly know you’re there for each other.

and then there’s mwiii..? you should let your sergeant kill a prisoner illegally so said prisoner, when he breaks out of maximum security prison, doesn’t kill your sergeant 4 years later? you should illegally kill people who piss you off (shepherd)? sure there’s the whole “never bury your enemies alive”, but where does that come in to play outside of the soap/makarov interaction? it’s definitely not a valid reason for price to kill an american general in his own office. they could’ve used it for graves if they wanted to take it a step further, but no— graves doesn’t betray the team again, for whatever reason. we’re expected to consider him just a much a member of the team as anyone else, and the narrative treats him as such outside of a few bristly reactions to his involvement.

secondly i take a huge issue with how characters were handled in mwiii. literally everyone is here, and there is no reason for several of them to be. alex felt like a cameo— you see him actually on screen for maybe 30 seconds. farah’s missions feel forced for the sake of her involvement. not that farah shouldn’t be in this game, but makarov’s flimsy reasoning for targeting the ulf is so clearly an excuse to involve her. it feels very random and transparent as a decision to reuse her character because she’s familiar. again with graves— why is he here? i still genuinely do not understand why they decided to retcon his death. it was a perfect arc for mwii to kill him, and him being alive adds absolutely nothing to the story. he has nothing to do in mwiii and there is zero reason for his involvement other than “people liked him in mwii and he has a cool accent.”

within the 141, it’s mostly rehashing of the growth/personality that each of them showed in previous games. none of them have an arc, except maybe price if you’re willing to call the *post credit scene* where he commits cold blooded murder a completion of an arc. gaz, soap, and ghost are static versions of themselves that simply are just … there for most of the plot. they’re not out of character or ruined, but none of them individually have anything going on that can’t be tied back to price.

i think a lot of it comes down to the way they tried to shoehorn mwiii into the original trilogy’s storyline. people loved those games, and nostalgia sells. i don’t think it’s a coincidence that makarov was a big marketing factor for this game— and that’s not to say that mw19 or mwii didn’t abuse that either, but in execution you can feel the difference. price, gaz, soap and ghost are all their own characters miles away from their original trilogy counterparts. makarov… isn’t. he’s a poorly written villain riding on the success of the original trilogy— he’s scary because he’s *makarov*, not because he’s a real threat. it’s cheap. the knockoff “no russian” mission felt insulting. it’s a callback with no real impact in the story, just simply “look! remember when we did this in 2009 and everyone loved it?”

and all of it culminates into a shit ending with shock factor that it tries to make you feel emotional. i’m not sad over this character death. i’m mad, because it’s unearned and lazy. i realize it’s a lot to ask a multi-billion dollar corporation to actually put effort into their stories, but… it’s such a let down when the previous games actually had at least an ounce of passion. i’m just still so disappointed with this game ruining what could’ve been a really interesting and unique story.

[ckret2]

this whole plot arc goes for Bill like,

The important thing is new hat! :) :) :) (he isn't allowed to keep the umbrella.)

You guys get it.

Mabel's never getting her congressman hat back.

4300 words written today ✌️ and I'm cutting myself off here, because if i don't I WILL just keep going until I've used up all my brain juice for the next three days. Hopefully I've saved enough energy to be capable of writing tomorrow.

Lemme see if I can find an interesting excerpt to share from today's session. Do y'all want something fun or something evil?