#It is in part about her growth but admittedly even *then* she remains rather true to her self-centeredness.

[poorly-drawn-mdzs]

License to Kitty.

[jostenneil]

Which shounen writers do you think do a good job inserting shoujo tropes? Is it only in regards to the romance?

Romance can be a significant part of it, but in general, I think it actually comes down to something that admittedly sounds a bit silly at first: simply taking the existence and agency of women seriously. The best of shoujo tropes seek to challenge women in unconventional ways while maintaining a respect for the fact that they’re women; girlish whims or desires aren’t looked down upon, but explored in depth and with nuance that can still afford growth or added perspective to the individual. Women are allowed to be strong while maintaining and even revering feminine qualities. And that’s not to say that women are only worthy of praise if they’re true to their femininity, but femininity is obviously so often used as an excuse to discard and/or demean female characters in shounen, that you get this kind of response from a portion of the audience (usually female) where seeing characters who can balance strength with femininity is really important to them, too. I think that’s why a character like Sakura is so popular among female fans of Naruto and among shoujo readers, because both those aspects of her character are allowed to prosper without ridicule to them. And additionally, her decisions and growth play a significant part in moving the story forward, so not only are her character traits taken seriously in terms of her growth as an individual, they’re also taken seriously in terms of being important to the story itself. The same can be said of Hinata, albeit to a lesser degree. While she’s not a primary character, her character traits and personality are taken seriously by the narrative, and her growth in terms of confidence and courage contributes significantly to moving the narrative forward both during the Pain arc and during the Fourth War arc. Those are things she accomplishes while remaining a generally timid and not very physically strong character, and I really appreciate that, limited page time for her aside. 

As for shounen mangaka who are capable of executing the development of female characters with the same nuance and respect as do shoujo mangaka, I honestly don’t think there are a lot in the mainstream. The few examples I can think of are women themselves—Kazue Kato, Rumiko Takahashi, Amyuu, CLAMP, Izumi Shobaki, Tomo Takeuchi, Jun Mochizuki, etc. And while I did make the comment earlier about preferring shounen mangaka who respect shoujo tropes (and narratives), I think a lot of people would agree with me that rather than necessarily trying to look for shoujo-level execution of female characters in shounen, it’s better to just. . . read shoujo. Like shounen, shoujo is only a demographic defined by age and gender. It covers as vast a range of genres and narratives within its sphere, and the propagation that shoujo is equivalent to high school romances is not only false, but also demeans the worth of high school romances in terms of narrative. If you are, however, a battle shounen fan looking for shoujo to read, then personally I’d suggest any of Yumi Tamura’s works, but particularly 7 Seeds or Basara. CLAMP are also an incredibly diverse collective who have published within just about any demographic and genre, but here specifically I’d suggest Magic Knight Rayearth or Tokyo Babylon/X1999. A lot of popular and formative horror manga are also found within the shoujo demographic, including Junji Ito’s work Tomie and infamous Year 24 Group member Moto Hagio’s The Poe Clan. There’s also Fuyumi Ono’s famed political fantasy drama The Twelve Kingdoms, which was published as a set of light novels and later adapted into an anime (scripted by the same writer for Fullmetal Alchemist 2003, which I think gives it a lot of edge personally). There’s also just lots of lists you can probably find of shoujo that incorporate the elements you’re used to seeing and enjoying in shounen, so I think those are worth looking into! The great thing about good shoujo is the fact that it tends to give equal weight to development of its female and male characters, and I think that’s a severely understated feature of the genre in comparison to so many of the shounen series we see lauded for doing the bare minimum today. 

[yurimother]

LGBTQ Manga Review - Seriously Seeking Sister

Most novels have a blurb online or on the back cover setting up the plot and hinting to the reader what experience they may be in for. There are rare occasions, especially when it comes to light novels, where such description is irrelevant because the title tells us everything we need to know. Seriously Seeking Sister! Ultimate Vampire Princess Just Wants Little Sister; Plenty of Service Will Be Provided by Hiironoame is one such light novel. There is a vampire, she is ultimately powerful, she wants a little sister, and there will be service. At first, little of this description sounded appealing, but, Seriously Seeking Sister is a surprisingly enjoyable and engaging read.

Seriously Seeking Sister begins when Ristia, the most powerful of the True Blood vampire tribe, stops time for herself out of spite for her father not giving her have a younger sister. She awakens a millennium later to discover that the land is now ruled by humans and powerful magical creatures are all but extinct, including her family, making her the ultimate sorceress. Still determined to be a big sister, Ristia determinedly sets out to find a young girl to make her “little sister.”

This setup could easily lend itself to a veritable mountain of lewd service and perverted encounters, but the story is rather tame and enjoyable. Most of the time, Ristia is just going around being nice to children and helping them out with her incredibly overpowered magical abilities, and this can be extremely fun to read about and pretty rewarding. By the end of the novel, Ristia heals the sick, saves lives, helps the poor, becomes the director of an orphanage, and establishes a maid cafe, all great deeds of selflessness! Risita accomplishes these amazing feats while maintaining the line that she is “just a normal girl,” something which no person believes as she creates magical miracles and is hailed as an angel.

Ristia’s adventures are generally satisfying and fun. Any gripes I have with the story, such as the large amount of narrative exposition, especially early on, can be offset by the enjoyable dialogue, hilarious inner narration, and well-established world and magic systems. However, there is one serious point deserving of larger dissection.

While most of Seriously Seeking Sister is gentle magical fun there are moments where more sinister and serious issues come into play. Chief among these are some of the men in positions of authority, such as the director of the local orphanage, who mistreats the children and forces one of the older girls, Maria, to perform sexual acts on him and other men. On one hand, seeing these vile creatures get their punishment at the hands of Ristia and her vengeance is immensely satisfying, but I cannot confidently state that Hiironame handled such delicate subject matter perfectly.

There is a lot that I think is done right, such as Ristia being accommodating to Maria’s trauma and healing process and the glorious exclusion of any rape scenes. However, I cannot shake my apprehensions. There is a bit too much of describing Maria’s body, and two somewhat lewd scenes where she allows Ristia to drink her blood. I cannot definitively say that the subject matter is expertly handled, I am just an ordinary teacher after all, and not capable of making such broad claims. For now, I shall digress with the conclusion that it is not done poorly or carelessly.

As the protagonist, Risita is easily the most present and established character. She is also consistent throughout the story, in both her personality quirks such as claiming to be an ordinary girl and being slightly naive about the mythical proportions of her powers and her primary goal of finding a younger sister. This drive of hers leads to many hilarious situations as Ristia tries to endear herself to younger girls to be seen as a big sister. Usually, her endeavors succeed but fall comically adjacent to her true goal. There are however a few flaws to her character.

Ristia being a vampire has surprisingly little impact on the story, and serves only as an explanation for her incredible magical powers. Her vampiric race could be used to explore what it means for Ristia to be a vampire masquerading among mortals. But, the only place her identity matters is in the sporadic hunger for her friends’ blood that causes a tiny amount of inner conflict. There are numerous other missed opportunities for inner reflection or greater personal conflict, such as her pondering what became of her family or realizing that she lost them because of her selfish actions. These instances could have provided some much-needed depth to the character.

The other characters are similarly shallow. The orphans Risita raises, the smattering of local townspeople she meets, and the noble Charlotte are enjoyable but lack any interesting qualities beyond their cuteness and devotion to Ristia to make them interesting. They have no real complex traits or conflicts in which one can get invested. Nanami, who is saved by Ristia from a dragon early in the story, is somewhat more complex. She at least gets a few scenes of growth as she becomes attached to Ristia and helps the vampire princess navigate the modern world. Unfortunately, her appearances throughout the novel dwindle after the first act, leaving her underutilized.

The only side character I became invested in is Maria, as she has an emotional and personal arc and all of several personality traits. She is severely protective of her fellow orphans but her experiences have left his distrustful and wounded. Thanks to Risita’s actions and kindness, she begins to open up and her relationship with the self-proclaimed normal girl develops naturally and convincingly. Their interactions quickly became some of my favorite parts of the novel, not for their comedy but the empathy and, ironically, humanity displayed by the girls.

While Seriously Seeking Sister is a yuri work, centering on the relationships Ristia develops with various girls, it is hard to classify it as LGBT. Keep in mind, a work being yuri does not always denote queerness. It is often up to the interpretation of the consumer to decide what is “yuri” and what is “queer.” Ristia engages in few romantic or sexual interactions with any of the characters encountered, save the previously mentioned instances in which she drinks Maria’s blood. Her primary goal is to acquire a sister, which calls to the sisterly relationships of S yuri, although I would not classify Seriously Seeking Sister as such. It is, however, more about the familial bonds formed between the characters as they become a pseudo-family unit. There is nothing wrong with these, and it can be very sweet and heartwarming, but you will not get much lesbian representation here.

As previously stated, the novel is not a very sexual work, and it is generally light on explicit content. The last line of the title, “Plenty of Service Will be Provided” could be considered a misnomer, as there is little crude content beyond the occasional reference to some characters having large breasts or the few times the color of Ristia’s underwear is mentioned. Of course, there are different forms of service, as there are a plethora of instances in which young people act cute and wholesome fun together, which rarely fails to put a smile on my face at least.

 The only exceptions to this rule are the scenes in which Ristia drinks Maria’s blood and one chapter spent in the bath. These passages read similarly to the soft-core explicit scenes found in many young adult novels. However, the book remains pretty tame and may at most cause a few of the more sensitive readers to blush. Funnily enough, the second and more sultry occurrence of this interaction does not even occur in the main story, but in one of the short supplementary tales included at the end of the book.

Seriously Seeking Sister is by no means a literary masterpiece. There are flaws in its dulls, yet admittedly cute, characters and it can struggle to keep the reader invested. However, its structure is good and the situations enjoyable. The book is a light and fun fantasy story that will likely put a smile on your face and leave you satisfied, even if it leaves little lasting impression. If such a story sounds pleasing, I encourage you to get Seriously Seeking Sister! Ultimate Vampire Princess Just Wants Little Sister; Plenty of Service Will Be Provided.

You can purchase Seriously Seeking Sister digitally now: https://amzn.to/2z41K3r

Ratings: Story – 7 Characters – 4 LGBTQ – 1 Lewd – 3 Final – 6

Review copy provided by J-Novel Club

[365daysofsasuhina]

[ 365 Days of SasuHina || Day Three Hundred Four: A Crystal Cup ] [ Uchiha Sasuke, Hyūga Hinata ] [ SasuHina ] [ Verse: Divine Light ] [ AO3 Link ]

Passing through the city gates is a bit nostalgic.

Astride his dark mount, Sasuke comes to a stop just outside, observing for a short while. The first time he beheld the Luxerian capital, the protective barrier was still erect, shielding the city from outsiders. Its roads had been ghostly, empty and silent as he, his brother, the light mage, and Hinata all made their way in toward the castle atop the knoll, and the statue of Luxeria standing guard. It was there the healer at last found the knowledge necessary to cure Itachi entirely, and repay her friend’s side of the debt: the agreement between the fire and water mages then complete. Hinata had gotten away from her father, learning about magic...and in turn, Sasuke’s brother was cured at long last.

From there...things seemed to snowball.

Determined to resuscitate the city of her ancestors, the lux mage had enlisted both Itachi and Hinata’s help in rebuilding the council of the twelve elements. Itachi agreed to take igni’s mantle, and Hinata aqua’s. 

Sasuke...had felt betrayed.

His brother had promised that - once his body was whole - they would return home to their parents and finally enjoy a normal, healthy life. It was the one thing that had kept Sasuke on this path: the promise of his brother’s vitality, and seeing their parents’ faces upon their return. At first, he’d been angry - livid - convinced that the lux mage had twisted Itachi somehow to get him to agree to such a hare-brained scheme.

And Hinata, too! She’d been friends with the healer before he’d met her, but still…! Did all their journeying together - all they faced together - mean nothing? Was she really ready to throw away the freedom she’d earned and become shackled to another destiny? Give away her autonomy to involve herself with politics?

All Sasuke had ever wanted was a free, peaceful life with his mother, father, and brother...and suddenly, everything felt like it was falling apart. Perhaps it was childish...but he chose to be angry: chose to blame the lux mage and her ambitions for Itachi’s change of heart.

...of course, that had only been partially true. The blooming friendship between the pair - with hints of something more than friendship - had swayed him. But once he managed to corner his younger brother, Itachi had explained his feelings: of wanting to help restore balance and peace for their people. No longer would the el’ven have to live in fear and hiding.

Hinata, too, admitted to similar feelings. Her own family’s flight took place when she was old enough to remember, unlike Sasuke’s in his infancy. It weighed on her far heavier...as it did on Itachi, who also witnessed the downfall of their city.

...it took time, but he came to understand, if a bit stubbornly. And after meeting with the monster slayer and assassin Kakashi, Sasuke honed his skills further, taking to the road as his brother and Hinata pursued their own futures. It’s been a year, now...and he’s finally returned.

Maturity has stripped a bit more of the fat from his face, hair longer and half-tied in a tail behind his head. His brashness has tempered with patience after so many hunts and contracts. Finally, it seems...he’s grown up.

His year on the road has changed him greatly...and helped him see many matters from another angle. It’s that alone that brings him back, and at this particular time. In only a few days, the second of the new council meetings will begin.

Hence the current bustle in the city, so unlike his first glimpses of it. Allowing a hint of a smile, he gently urges his horse forward, shod hooves clacking pleasantly against the stone streets. Those on foot part like water to let him pass as he makes his way to the stables. Mount housed, he then makes his way up to the castle doors. Guards preside carefully, asking his name.

“Sasuke, house of Uchiha,” he replies evenly, seeing the recognition in their eyes.

“Oh, aye sir! Please, make your way inside.”

Nodding, he passes them into the entry hall. Flawless white stone and peerless glass windows seem to alight from all angles. Even here there are considerable crowds: mostly palace staff, alongside Luxerian acolytes dressed in white and gold. Intermixed are other elemental colors, the twelve represented and gathered to prepare for the week of festivities and negotiations.

For a time he stands and watches the bustle, mostly unnoticed as he only receives curious glances. He doesn’t stand out much in his plain traveling gear and cloak, looking every part the wanderer and sellsword he’s become.

“...Sasuke…?”

For a moment, the tone stills the beats in his chest. Then a glance aside reveals Hinata. Pale eyes are wide in surprise, posture half hesitant as though weighing the decision to reach for him. The traditional colors of Auquiana - deep and shallow blues - color every inch of her garments, accented subtly by silver. Her hair is still long, loose along her back.

“...Hinata.”

Brightening, she abandons her indecision and approaches him, bearing a warm smile. “What are you doing here? Did Itachi ask you to come?”

“No...I’m here of my own volition. Thought I’d see how things have progressed in a year’s time.”

“I see…! Then...have you plans to remain until the summit is over?”

“Perhaps. We’ll see how it holds my interest.”

That earns a wry smile. “I’m sure it will. Even if you’re not a fan of politics, the meeting of cultures is always of intrigue. I’m sure if you asked, Itachi would let you sit on his council if you wished to see the proceedings up close.”

“...we’ll see,” he replies vaguely, not too keen on the political side of things. “I hear there’s a gala…?”

“Yes, for the dignitaries and their parties, as well as some notable guests.”

“So...those with deep pockets,” Sasuke counters.

“Some, yes. Others are experts in ven, or in negotiations. Some are just important members of each culture. This isn’t just for the rich and powerful.”

That just earns a hum. “...well, I suppose I might at least participate in that, if I must.”

“It’s by far the most entertaining day,” Hinata agrees. “It’s the first, so we all begin on a friendly, light-hearted note. At least...that’s how it felt last year. We’ll see if history repeats itself. But for now...why don’t we catch up? It feels like it’s been eons since I’ve seen you…”

“Is a year really that painful?”

Hinata gives him a glance. “...was it not so for you?”

“Well...I kept rather busy.”

“As did I. But I always found myself hoping you’d write.”

A bit of guilt settles in his stomach. “...next year,” he half jokes, half promises.

“You’d better…!”

Hinata dispels her entourage, and the pair retreat to the back gardens. They aren’t alone, but the atmosphere is quite a bit less stressful than the interior of the castle. As they come to a stop nearby a fountain, a member of the staff seems to appear out of thin air, holding aloft a tray with crystal goblets filled with sparkling white wine.

“A bit early for that, isn’t it?” Sasuke asks.

“It helps keep things...relaxed,” Hinata replies in jest, accepting a crystal cup.

After a pause, Sasuke does the same, taking a small sip. “So...how has all of this treated you?”

“It’s hard work, especially since we’re still only just beginning,” she admits, watching the water. “But we’ve already made excellent headway. Treaties and new political lines are always in the works. Things are changing...slowly, but surely. The relations between el’ven and el’kor are bettering. Tensions remain, but...it’s to be expected.”

“How has my brother fared? He’d write me on occasion but otherwise I heard little - he was always vague and light on words.”

“In all honesty, I doubt I can tell you much more. As much as we work together, so too do we have plenty to do apart. But you’ll see him soon - I think he’s due to arrive today or tomorrow.”

“It will be good to see him…”

Hinata glances to him thoughtfully. “...and it’s good to see you,” she murmurs. “I take it the road treated you well enough?”

“Fairly. I sent most of my earnings back home. It hasn’t been glorious, but honest enough. Engaging enough.”

“Don’t you ever get lonely…?”

“...a bit.”

“...is that why you came back?”

His lips tick upwards. “...maybe it is. At the very least, in part. A break in the monotony is always good. There’s variety in my work, but it’s all still work.”

“Mm...I understand.”

For a moment, they stand in silence...and then Hinata lifts a hand. Casually, playfully, she starts manipulating some of the water in the fountain.

In a way it makes Sasuke nostalgic, thinking back to the first lessons he gave her about the powers her father had forbidden her to use.

“I guess our paths have no intention of slowing any time soon, do they?” she then murmurs, letting the liquid meld back into the pool.

“...I suppose not. But maybe that just means we enjoy what we have while we have it.”

A brief smile flickers across her face. “...maybe. At the very least, I intend to.” Hinata gives him a glance. “...which includes your company.”

“...I look forward to it.”

                                                         .oOo.

     More crossover with my original fantasy verse! Admittedly this one hasn't had much...story? At least not linear among all I've done with it: just random bits and pieces, sort of like the ALAS stuff. Hence not linking things (yet) because it's really all over the place lol      Speaking of, I HAVE been slowly working on a spreadsheet trying to get all of these sorted into mini series. Maybe by year's end I'll be done :'D      But yeah, not much to say about this one...just a lil reunion after some character growth. I kinda DO want to make a fic out of this, maybe...I'm just wary since it has original elements of mine. I've been doing one with a friend of mine's OC and mine, and a few canons...but SH really isn't in it, as it takes place a bit later than this...kinda? So idk if anyone here would be interested lol      Anyway, I'm...very tired, and in a lotta tooth pain, so I'm gonna call it a night~ Thanks for reading!

[littlemisssquiggles]

as a fellow pinehead, i dont personally ship rosegarden. i have no problem with it, but i just wish there was more content that focused solely on oscar instead of his relationship with ruby. i appreciate your blog since you actually make a lot of stuff pertaining to oscar specifically, i just wish it was more common ;w;

Inthe fandom or in the series? I’m assuming it’s the series because I think there’sa good bit of Oscar-themed stuff in the Pinehead community like art andtheories =D

Asfor the series…I…well----IfI’m being completely honest Flame, even though I’m a big Rosegardener, Iwouldn’t want Oscar’s entire story revolve only around hisgrowing relationship with Ruby either. Though I enjoy every last Rosebud bonding momentthe series tosses my way, if Oscar’s character comes to only focus on his bondwith Ruby and nothing else then it would unfortunately fall into the same issueI had with Oscar’s story with Ozpin.

Whatintrigued me the most about Oscar as a character was his potential. What drew me towardsOscar wasn’t his connection to Ozpin but how the writers were going topotentially tell his story as this newestaddition to the hero cast while going through the transition of being theperson that’s meant to become Ozpin’s successor. I was intrigued to see how thewriters were going to handle Oscar’s development while juggling his conjoinedstory with Ozpin and any shared relationships the two might have with othercharacters.

However, thus far, one could make the debate that Oscar’s story and personality has mostly been forged by his ties to other maincharacters meaning that his overall presence thus far has mostly served todrive another character’s narrative while not really touching much on his own.

If it’s not Ozpin then it’s Ruby and if it’s not Ruby then it’s Jauneand there hasn’t been much attempt to fleshhim out beyond that. This justifies why C9 upset me so much. Rather than havingthe episode focus on how Oscar handled taking in Jaune’s accusations againsthim from C8 or even showing both Jaune and Oscar’s feelings in the episode as aforeshadow to them growing close as potential teammates. Instead, we only gotJaune’s perspective while Oscar’s was completely omitted from the episode, toldto have happened off screen which left some Pineheads very dissatisfied.

Oneother complaint about Oscar in V6 C9 that I’veseen is that the Writers used him as a plot device to drive development forJaune as opposed to what C8 set up which looked like Oscar’s feelings weregoing to get touched upon. As much as I’ve gotten over some of my gripes aboutC9, Oscar going from being depressed in C8 to being perfectly fine in C9without much on-screen address will always remain jarring me.

WhenI review C9,somehow I feel like there was supposed to be a short 12-13 minute standaloneOscar-centric episode between the events of C8 and C9 that would’ve explainedwhat happened with our farm boy after he went missing in Argus that got cutfrom the season. V6 was originally announced to have 14 episodes before reducingto 13. I feel like if the CRWBY had gotten the chance to do the original 14, wecould have gotten that Oscar-centric episode that tied into C9. But…that’sjust me assuming things.

Notsure how long you’ve been following my blog Flame but forthose who’ve been reading my musing posts since V5, I’ve been gunning for Ozpinto be temporarily taken out of the story solely for the possibility of theWriters finally  given more depth toOscar as his own person outside of his story with Ozpin.

InV5,Oscar mostly took a backseat to Ozpin. I went into V5 thinking we would get to seemore of Oscar’s own personality as he learns to become a huntsman whileconnecting with RNJR and simultaneously training to fill the big Wizarding shoesthat he was meant to take over. Instead what we mostly got was Ozpin stealingthe screen time rug from underneath Oscar’s feet pushing him to the back as wegot more of him than Oscar.

Oneof the common critiques I heard for Oscar is that he’s been treated like a body suit forOzpin---a new face the old Wizard could wear while the Writers didnothing to develop Oscar as his own person.

Asa Pinehead,I hated hearing that complaint about Oscar because obviously there was more tohim than just a body for Ozpin to take over when he saw fit, as most Pineheads seeOscar. However, I unfortunately couldn’t blame other fans for thinking that waysince…well…the show hasn’t really done much with Oscar within two seasonsadmittedly. Not really.

Evenwhen Ozpin is out of the story, we still didn’t get to learn much else aboutOscar. With Ozpin going into isolation, I was hoping V6 would have been the season wegot more insight into Oscar as his own person. Did we? Well the verdict is stillout on that since the season isn’t complete yet. But if I had to answer thisquestion based on what the volume gave us within the last ten episodes, theanswer would be a disappointing no. Though the set up for Oscar’s growth wasdefinitely there, it didn’t exactly go anywhere...at least...not yet, maybe there’s still a chance. 

I mean we still gotthree whole episodes left for our precious farm boy to shine like gold brighter thana supernova but I can’t help my slight skepticism based on this season’s run with him. Nonetheless I am curious to know what the full payoff of this season is going to be like for Oscar.

After all that’s happened this season in ties to Oscar and Ozpin, how is it all going to end?

This is why I started toying with the concept of Oscar returning from the dead as immortal after sacrificing himself to protect someone he cared about, like Ruby.

This way the Ozma legacy would continue with Oscar without the threat of him losing himself in the process. We all pretty muchanticipated Oscar eventually taking Ozpin’s place within the hero team but thisway, Oscar doesn’t have to change who he is. 

He can still be his own person, cementing what Ruby told him in V6 C4. 

“...I’m just going to another one of his lives, aren’t I?”“Of course not, you’re your own person.”

If immortalized, Oscar can still be himself and thus,we as an audience can still be given more opportunities to learn more aboutOscar as himself. Oscar can still fulfill his destiny as one of the Wizards ofLight but still make it his own by having his experience and final outcome be different from his predecessors.

Istill stand by my hunch that Oscar is meant to be the one to end it all. Endthe vicious cycle of reincarnation. End the curse. 

It would be such a cool twist if Oscar met the God ofLight in the Realm between Realms and begged the God to grant him immortalityso that he could end the suffering of Ozma and the past Wizards; instead usinghis newfound power to protect the lives of the people who matter the most toOscar all the while fighting to stop Salem as her true adversary.

Jinn said that in time Salem wouldmeet her adversary but when you look at it like this, was Ozma ever trulySalem’s destined foe?

Think aboutit. Ozmawas originally Salem’s lover. Her former companion and the father of her children.Though they became sworn enemies who fought against each other, a part of mewould like to believe there is a part of Salem and even Ozma that stillharboured love for each other.

What I love about the Fairy Tale romance is that they shared a deep love so strongthat Salem was even able to tell that it was Ozma’s soul from behind the faceof Diggs when they reunited the first time. Salem loved Ozmaso much she even recognized him in the body of another man. That’s powerful.

Iknow Salem hates Ozma now but imagine if all that hatred she feels is just herlove corrupted by the burning destructive magic that turned Salem into thewicked witch she is now. As a matter of fact, there is something I’ve wonderedabout Salem. If Salem was able to sense Ozma’s soulfrom inside Diggs due to their love, if Ozma’s soul is to disappear completelyfrom this world…would Salem feel it?

Likelet’s say my theory about Oscar coming back from the deadalone as himself immortalized with Ozpin and essentially the culmination of allthe other Wizards over the centuries, including Ozma, going off to the afterlifeto rest in peace…would Salem feel Ozma no longer being a part of Remnant?

I know this conceptseems farfetched but somehow I’m picturing Salem as being the type of person who holds a grudgefor a very long time but the minute they discover that the person they’ve hatedfor so long is gone---truly gone forever, suddenly all that anger and ragedisappears as their true feelings forsaid person start to resurface.

Likepicture Salem being alone in her lair when Oscar is revivedand she suddenly senses Ozma’s soul disappear.Like even though they’ve been apart for eons, somehow through her corruptedheart there has always been something that still connected Salem to Ozma. A little light oflove. Though Salem did her best to cover that light, still it remained.Taunting her. Bothering heruntil she had no choice but to snuff it out sendingher forces to kill the source of that light.

Butjust like life, the light would always return until one day, the light finallydisappeared and unlike the previous times, it felt different.

Imagine…how Salem would feel tolearn that Ozpin---Ozma is gone. Truly gone. Somehow, I can just picture Salembeing in her lair of darkness when she suddenly gets a feeling of the windbeing knocked out of her. She then clutches her chest as she realized whathappened. He’sgone. He’s…actuallygone. No longer did she have the light that connected her to Ozma. 

He…was gone again and for a second time, Salem found herself in a world withoutthe man she defied the Gods for. And for the first time in years, what she feltwasn’t pure rage. But a familiar sadness that she hasn’t felt since the day shefirst lost him and when Salem looked at her reflection, she was surprised tonot see herself but the face of a young woman crying for the loss of the manshe once loved for the second time in her lifetime.

Thatcould really interesting. I doubt we’ll get something like this for Salem inthe canon but it could’ve been something interesting to send off her characterstory for this volume. After all, we haven’t seen her since C4 but c’est la vie.

Ithink it would be really cool if the adversary Jinn foreshadowed Salem having isin fact Oscar. And if Oscar becomes an immortal justlike Salem, incapable of dying just as her then that would make him her true adversary as opposed to the original arrangement with Ozmaonly reincarnating in the bodies of likeminded souls.

Butas always, these are only my theories. I feel like we have a higher chance ofseeing Ozpin come back or the Merge occurring than Oscar actually changing thecycle with his sacrifice to be the last reincarnation.  Buuuuut I’m still going to play with the idea.Whether it becomes canon or not, I really like my Oscar Immortalized/ The Last Wizard of Lighttheory too much to let it drop. Can’t wait to discuss it more next week.

Inthe meantime, I’m really glad you enjoy my content Flame. Thank you so much forappreciating my stuff and putting up with my bazillion and one Pinehead headcanons XD 

I’dlove more Oscar-centric content too, mainly from the actual show. But we got threeepisodes remaining m’friend. Who knows? Maybethe CRWBY Writers might surprise us with something truly Oscar-worthy.

~LittleMissSquiggles (2019)

[alittleyellowdinosaur]

The Dragon Prince Season 2 Review

*SEASON ONE SPOILERS IN THHIS SECTION* i love this show and, unless another Voltron situation happens, that’s not going to change. But I find myself... disappointed with this season. Mainly bc it felt like a season of filler episodes. Yes we had some developments, largely with Caleb’s magic and his relationship w Claudia, as well as Claudia and Sorens relationship and Virens Evil Plan™️. But 3 of the 9 episodes were on just Caleb and Claudia in one place, with the same issue that could have been resolved in one episode leaving room for more, and 2 of the remaining 6 episodes were mostly backstory on Caleb and Ezran’s mother. And while yes, I was very excited to learn about her it was just... lackluster, as it was told as a story by Viren and not a more meaningful way, such as Caleb’s memories, or in a letter from his mother, for example. The remaining episodes were mostly focused on Caleb’s magic. It just felt like filler as these things could have been dealt with in more exciting ways. I hate to bring up Voltron, but in the episode where Shiro connects to the black lion, that was still engaging and didn’t feel like filler bc there were exciting things happening during this, and their was a deadline. In this season, very little action happens, and most of it is in backstory, and the things that (in this case of the one episode of voltron) took one episode, took a whole season, even though about the same progression took place. It’s just boring, and made the season feel like filler.

Especially because the whole time there is never any real danger or time pressure. Rayla begins the season saying “danger is coming” but Claudia and Soren show up later that episode I think and don’t wind up being that dangerous. The rest of the season there is no real time constraint except us being told, not shown, that they need to get Zym to Xadia soon. Although you might say Viren causing trouble is the danger, it’s not really present in the narrative as he isn’t sending people out to get the trio and the trio has no idea what he is doing.

Now for some LARGE SPOILERY points I’d like to make about the season (I apologize if formatting gets weird here, I’m writing this one my phone and it, well, is tumblr. Also I can’t find the mobile version of the read more button.)

In this season there is a lot of development of Caleb’s romantic relationships, specifically with Claudia, and briefly at the end with Rayla. Although I admit I have not looked up their exact ages, appearance wise, to me, Caleb looks 15 or so, and the girls look late teens early twenties. This, to put it simply, makes me very uncomfortable. In Season one, I was perfectly fine with Caleb’s puppy dog, schoolboy crush on Claudia. It was realistic to how a young teen might feel towards an older friend as he is first hitting puberty, and I found it cute. But now Claudia is reciprocating, and not just in a motherly, older sister way. She’s doing her hair up, she’s goin on a date with him, and they nearly kissed. I find this unacceptable as the age differences between them are too large, and regardless if the young one is a boy, that’s still very much not ok. Maybe technically she’s only a few years older than him, but as it isn’t stated and appearance wise she is much older seeming (since you can’t expect viewers to look up the wiki, this is what I have to go on), I strongly disagree with this, and the same concerning Rayla. He is, from my interpretation, 15. That’s not ok and I’m extremely mad about this. I hope it gets resolved in a way that is appropriate but I worry it won’t, and I worry more about the message that sends to young boys that they should let older girls hit on them when that’s no more ok than an older man hitting on a younger girl.

My second big complaint is how lgbt rep is handled in this season. Bc yes, we got some!!! And they died two episodes later!!! Not even, if you do some critical thinking as to why their daughter is ruling as a child queen with no parents. But yes, they kill the two lesbians who show up, although they are very much canon, kissing and a kid and all. They kill them, and although it is necessary for the narrative and not just thrown in there to get rid of them, it still sucks bc it’s still the trope that hurts so many of us. Now do I think this is the only lgbt rep we will get in this show? Absolutely not, I firmly believe we have yet to see the true lgbt characters revealed (still hoping for Amaya...) and I don’t believe this was all we will get, however those episodes haven’t been released yet and as of our knowledge this is all we have, and it’s a kill your gays trope. I just can’t agree with this, even though again, it was necessary to the narrative and wasn’t just a dismissive death and move on.

Oh and one last quick thing disliked. In this season, Soren briefly becomes a quadrepeligic. It’s handled rather well, in my opinion, with Soren trying to find the good in it and crack a joke as is his way, and Claudia nearly having a mental breakdown bc she doesn’t have a spell to help. But then she pulls one out of her ass and heals him. And although I am not disabled nor do I have any disabled friends, I find this a bit rude to the community (please do tell me if I am wrong about this however and you believe the disabled community is fine with this as I am not certain). The community doesnt have a magic solution to solve their disabilities. That’s not an option. And in my, admittedly unknowleable opinion, I think they should have let Soren remain disabled and truly showed how that affects the life of someone who previously relied on fighting. I think it would have added a whole other layer to the show of both diversity and intrigue. Do I think this was a slight at the disabled community? No I don’t, simply concerning how we know they don’t have a problem putting characters into the show with disabilities, and doing it well too (Aka Amaya making tasteful jokes about being deaf and using actual ESL, and Vallads, a pirate character from this season who DOES use magic assistive technology to deal with his blindness and it works amazing). But I do feel this was a wasted opportunity for character growth for Soren by helping him realize fighting skills aren’t all that make him who he is, and also an interesting way to creatively work in magical assistive technology (a la the flying wheelchair from A:TLA)

Lastly I’d like to talk about some good things about this season bc I’ve bashed it enough for one day don’t you think? Viren’s whole thing with the mirror was boring as hell yes, and only contributed to the filler season feeling, however it was intriguing and I’m curious to learn more about the man in the mirror, so I appreciate that mystery. I liked the development of Claudia and Soren and how it showed what might be the start of Claudia’s descent into Dark Magic. I enjoyed the whole part where Callum was sick and struggling with using dark magic, and how it was taken as a bit of a joke on the deep important hallucinations, while still being a deep important hallucination. Also the inclusion of memes (“one does not simply walk into Xadia”) and the pirate Vallads. I just find this shows ability to make light of itself to be really enjoyable and part of why I love it so much. Ezran is as always an absolute bean and he grows so much in this season. Caleb acknowledging why Rayla struggled to tell him about his father and not letting it drive a wedge between them like it would in so many shows (and would be frustrating like it always is) was so mature and I loved it. Claudia’s development about her mother, Queen Sarai’s whole section, and Harrows letter were all amazing bits of development, especially in the case of Claudia, about how hard it is on kids when parents divorce, while also acknowledging why there was a divorce and that it wasn’t bad that the mom did it. Also the explainations Of magic and the Sunfire (I think that’s what they are called) elves were awesome (who else is now shipping Amaya and that one leader elf??) I think a lot of the development was super amazing and I loved it all, and by no means do I think this season will be a blight on the show as a whole, I just think it very much had some faults and I look forward to seeing some more plot focused episodes!!

[angeltriestoblog]

I watched a couple of movies! (Part 2)

Back again with the second bunch of my latest quarantine companions! My last post wasn't that long ago, but I’ve already gone through an additional 21 and thanks to the extension of the lockdown and the abrupt cancellation of the rest of my sophomore year in college, I predict that this number will only increase exponentially. I obviously have to start looking for a sustainable way of reviewing the media I consume (probably will try dumping mini-reviews on Letterboxd instead), but until then, here is today’s little catalog: divided into four neat categories so there’s a little bit of everything for everyone.

Dead Poets Society (1989, dir. Peter Weir) ★★★★½

John Keating is the teacher we secretly deserved yet never had, which is probably what's behind the fervent loyalty audiences have had for this movie since its release around three decades ago. His methods of teaching are admittedly unorthodox, but they effectively instill in fictional students and real-life audiences the core message: to seize the day and be extraordinary. I definitely would have appreciated more of Williams, though: I noticed later on that he was used mostly as a plot device, as the focus started to shift to the impact his words had on the group of young boys under his tutelage. But, thankfully they are endearing and lovable in their own little ways (special mention goes to ambitious Neil, played by Robert Sean Leonard; and Ethan Hawke as timid Todd), which is why the last half-hour remains one of the heaviest in recent memory.

Mrs. Doubtfire (1993, dir. Chris Columbus) ★★★★

When Daniel Hillard’s (Robin Williams) wife splits up with him and takes their kids, he disguises himself as an English nanny called Mrs. Doubtfire and applies as their housekeeper to be with them. Not exactly the most realistic and practical approach to an issue as serious as divorce, but it succeeds by banking on heartfelt humor to strike a chord in products of broken families. When you take his several antics, punchlines, and vocal impersonations aside, he is simply a father willing to do anything for his children. Williams was destined to be the lead for this: his comedic timing, sheer versatility, and natural ability to bring joy remain unparalleled. Such a shame I didn't get to grow up with this guy, but maybe this saved me a lot of heartbreak.

Catch Me If You Can (2002, dir. Steven Spielberg) ★★★★★

A con man successfully cashes in millions of dollars worth of checks as a Pan Am pilot, doctor, and lawyer, whilst evading the FBI agent who’s hot on his heels. And this is all before he turns 19 years old--what a total underachiever. The best part? It’s a true story. I find it hard to believe that this clever cat-and-mouse story lasted more than two hours: it's easy to lose track of time thanks to its dynamic and snappy screenplay, coupled with the chemistry of its brilliant lead actors (no less than Leonardo DiCaprio and Tom Hanks). But beneath the complex and technical aspects of his scams that have high entertainment and educational value lie touching moments that may be admittedly easy to miss. At the end of the day, these escapades were nothing but some twisted coping mechanism of Frank Abagnale, Jr.’s to deal with the divorce of his parents. *blows nose into handkerchief* Wow, I seriously didn't think something could be so fast and fun, yet so depressing either!

Good Will Hunting (1997, dir. Gus Van Sant) ★★★★★

Academy Award-winning writers Matt Damon and Ben Affleck may look like they share a solitary brain cell in total (a prime example would be this footage of their acceptance speech), but it was the power that radiated from that which brought us this instant favorite of mine. This engrossing story revolves around a janitor at MIT, with a genius-level IQ but a troubled and traumatic past. A scuffle with a police officer leads him to Sean, his therapist (and platonic soulmate) who breaks down his dangerous defense mechanisms and self-destructive patterns, helps him tackle his inner demons, and ultimately transforms his life. There is a lot to adore about this film that’s equal parts wit and heart, but my favorite has to be the razor-sharp and realistic dialogue between Damon and Williams. Smoothly transitioning from topic to topic—genuine friendship, abusive relationships, and everything in between—it gives us the opportunity to monitor Will’s growth while carefully examining these aspects of our own lives. With every word said, the audience is reminded once again of any person's innate capacity to change for the better as long as someone else believes in them.

Lost in Translation (2003, dir. Sofia Coppola) ★★★

Film Twitter and the Letterboxd community both made this out to be an outstanding piece of modern cinema, so I went in with very high expectations only to be sorely disappointed and unable to understand the hype behind it. This revolves around two lonely people who find solace in each other and the unfamiliar and unpredictable territory they're in, a storyline brimming with potential that just fell flat to me. I normally appreciate the beauty in silent and ambient scenes, but the ones that made up a huge bulk of this feature didn’t have substance—it was similar to watching mashed-up clips from some random travel vlog. I did find the choice of location fitting though, I am now a hundred percent convinced I should travel to Japan once this pandemic is over. And Scarlett Johansson is incredibly talented for her age: her ability to channel and characterize emotions that a 17-year-old may not even be able to comprehend is above par, which is the main reason why this gets a passing rating from me.

Forrest Gump (1994, dir. Robert Zemeckis) ★★★★★

What I would give to run into a chocolate-eating, Nike Cortez-wearing Forrest Gump at a bus stop, and hear him tell me these fantastic stories himself! This heartwarming tale shows the manner in which he weaved himself into significant historical narratives (literally and figuratively, thanks to the power of deepfake) and injects timeless lessons along the way. Tom Hanks is undoubtedly brilliant as the titular role, and as we see the world according to this feeble-minded and well-meaning man, we come to admire his values, appreciate his efforts, and forgive his occasional shortcomings. In this fast-paced and overly complicated world that we struggle to navigate, this can serve as a necessary breather, a reminder of the simple joys that the world has to offer.

Celeste and Jesse Forever (2012, dir. Lee Toland Krieger) ★★★★

I think this is the first time I’ve witnessed a breakup end rather amicably on the big screen: there's no screamfest that concludes with a cold slap to the face and a dramatic walkout, or a courtroom confrontation that unearths past transgressions, et cetera. Instead, the leads are forced to confront the fact that the friendship they have forged years before that eventually blossomed into something more will never be the same again. Even if they want to so, so bad. I guess that’s why this is so heartbreaking, and thus the perfect companion for any person in the process of finding themselves after the demise of a long-term relationship. Celeste (Rashida Jones) meanders through the process with an extreme lack of finesse—which is the most realistic way to do so—that heavily accentuates her several fatal flaws. But, she manages to finish strong, emerging as a self-reflective and action-driven version of who she was in the beginning. I definitely wanted additional exposure for Jesse (Andy Samberg), though, who was not only surprisingly tender and sensitive in contrast to the Jake Peralta we know and love (and want to pick on), but also an unexpected perfect onscreen match for Jones.

A Star is Born (2018, dir. Bradley Cooper) ★★★★

The third remake of the 1937 movie starring Janet Gaynor and Fredric March, this edition of A Star is Born strays far from the paths traversed by its predecessors (and this I am aware of, from that film analysis video binge I did recently). It’s the first to give Jackson Maine (Bradley Cooper), the has-been with a raging alcohol and drug problem, extensive back story that draws audiences closer to him. But, this character arc comes at the expense of Ally's, the talented singer that he propels to fame, played by Lady Gaga. It was a shame she wasn’t fleshed out as much as she should have been, given that Gaga was a natural, her vulnerability a far cry from her outrageous onstage persona. But, then again, expectations must be kept realistic: it would’ve been impossible to cram that into the specified duration. Nevertheless, I thoroughly appreciated it: though rehashed several times, a romance done this way keeps its key components while catering to the preferences of this generation. The soundtrack is outstanding, and the climax—though somewhat expected—finds new ways to reduce us to a puddle of tears, particularly as the last song number start to roll.

Fall in Love At First Kiss (2019, dir. Frankie Chen) ★★½

Our Times has been a favorite of mine for years, so I couldn't believe that I missed this work from the same director which starred the same male lead during its initial release. Turns out it didn’t make much of a difference whether I watched it or not. The storyline was silly, but forgivably so: in a school where students are segregated based on intelligence, a stupid girl is smitten by the smartest boy in school and gets rejected as soon as she confesses. Consequently, hell breaks loose after they are forced to live together for reasons you have to see to believe. I remember enjoying the first half, squirming in my seat because of Jiang Zhishu (Darren Wang) every chance I'd get. I can’t pinpoint where exactly it started going wrong, but I remember realizing that it is possible for something to drag along, yet also move so fast: to bore me with excessive detail in a single scene, then cut to the next so fast it loses a sense of continuity. In addition to that, the female lead (Jelly Lin) was so unbearable in terms of her acting style and character development (or lack thereof). She seemed to think that constantly complaining in her shrill voice and thrashing her limbs was a fitting substitute for dialogue, thus making it difficult to want her to get her happily ever after. Also, I’ve had pretty intense crushes in the past few years but what she has for Zhishu is bordering more on an unhealthy obsession—I have trouble believing he reacted so calmly to the shrine that she built for him (which included life-size pillows with his face on it).

The Object of My Affection (1998, dir. Nicolas Hytner) ★★½

I was very confused as to why I had never heard of a chick flick that starred two of my favorite actors from the 90s, but now I understand why it didn't take off. (Phoebe would probably share my sentiments. What's her best friend doing with her husband anyway? And why is he attracted to men?) Nina (Jennifer Aniston) is hopelessly in love with her gay best friend George (Paul Rudd), so much so that she decides she wants to raise her unborn child with him instead of with her overbearing and borderline manipulative boyfriend (John Pankow). Though it wasn't a complete disaster given that she didn't successfully convert him, Nina was far too demanding, constantly overstepping her boundaries, and feeding her delusions. Maybe it could afford a modern retelling since I know our generation could tackle the concepts of platonic soulmates and LGBTQ+ relationships in a way that is simultaneously vibrant and sensitive.

How to Lose A Guy in 10 Days (2003, dir. Donald Petrie) ★★★★★

Once I had tried my luck in a number of different genres, I decided to reward myself with a return to the cheesy, corny, and conventional chick flicks I am familiar with—and I’m glad that I picked this one! Andie Anderson (Kate Hudson) is a magazine columnist with her biggest scoop yet: an article on how to lose a guy in 10 days. To test this idea out, she tries it out on Ben Barry (Matthew McConaughey), who’s on a mission to make a girl fall for him within that duration as well. Their conflicting agendas lead to disastrously hilarious results as they realize that they’re both *gasp* catching feelings for each other! I enjoyed this very much despite the predictability, although I’m honestly unable to judge it based on any criteria other than what I felt which was pure and utter, slamming-the-table, throwing-my-stuffed-toy-across-the-room “kilig”.

Just My Luck (2006, dir. Donald Petrie) ★½

I didn’t expect this to be on the forgettable side of the romcom spectrum, when it had Chris Pine as the leading man and Brit-pop band McFly lending their music to most of the scenes (the sole redeeming factor I found). But, I guess it’s Lindsay Lohan’s character and her surprising lack of chemistry with the equally attractive and talented person opposite her that killed it for me. Here, she plays Ashley, the luckiest girl in the world who gets everything her way and is thus as snobbish and stuck-up as you’d expect her to be. A chance encounter brings her to Jake, who is the human equivalent of a black cat standing in front of a broken mirror, and swaps their fate. She is then left to deal with poorly contrived misfortunes with effects that are bordering on slapstick comedy: she gets doused in mud, mildly electrocuted, and soaked in bubbles shortly after blowing up a washing machine and I get that they’re probably supposed to be funny, but all I’m seeing is a live-action version of the Looney Tunes show.

Eighth Grade (2018, dir. Bo Burnham) ★★★★★

Entering our awkward preteen years has always come with a certain and specific kind of mortification, but I reckon it’s become increasingly difficult in the age of the Internet. It’s become easier to find fault in oneself for the pettiest of reasons: why isn’t my crush accepting my friend request? Why do I look like a monster in my #wokeuplikethis selfies? Why is no one viewing my YouTube videos even if I work hard on them? Eighth Grade encapsulates this difficult period in the lives of Gen Z kids with the use of experiences and references which are so specific to this generation: I may have gotten whiplash more times than I would care to admit. Elsie Fisher shines in her painfully relatable performance as Kayla: you can sense her desperation for social acceptance. She just wants to be worth noticing and remembering, is that so bad! Although his role is often overshadowed, I also felt for her dad (Josh Hamilton), who tries to hide the struggle of looking out for a daughter who's growing in ways he simply can't understand.

Boyhood (2014, dir. Richard Linklater) ★★★

This ambitious effort by the director of my favorite film trilogy observes the growth and development of a typical American boy named Mason. No fancy plot devices or major conflicts are in sight, but by using the keeping the cast members fixed during the 12 years it took to put this project together instead of swapping them out for older counterparts, audiences are expected to form an emotional connection with them because they were given an intimate and prolonged look into their lives. Unfortunately, this wasn’t the case for me. Yes, I did watch him grow up before my eyes, but I barely know who he is. These mundane snippets of his life haphazardly stitched together, without any indication of how much time has elapsed since the previous scene, made it hard to keep up with the pace and look at the viewing experience as anything but a chore. I honestly am puzzled as to why I endured 165 minutes (I’m kidding, it was for Ethan Hawke) worth of footage, and sadly it wasn’t even worth it.

Brooklyn (2015, dir. John Crowley) ★★★★

This drama about the migration of an Irish girl to New York to seek better opportunities delves into the concept of what home truly is, as Eilis is left to choose between two men from two different countries. Divided into three segments revolving around pivotal events in the protagonist’s life, it sensitively tackles the experiences and issues familiar to any immigrant, remains true to the period it is set in, and engaging to audience members of all ages. Most in the historical genre are incapable of doing all three, so that's definitely no mean feat! And I’m not biased because Saoirse Ronan plays the starring role, although her compelling performance renders it impossible for anyone who claims to have a beating heart to finish this without puffy eyes and a heavy chest.

Happy Old Year (2019, dir. Nawapol Thamrongrattanarit) ★★★★

I thought Chutimon Chuengcharoensukying couldn’t top her role in Bad Genius, but she just had to come along and star in this personal take on new beginnings. Here, she plays Jean, a girl in the process of decluttering her house so she can transform it into an office space. While sifting through her possessions, she finds certain things belonging to people from her past, that remind her of broken relationships and question her philosophies on forgiveness and letting go. Her performance may be understated compared to the cunning and reckless Lynn she has become popular for, but I see this mastery of restraint as indication of her growth as an actress. The film is relatively simple in its execution, staying true to its central theme of minimalism. By stripping the structure down to the bare essentials of actor and dialogue, the audience can focus on the poignancy ingrained in the most mundane part of our everyday routines.

The Edge of Seventeen (2016, dir. Kelly Fremon Craig) ★★★★

It's actually true that a coming-of-age movie has been written based on every definitive moment a teenage girl experiences, they weren’t lying. The Edge of Seventeen could serve as part of Eighth Grade's cinematic universe, but instead we’re dealing with another reflection of who we were (or maybe still are). Nadine (Hailee Steinfeld) is a teen constantly teetering between arrogant self-assurance and sheer hopelessness. When she loses her best friend to her worst nemesis, she suddenly has to learn to navigate the ups and downs of adolescence and deal with her mental illness on her own. Besides focusing on the several firsts that we often encounter during this stage in our lives, the film accurately portrays our angsty and self-deprecating nature without resorting to mockery, therefore calling us out on this reflex we have of beating ourselves up and giving those around us permission to do so during such a critical part of our lives. I swore I was actually going to try not to cry here, but I guess Nadine's tearful monologue left me with no choice. (I'll leave it below so you can suffer with me.)

You know, ever since we were little, I would get this feeling like, like I’m floating outside of my body, looking down at myself… and I hate what I see: how I’m acting, the way I sound, and I don’t know how to change it. And I’m so scared that the feeling is never gonna go away.

The Kingmaker (2019, dir. Lauren Greenfield) ★★★★

This documentary is a fitting introduction for anyone who isn't familiar with the ill-gotten wealth and abuses the Marcoses have lying underneath their glossy veneer of opulence as well as the consequences of their actions that we suffer from to this day. Greenfield’s juxtaposition of this family’s fabricated stories and the testimonies of victims and first-hand witnesses was a smart move, as we observe the lengths they often go to, to revise the course of history. By spotting the parallels in their narrative and that of Rodrigo Duterte, the next strongman the voting population would unfortunately elect as their leader, we are also given a glimpse into the selective amnesia of the Filipino people that keeps these people in power. The danger lies in the fact that being an outsider herself, Greenfield leaves plenty of room for interpretation: there is no clear-cut statement of what was right and wrong among the several interweaving statements we heard. I was able to determine which was which is due to the fact that I already had prior knowledge, but where does that leave those who don't?

By the way, if you’re wondering why this has been grouped under this category, it’s because I remembered from Grade 6 science class that anger is one way to trigger adrenaline in the body.

Inception (2010, dir. Christopher Nolan) ★★★★★

Perfect always felt like a lazy way to describe what is supposed to be of superior quality. If you want to sing praises about anything that good, you're gonna have to do a better job than that to convince anyone that it's worth their time: was it inventive and bold or cerebral or emotional? Well, I'm afraid I have to bend this rule for Inception for the sake of brevity, because if I leave myself to ramble on about everything this did right, I would surely run out of adjectives. This sci-fi-heist-psychological thriller is in a league of its own, with its intricate plot and layered method of storytelling further amplified by stellar cast performances, masterful editing and special effects, and a thundering musical score that keeps audiences on edge for the entirety of its run. These elements come together to create a production that resonates and lingers with viewers long after the credits have rolled, partly thanks to that highly disputed final scene. (If my opinion is worth anything here, I believed that it stopped. Iykyk.)

The Lobster (2015, dir. Yorgos Lanthimos) ★★★★½

In this dystopian society, single people are required to check into a hotel in the hopes of finding a suitable partner within 45 days. If they fail to do so, they are sentenced to live the rest of their lives as an animal of their choice. It’s an absurd plot, far removed from reality, executed in a bleak and dry fashion. Yet, it manages to mirror and even satirize the world of modern relationships rather profoundly, particularly the societal pressure to couple up and find our ideal match instantly, or face harsh judgment. I doubt I've watched anything this dark in my life, but I found the unpredictable twists and turns, the deadpan humor, the sheer strangeness of it all very amusing and recommend it to anybody who wants to learn a thing or two about how blind love can be.

Ocean’s Eleven (2001, dir. Steven Soderbergh) ★★★★

I admit I was as pissed as Rusty Ryan (Brad Pitt) following his discovery that the reason why Danny Ocean (George Clooney) was keen on carrying out an elaborate heist of the three biggest casinos in Las Vegas was to win his wife (Julia Roberts) back. But, along the way, I was reeled in by the airtight pacing of the multiple scams that were a part of the scheme and the natural banter that takes place among the members of the ensemble. Also, it’s quite impossible to be annoyed at something that starred so many big names during the peak of their careers. (I have a soft spot for Matt Damon, thanks a lot Good Will Hunting.) Although I already knew what was going to happen, it was a joyride to see everything unfold. Based on the ending (and the copies of Ocean’s Twelve and Thirteen that my dad owned as a kid), I can tell that it’s far from over and I’m surely looking forward to what happens next.

So, that’s it for today’s round-up! Hope something caught your interest: I’d be happy to send 123m*vies links for any of those that aren’t available on Netflix. Feel free to hit me up too: I'm honestly up for thought-provoking discussions and straight-up keyboard smashing. Wishing you love and light always, and don’t forget to wash your hands, check your privilege and pray for our frontliners!

[dingoes8myrp]

A Word on Buffyverse Ships

I've been thinking a lot about the romantic relationships of Buffy, the canon ones and the fandom ones. I've never really committed fully to one ship or another, nor have I condemned one or another. I've watched them, I've analyzed them, sure. But I've never picked one or voted one off the island. I suppose it wasn't the reason I watched the show, so I never saw the point.

Recently, I rewatched both shows as an adult (rather than a teen/collegiate). It's amazing how a few years can bring new perspective to things. Writing my own fanfiction and reading that of others as well as engaging in many wonderful discussions here with other fans has really made me think about which ships I'm really ride or die for, and which I could do without. So, here's my take for those interested (since I've given my two cents here and there in many of your discussions, I'm sure). Please feel free to reply, discuss, or what have you.

I'm going to talk about these basically chronologically (to the best of my memory). I haven't scoured the Internet for every single ship, so these are just the ones I've thought extensively about recently. If there's one I don't mention and you're curious about my thoughts, drop me a line.

Xander/Buffy – A Nice Thought I enjoy the idea of this one in a post-show timeline. As a teenager I think Xander is way too immature and judgmental to be a good fit for Buffy. During the rest of the show's run they're on different pages romantically and don't seem to want the same things, so I don't think there was ever really a right time for them to be a couple during the show storyline. Although when I read the rumor that Sarah Michelle Gellar and Nicholas Brendan pitched the pairing for season six I gushed a little. I do think by the end of the series Xander has displayed a remarkable amount of growth to become a humble, supportive man. He's loyal to Buffy in the way that he's by her side no matter what. Even if he disagrees with her or if he's angry at her, when push comes to shove he's in the fray right with her. However, he's not a yes man. He's not so enamored with Buffy that he doesn't see her flaws, and he's not afraid to call her out (albeit a bit brutally) when he thinks she's making a mistake. He also accepts her for who she is, even the parts he doesn't understand. I don't think these two would work as a lifelong pair, but they'd be an interesting match if the timing was right for them. Ultimately, I think it was a good move that this one remained unrequited.

Buffy/Angel – Meant to Be I have conflicted feelings about this one. I do not think it was a healthy example of a relationship, nor do I think it was intended to be a romanticized thing for people to aspire to. To me, the Buffy/Angel relationship always came off as a cautionary tale. Buffy was young and naïve at the start of their courtship, and the guy had a checkered past. "Oh, but he's different. He's changed." Her mother didn't approve, stating Angel was too old for Buffy (rightfully so). All the iffy red flags were there. I think Buffy was good for Angel, motivating him and helping him grow. But, I think he might have been a hindrance to her, as he always became priority over anything else (like oh, say, an apocalypse). One of my favorite Buffy moments is when she sacrifices Angel to prevent the Acathla apocalypse at the end of season two because she overcame that very issue. As an aside, I think Angel was a bit shady in his relationship with Buffy, knowing it wasn't the best thing for her, that realistically a life with him would mean a lot of sacrifice on Buffy's end. But, he pursued it anyway. The part where he had sex with Buffy and lost his soul is a bit suspect for me. The show seemed to steer us toward the direction that he didn't know exactly what "a moment of true happiness" meant, so that he couldn't really know sex with Buffy would make him lose his soul. But I have to think he knew it was at least a risk or a possibility. In my opinion, he was a bit reckless with that relationship, always going against his better judgment. So, I have my beef with this relationship for sure, and it's not my personal favorite. However, I think Angel is the person Buffy always measures everyone else she dates up to. He's the one for her, and I think Buffy is the same for Angel. Therefore, these two are my OTP, much to my chagrin.

Giles/Jenny – We Hardly Knew Ye This is a tough one. I wish we'd gotten a bit more time with Giles and Jenny because they barely got to be a relationship. Because of that, it's hard for me to land on it. They have kind of a nice bickering Pride and Prejudice thing happening, which is amusing. And it was nice to see Giles have his own life outside of being a watcher and a librarian. I also love Jenny as a character. She was portrayed in a way that I could imagine running into her teaching at my high school. She was a character I could see actually existing as a part of my world. Sadly, I don't see this as a long-lasting relationship. Mostly because they didn't know each other very well and never struck me as madly in love. Had they gotten the chance, I'm not sure it would have worked out, particularly with that slight deception on Jenny's end that put her at odds with Buffy.

Oz/Willow – The One I Want to Want This ship is particularly close to my heart for many reasons. Willow is probably the character high school me could relate most to, and Oz is my all-time favorite Buffyverse character. I can't explain why. He just is. I think for much the same reason I like Jenny. Because he's someone I could have gone to high school with (you know, aside from the werewolf part). This was the relationship I lived vicariously through when I was single or feeling bummed about a break-up. Oz was kind, considerate, quietly charismatic, drily witty, intelligent, and endlessly patient. He wasn't some knight in shining armor, or a smoldering heartthrob. He was just a guy, like any other guy I could have known. The fact that Willow caught the eye of a nice guy gave me personal hope for my own situation. Some days it still does. Oz is the dude I would date, marry, and have little werewolf babies with. Willow is my spirit animal. So, even though these two aren't an OTP for me as a fic writer/reader or a fan, they are my favorite ship. I could go on and on about them, so I’ll keep it short and sweet.

Spike/Drusilla – Eyeballs to Entrails These two are one of my favorite ships on the show. They're dark and twisted and they're both formidable villains when they want to be. But Spike, despite his undeniable edge, is so gentle with Drusilla and so devoted to her, it was one of the first hints of depth we saw in a vampire other than Angel. And Drusilla, despite her timid personality, had so much power in that dynamic. She was a strong woman, a force all on her own. These two are an OTP for me. I think if Drusilla had never left Spike he would have stayed with her forever. If Drusilla managed to get a soul she and soul-having Spike would probably reconnect with interesting results.

Spike/Angel – I'm Sure That's a Thing I don't really see a window for this in the run of the shows, but I totally believed these two were a Louis/Lestat type of thing back in the days of the Whirlwind. I definitely see a lot of subtext there, intended or not.

Cordelia/Xander – Well, There's Something You Don't See Every Day I… don't know where this one came from. When Cordelia and Xander shared their first dramatic kiss I think I laughed. "Oh, what a funny reaction for these two to have in that moment." And then that moment continued into a pretty substantial relationship. I never quite understood why these two were ever a thing. Realistically, yes. I get it. We've all watched two people get together and started taking bets on the date of their inevitable break-up. And on some levels I get the appeal. It's The Shop Around the Corner effect: these two can't stand each other, so naturally they need to be together. I did like the depth this relationship uncovered in Cordelia, but it's not one of my favorites.

Willow/Xander – Ugh. Really? Okay, I'm admittedly biased on this one because I've told you how I feel about Willow/Oz. I also have a general pet peeve when it comes to stories taking two characters who are good friends and deciding they have to pair them. It bugs the crap out of me that a man and a woman aren't allowed to just be friends in anything ever (except for Lucas and Haley in One Tree Hill and I love that about that show). I also can't stand love triangles. In conclusion, I hated this. Blasphemy. Never should have happened. Oz is a saint for forgiving Willow. Cordelia has every right to be pissed off about it. Xander's a dick for having the nerve to pull that Bewitched, Bothered, and Bewildered crap.

Buffy/Faith – Now That You Mention It… A relationship between Buffy and Faith never occurred to me when I watched the show. Then I read some fanfiction and some discussions about some subtext between these two. So, when I rewatched the show recently it was like "Wow, how did I never see that before?" One of my favorite moments in the show is the shared dream between Buffy and Faith at the end of season three. There is so much going on between these two women. I'm not sure the timing for a pairing was ever right for them in the show. Buffy was kind of closed off to Faith in the beginning, threatened by her and distant. Then once Faith went rogue I think she did some pretty unforgivable stuff as far as Buffy's concerned. Faith could say the same. Buffy did try to kill her. I don't think Buffy would ever forgive Faith for poisoning Angel, or for the body swap, but I don't think Faith would fault her for that. And I think Faith could forgive Buffy for stabbing her. I wish there was a window somewhere in the story where I could see this ship happening. Maybe post season seven. I'd have to think on it. However, I think these two women have a unique bond and, under the right circumstances and in the right plot, I could see this happening.

Giles/Joyce – Awkward I'm glad this was just kind of a fun one-time thing because how awkward would that have been? I feel like Joyce is always a bit competitive with Giles when it comes to Buffy. On the one hand, she respects Giles and appreciates how much he cares for Buffy. On the other hand, she resents him at times for endangering Buffy or for taking her away on some level. I think these two would always have a difference in opinion on what's best for Buffy, and that would kill any chance at a relationship they might have. How funny was that Band Candy episode, though?

Xander/Faith – Wait, What Just Happened? Again, I'm glad this was a one-time thing because – wait, what? This struck me as a plot device, a way to show us Faith was more dangerous than we thought. Tough break for Xander.

Xander/Anya – Haha! Oh, Wait… You're Serious? The issue I have with this ship is that it became a running gag on the show that Xander always fell for the monsters or the weirdos. Even when their relationship started, Anya was so awkward and out of place it was comedic. So when they made Xander and Anya a long-term couple I could never really take it seriously. I was always waiting for the punchline. It didn't help that as the show progressed they sort of gave Anya the Eric Matthews treatment and she went from trying to get used to being a mortal to "Who dropped her on her head?" Although they kind of grew on me, I never really considered this a realistic or long-lasting pairing. I did like Anya's arc after Xander bailed on their wedding. We got to see her trying to return to her demon ways and feeling conflicted. We got to see Xander struggle with the idea of a healthy marriage. That was all well and good. I just don't see this as an OTP kind of thing.

Riley/Buffy – A Breath of Fresh Air This is another ship that I personally really enjoy. Riley is a good, solid guy who's a badass in his own right and doesn't mind dating a woman who's independent and badass. I think Riley and Buffy had a healthy relationship, for the most part, until that clunkily executed break-up at the end (I think the show could have written that better). This wasn't quite a relationship I related to or lived vicariously through because Riley's not really my type and I couldn't really relate to Buffy much during this point in her arc. But, I enjoyed watching this ship and I really wanted it to work. It was healthy and safe, and Buffy never has enough of that in her life. However, I think the issues in the relationship were realistic. Buffy got kind of closed off and neglectful, and Riley got insecure and needy. Had that fortuitous and conveniently timed job offer not come along, I think these two could have eventually worked through those issues with some effort and commitment. But, I don't think Riley could ever hold a candle to Angel, so as long as Angel was in the picture I think he was always SOL.

Tara/Willow – You Make Me Complete This ship took me some time to warm up to, mainly because I felt like they wrote Oz out a bit unceremoniously so I didn't quite buy the quick progression to Tillow. However, I think these two had one of the most functional, realistic relationships in either of the shows. I would consider it THE most functional relationship if the whole addiction to magic arc with Willow hadn't happened (but that was a bit manipulative and unhealthy). I think Willow truly became whole as she grew over the course of her relationship with Tara, and I think Tara could breathe with Willow and feel comfortable with herself. I can't picture these two ever being as fulfilled with other people as they are with each other. I would have liked to see more of Willow coming to terms with her sexuality and dealing with that, and I would have liked to see a bit more development with the relationship. But these two are an OTP for me.

Spike/Anya – I Almost Forgot About That I didn't like this either. They just shoved these two together, got them drunk, and had them sleep together. It felt very contrived to me and I wasn't a fan.

Angel/Cordelia – I Guess You'll Do I never quite bought into this. It's very similar to Jenny and Giles for me in the way that it was hinted at that these two might have warm fuzzies for each other, but nothing was ever significantly done with it. For me, I don't know if I see this as a viable relationship. A lot of that is due to Angel being hung up on Buffy.

Cordelia/Doyle – A Face You Could Learn to Love These two had so much potential and I wanted so badly for them to be a couple. Another Jenny Calendar effect here where there was barely anything to suggest a possible relationship. But I think the chemistry between the two characters was spot on from the start. From the second he sees her Doyle's head over heels with the idea of her and she's rolling her eyes all "as if." But then they get to know each other and he genuinely appreciates the person she is. Unfortunately she never really gets to know him at all, so I don't really know how that relationship would have panned out. But I would have loved to see what would have happened.

Fred/Angel – Handsome Man Saved Me from the Monsters I'm glad this never became a full relationship in the show. I like the fact that these two were genuine friends and there weren't any romantic strings attached. Fred had a bit of a crush in the beginning, but I think that was a confusing mix-up on her part more than actual feelings. He saved her, so she automatically developed an appreciation for him. Overall these two had a sweet friendship and, while I think it could have developed into something under the right circumstances, I'm really glad it didn't.

Fred/Gunn – What Could They Possibly Have in Common? I'm not sure how these two ended up together. Opposites attract, I suppose. It just didn't feel like a real relationship to me. I tried to picture these two sitting around bored and talking and I had no idea what they'd possibly talk about. I feel like they'd be having a strike out conversation. "Do you like movies?" "Oh, I haven't really seen too many. I do like some of those old black-and-white romantic movies." "Oh. I'm not much for romance. More of an action kind of guy." "Oh… Have you read any good books lately?" "Uh… Not really. Been a little busy sharpening my knives and stakes." "Oh, right…" *cricket, cricket* It's not quite that I don't like this ship. It's more that I would have liked to have seen more of it, how it developed and how they worked. I didn't really have enough evidence to buy into it.

Fred/Wesley – Too Much Alike I understand the appeal of this ship, but in my opinion these two are too similar for a relationship to work well. I think they're much better as friends.

Buffy/Spike – Love Me, Hate Me I have a lot of personal bias with this one and it brings up some unpleasant feelings for me, so I don't think I could ever fully get on board with it even if I tried. That being said, I could see why this made sense at the time. This was always a relationship I could see happening under the right circumstances. Well, the stars aligned in season six and there you have it. The thing I don't like about this ship is how very unhealthy it is on both sides. It's very manipulative and abusive, and while that would be just fine if the two of them were soulless villains, it felt pretty out of character some of the time, particularly for Buffy. There was always a forced nature to it for me, which maybe was the point. Anyway, overall while I can see how it makes sense and I get the appeal, this isn't one I can rally behind because it makes me feel too icky.

Angel/Faith – Huh. Well, That's Interesting There's a lot of potential here. I think Faith and Angel understand things about one another no one else really could. They've both done terrible things (and enjoyed it), and they're both on sort of an impossible road to redemption. After a certain point, these two quietly became pretty ride or die for one another. And believably so. I didn't really see a place in the show's storyline where their pairing could have realistically fit, but I could see these two being a pair under the right circumstances. I think problems would arise because Angel's OTP is Buffy, and I think Faith would be very troubled by the idea of being compared to Buffy. But, it would be an interesting run while it lasted.

Wesley/Lilah – A Sharp Turn This was unexpected, but very cool. I liked that we saw a darker edge to Wesley and a softer side of Lilah. I also believed this relationship from the start. It made total sense to me at the time even though I didn't see it coming. These two had a mutual respect for each other, and they challenged each other. I also think they were very much in love, but neither of them really wanted to voice it (and I think they understood that about each other). While this relationship wasn't good for the rest of the characters involved because it sort of took Wesley away from the group, I like this ship a lot and it has the potential to be an OTP in my book. I would have needed to see a bit more of it.

Angel/Darla – It's Complicated I have mixed feelings about this one. While I think Darla and Angel totally miss the mark, Darla and Angelus are a perfect match, much like Spike and Drusilla. I think Angelus and Darla have a mutual appreciation for torturing and ruining others, and I think Darla understands exactly who Angelus is and is content to let him be that. He may not be devoted to her or even in love with her, but she's okay with that. As long as she's a part of the fun and she's in on the plans. It's not like she's entirely loyal to him either. She has her own agenda and likes her independence. However even human Darla and soul-toting Angel didn't really click for me. I think these two only work when they're both soulless monsters.

Connor/Cordelia – Eww, Why is This Happening? This was just gross. Wrong on so many levels. Cordelia was a mother figure to Connor, so her having a romantic thing with him was just icky, amnesia or no. Don't even get me started on the "It wasn't really Cordelia" thing. However, on Connor's end I totally understood it. He never knew Cordelia as a mother figure. She was someone who was in a similar position he was in. They were both sort of lost and out of place, and neither of them trusted the group of people claiming to be their allies. I also think Connor sort of needs something to do or he goes a little sideways. He needs a thing to kill, a task to complete, or someone to protect. Cordelia was a purpose he could cling to, and cling he sure as shit did. However, this is another one I think was blasphemy and never should have happened. It was outright character assassination for both of them.

That's about all the steam I have. If I think of anymore ships I'll do another entry. In the meantime, please comment, discuss, or message if you feel the need.

[recentanimenews]

Bookshelf Briefs 9/24/18

Anonymous Noise, Vol. 10 | By Ryoko Fukuyama | Viz Media – Finally, the concerts are going well. Seeing the band actually being fantastic and getting the audiences going is a joy to watch. That said, though, this is still primarily a romance manga. Yuzu manages to confess, but Nino’s just not that into him—she still is in love with Momo. That said, she’s upset about hurting Yuzu, and (in the best scene in the book) opens up to Miou about it. This allows Miou to finally put aside her own demons and admit that she’s in love with Haruyoshi, though he admittedly connects a lot of the dots there in his own favor. That said, Black Kitty absolutely just tore it up. Can In No Hurry top them? This is still one of the better potboiler shoujo manga out there. – Sean Gaffney

As Miss Beelzebub Likes, Vol. 3 | By Matoba | Yen Press -The shotacon I grumped about last time is noticeably absent from this volume (it’s even lampshaded), and I’m not sure that’s the reason I liked it more, but it’ll do. Frankly, I want to see Beelzebub and Mullin get together. I know I will be very, very frustrated as this series goes on, but I’m sorry, they’re just too cute! I’m not quite as fond of the other romance in this book, mostly as I just don’t like Astaroth all that much, and I feel that Sargatanas could do better. There’s also some amusing humor here, including a swimsuit-buying chapter filled with a lot of jokes and fanservice. This series is never going to be anything but froth, but the froth is tasty, and I enjoy it way more than I expected. – Sean Gaffney

Astra: Lost in Space, Vol. 4 | By Kenta Shinohara | Viz Media – There’s a new character introduced at the start of this volume, who was in cryostasis from her own spaceship wreck. At first I thought she’d be a villain character, but it actually turns out that she’s there to be the viewpoint character, as the rest of our cast are getting further and further away from that as we learn their big secret. It certainly explains why they were all mysteriously in that accident—not so mysterious. I feel bad for Aries, who ends up being the only one with a parental figure who wasn’t awful. I’ve no idea where this will end up, but we do get another (amusing) pairing happening here, so my guess is it will wrap soon. – Sean Gaffney

Barakamon, Vol. 16 | By Satsuki Yoshino | Yen Press – To my surprise, Handa actually seems to be getting legitimate students for his school, as well as taking inspiration from his father to do some awesome calligraphy and also worry about Naru. That said, this is Hiroshi’s book. He graduates, and despite Rina’s attempts to confess he goes off to Tokyo single as he’s a bit clueless, but also apparently not really all that into Rina, so it’s probably for the best. There’s lots of nice relaxing stuff about Hiroshi growing up and standing on his own, and it really does feel as if the manga is quietly coming to a close at this point. I’m not sure if it will have a “real” ending per se, but as long as it turns out nice, relaxing volumes like this I’m still reading happily. – Sean Gaffney

Escape Journey, Vol. 1 | By Ogeretsu Tanaka | SuBLime – Naoto Hisami and Taichi Hase dated in their first year of high school, but were better as friends than as a couple and eventually broke up after harsh words were exchanged. Now reunited in their first year of university, they try to be friends but eventually fall back into the same unhealthy pattern. At first, things are consensual, but Naoto wants there to be more to their relationship than just sex. He rents a DVD to watch together, but after Taichi sees a text from a girl on Naoto’s phone, he gets jealous and ends up sexually assaulting Naoto. Are there any kind of ramifications for his actions? No, reader, there are not. For some reason, Naoto takes part of the blame and then it’s all glossed over. I like broken characters, and their relationship dynamics are interesting, but I don’t think I can read any more of this. – Michelle Smith

The Girl from the Other Side: Siúil, a Rún, Vol. 5 | By Nagabe| Seven Seas – I hadn’t really thought that this series could get any creepier and darker, but way to prove me wrong, Girl from the Other Side. Shiva’s aunt may not be “dead” in a normal sense, but as a character she certainly is. I felt some empathy for her plot-related backstory, as she’s presented with a choice that has no good options. There’s also a brutal fight between Teacher and two guards who have been cursed, which would be quite nasty if the art weren’t so abstract. And so Teacher and Shiva are on the run, and hoping that a different village will make things slightly more relaxing. I’m pretty sure it won’t, but I am interested in seeing how this finally ends—is there any way it can end happily? – Sean Gaffney

Interviews with Monster Girls, Vol. 6 | By Petos | Kodansha Comics – It’s been over a year since the last volume of this, and since then the anime has made its impression. This may be why all of a sudden the relationship (or rather lack thereof) between Tetsuo and Sakie really comes to the fore here, and there’s much less focus on the girls. Not that I’m complaining—the author is really good at writing sexual tension, and by the end of the volume you will be screaming for these two to just screw already. The other major focus of this book is Yoko, Tetsuo’s niece, and her zashiki-warashi, who turns out to possibly be in Yoko’s head all along? Or not? If I were to take one monster girl manga to a desert island, it would be this one. – Sean Gaffney

My Brother’s Husband, Vol. 2 | By Gengoroh Tagame | Pantheon Books – I am still thrilled that My Brother’s Husband was released in English. The second half or the series may be even better than the first, perhaps in part because it had such a strong foundation upon which to build. Yaichi remains the most well-developed character—understandably as his growth as a person is a major focus of the series—but more is revealed about Mike as well, and through him Yaichi’s brother Ryoji. The story is beautifully structured with ending scenes paralleling those from the beginning, showing how much Yaichi has matured in such a short period of time, confronting and overcoming the homophobia he hadn’t at first realized he had internalized. My Brother’s Husband is not a subtle manga, but it is a legitimately moving one. By realistically portraying how prejudice and discrimination directly impact the characters’ lives and deeply inform their relationships, Tagame’s message of love is made abundantly clear. – Ash Brown

My Brother’s Husband, Vol. 2 | By Gengoroh Tagame | Pantheon Books – Oh, don’t mind me. I’m just over here sniffling because one dude told another dude “You’re family, Mike” and then later they hugged. It’s true that at times the revelations Taichi has about homosexuality fall squarely in “no crap, dude” territory, but at least he’s having them. (It’s especially gratifying that he refuses to indulge the homophobia of Kana’s teacher, as well.) He gradually realizes that not only has he become completely comfortable in Mike’s presence, but Mike has become so important over the course of his three-week visit that Yaichi is starting to envision the Canadian being a real part of their lives going forward. I liked the implication that Yaichi and Kana will visit Canada someday and Yaichi will get the opportunity to be the tourist, learning about a part of Ryoji’s life he’s unfamiliar with. This was a really touching conclusion. Highly recommended. – Michelle Smith

By: Ash Brown

[javraghhh]

What are you talking about? This was the whole episode!

License to Kitty.