#REST IN PIECE OBELISK HAM

[embarressment-erradicated]

trains, that hasn't existed in the good ol' us of A since before the dinosauress rexs roamed the whole world. back in that day, it was the best way to get around, now, underfunded, slashed, and now?

trains are back in fashion after the trucks killed joan F. ken, thus causing a town wide revolt. many a train had been made in those times, and this? this is one of them.

so I'm here to say that from cascadia to transylvania, and BEYOND we now have a 88 way train way, and YOU, yes YOU can get on it for around 2 pounds, a dozen pesos, 100 yen, 13 of whatever canada uses, and a single coin from ancient sumerian tax collectors.

safe travels!

Reblog to open a rail line from your blog to the person you reblogged this from

[inthedayswhenlandswerefew]

But You Can Never Leave [Chapter 4: City Of Dreams]

Series summary: You are an overwhelmed and disenchanted nurse in Boston, Massachusetts. Queen is an eccentric British rock band you’ve never heard of. But once your fates intertwine in the summer of 1974, none of your lives will ever be the same...

This series is a work of fiction, and is (very) loosely inspired by real people and events. Absolutely no offense is meant to actual Queen or their families.

Song inspiration: Hotel California by The Eagles.

Chapter warnings: Language, not really angst but you can FEEL that the angst is coming, pre-angst???

Chapter list (and all my writing) available HERE

Taglist: @queen-turtle-boiii​ @loveandbeloved29​ @killer-queen-xo​  @maggieroseevans​ @imnotvibingveryguccimrstark​ @im-an-adult-ish​ @queenlover05​ @someforeigntragedy​ @imtheinvisiblequeen​ @joemazzmatazz​ @seven-seas-of-ham-on-rhye​ @namelesslosers​ @inthegardensofourminds​ @deacyblues​ @youngpastafanmug​ @sleepretreat​ @hardyshoe​ @bramblesforbreakfast​ @sevenseasofcats​ @tensecondvacation​

Please yell at me if I forget to tag you! :)

He calls you at home, at the bare-bones flat you share with two Imperial College nursing students; he calls because he knows you want to see the world. He can’t give you the world yet, he can’t quite afford that. But what he can afford are two tickets to the British Museum, which are, incidentally, free.  

Roger shows you the Rosetta Stone, a column from the Temple of Artemis, the Black Obelisk of Shalmaneser III, the River Witham swords, the Benin ivory mask of Queen Idia, Chinese jade, Incan gold, portraits of Anne Boleyn, bronze busts of Hadrian and Claudius, Rembrandts and Da Vincis and Van Goghs. He shows you the treasures of the living and the ruins of the dead, their currency and their gods and their flesh: skeletal mummies of people who walked the earth a millennium and a half before the Mayans, three thousand years before Alexander.

He’s uncharacteristically patient. He takes his time. He studies the maddeningly small words on the displays and asks you which relics you like best, whether they speak to you, what they say. He doesn’t want to leave even when you offer, even when you can see he’s restless for a cigarette, when he drums his fingers against his hip and gnaws his lower lip with those tiny canine teeth. Maybe there’s something else he’s even more ravenous for.

Roger wants to show you everything. There are alabaster-white, echoing corridors roped off for renovations, but that doesn’t stop him. He sprints with you down dimly-lit hallways—your fingers interlaced with his, your hair flying—and raises curtains and murky sheets of plastic to reveal marble faces, Anglo-Saxon helmets, Viking blades, fifth-century scrolls. He keeps watch as you look; and when he hears the footsteps of security guards he pulls you into the shadows, presses you flat against the wall, giggles in whispers as he clasps his palm over your mouth and begs you to be quiet. I’m trying, your gleaming eyes tell him, and when he lifts his hand away his burning sapphire gaze drops to your lips, and you think he might kiss you, and you think you might let him. But at the last moment you turn away, pretend you hadn’t noticed, tell him you think the footsteps are gone.

And the words ricochet perilously through your mind like shrapnel: I won’t fall in love with him. I won’t fall in love with him.

That once felt like a promise; now it feels like a plea.

~~~~~~~~~~

“I have a deeply philosophical question for you.”

“Go ahead.”

John is laying across the studio couch on his back, using your maroon-tights-and-golden-sundress-clothed thigh as a pillow, holding his notebook with one hand and a dulling pencil with the other. You’re working through a pile of the band’s outfits that need mending, denim and leather and knits and polyester strewn over your lap; you are excellent at stitching, whether in fabric or flesh. Every once in a while you twirl a lock of John’s feathery hair, and he doesn’t seem to mind. “If Brian was a superhero, who would he be?”

“Spider-Man,” you reply instantly. “The limbs.”

“Ahhhh, of course! He’s a regular daddy longlegs, isn’t he?” John begins sketching. “I already have Roger as Thor—blond and ragey, likes to throw things—and Freddie as Iron Man. Innovative and unstoppable. Fearless leader. Shamelessly opulent.”

“How about you?”

John smirks, but maybe he winces a little too. “Doctor Strange.”

You frown down at him. “You aren’t strange, John.”

“I am,” he says simply. “But that’s alright. I make do.”

“I don’t find you strange.”  

“Yes, well. You’re accustomed to patching together damaged things.”

Freddie explodes into the room, his tall black boots clopping on the linoleum floor. He waves his arms hysterically and thrusts his notebook towards you. I need your help, he’s written.

“Sure thing. Ask away.”

He scribbles another line and turns the notebook so you can see. Tell Brian he’s a twat.

You sigh. “Freddie, no.”

Behind the soundproof glass, Freddie, Roger, and Brian have been working on In The Lap Of The Gods: first Roger’s falsetto parts, then Freddie’s piano. This has been no easy task. Freddie is on complete vocal rest after being diagnosed with laryngitis, Brian is recovering from a duodenal ulcer (on top of his residual fatigue from hepatitis), and they’re all ready to strangle each other. Freddie opens his mouth to protest.

“Don’t you dare!” you cry, leaping to your feet. You start a fresh pot of tea on the hotplate and grab the flashlight from your bag. You’ve registered with a London-based travel nurse agency and, after heavy lobbying from Freddie and Roger, have officially been signed with the record company as Queen’s tour nurse. Assuming, of course, that the next tour ever happens. “Let me see.”

Freddie reluctantly plops down onto the couch so you can shine the flashlight down his inflamed throat.

“I better not find out you’ve been bitching at people,” you tell him. Freddie winks and flips his hair.

From the other side of the glass, you can see Roger jabbing an index finger at Brian, shouting, swearing, needling until Brian flings his hands into the air and stomps out of the studio.

“Well,” John says. “I’m glad that’s going well.”

You aren’t terribly alarmed; you’ve seen this before. Brian will spend a few minutes outside, pacing and muttering to himself under the sweltering August sky, and eventually he’ll right himself again—like a sailboat gaining traction in a storm—and return for round two or twelve or twenty. You pour Freddie a cup of piping hot tea with honey and slip into the live room, Freddie and John following behind you.

“How are things?” John asks cheerfully.

Roger is wearing a half-unbuttoned leopard print shirt, tight black leather pants, and black sweatbands on both wrists that he tugs at when he’s frustrated. He snorts in reply and rolls his eyes. Then he glances over at Brian’s Red Special. The guitar has been left unattended on its stand, shining and forbidden. Oh no.

“I wouldn’t,” John cautions.

But Roger does: he pulls the Red Special into his lap and begins to pluck away at it. You recognize the mournful intro riff of Stairway To Heaven. John whistles nervously. Freddie crosses his arms over his chest and taps the heels of his boots against the floor in disapproval.

“Roger, please,” you say. “Don’t stress the man out, you’ll give him another ulcer. You realize if he sees this he’s going to murder you. Hack you into tiny bits. We’ll never find all the pieces.”

Roger laughs. “Calm down, nothing’s gonna happen—” And then, as soon as he begins to adjust it, a tuning key pops off the head and rolls away. Freddie’s teacup shatters as it tumbles out of his grasp. Roger gapes at you and John and Freddie, horrified. “Oh no.”

“Roger!” you yelp, palms cupping your flushing cheeks.

John scoops the tuning key off the floor and rushes to Roger’s side. “Give it to me.”

Roger shoves the Red Special into John’s outstretched arms and begins hyperventilating, yanking at blond hair that you’ve learned is the product of cheap boxed dye. “Oh my god, Brian’s gonna...he’s...he’s...he’s gonna...”

Freddie bolts through the door and disappears outside, still clutching his notebook; he’ll try to delay Brian as long as he can. You wonder if you should join him, if that would make Brian even more suspicious, if there’s anything you can do. Roger paces like a lion behind iron bars.

John says softly as he works: “If I can’t fix it before Brian comes back, I’ll tell him I did it. He already hates me.” That’s not exactly true, and you all know it; but Brian and John clash better and connect worse than any of the rest of them. You marvel, momentarily, at how it can be possible for you to care so consumingly for four men who are so astronomically different. Ah, but perhaps you don’t care for them all in the same way.

“I can’t let you do that, Deaks,” Rog replies. Beads of perspiration are springing up along his temples, his collarbones, his neck. Don’t look, you tell yourself, feeling something scalding and hungry rippling through your skin like goosebumps.

“What can I do?” you ask desperately. “John, can I help...?”

“Almost there.” John is twisting the tuning key. You hear thumping against the door.

“Freddie, move!” Brian is shouting outside. “Move! What are you doing? What are they up to in there?!”

There’s a frantic commotion as John and Roger rush for the guitar stand. You spin to watch the door as it opens. Brian steps inside, his hawkish eyes narrowed. A frazzled Freddie materializes behind him. Your gaze darts back to the Red Special. It’s resting on the guitar stand where Brian left it, orderly and fully intact. Roger and John are chatting nonchalantly by the drum kit and trying to conceal the fact that they’re gasping for air. Oh thank GOD.

Brian peers back at Freddie. Freddie flashes an innocent grin. Brian props his hands on his waist and examines the room, taking long determined strides, fidgeting with the beaded choker around his neck. “Roger,” he says at last.

Roger bats his long eyelashes and casts you a knowing smile. “Hmm?”

“Why is there tea all over the floor?”

~~~~~~~~~~

Summer bleeds out, and autumn floods in like the tide. With dying leaves and cutting evening gales come other eventualities as well: a release date for Sheer Heart Attack, Killer Queen’s roaring reception as the album’s lead single, radio play and fanfare and the announcement that Queen’s first world tour will begin on the day before Halloween. So I might finally see some return on investment, you teased Freddie when he told you. He shot back: Just keep my vocal chords humming, bitch.

Tonight you’re at Top of the Pops with the rest of Queen’s usual entourage: Chrissie and Mary, Josephine and Veronica, assorted representatives and assistants from the record company Trident. The show has laid out a spread of fruit and meats and cheeses and cookies—biscuits, you remind yourself, you have to call them biscuits now—and alcohol...including Moët & Chandon, of course. You circle the table with Chrissie, piling free food onto your plate and sipping champagne, chattering mindlessly to distract yourselves from how petrified you all are. Freddie and Brian are still in hair and makeup; Roger is berating the producers for forcing Queen to perform to playback; John is compulsively snacking in some shadowy corner somewhere and avoiding the crowds, presumably with Veronica. You don’t dislike Veronica. She’s polite and gentle and undemanding, if a bit reticent around the band. You don’t think she would ever try to exploit John for the novelty of being with a musician, nor for the possibility of money and fame. But you sometimes wonder how much of John she really sees.

“Is this white cheddar?” Josephine asks as she stabs a cheese cube with a pink foil-tipped toothpick. “Or maybe gruyere? Monterey jack...?”

“I think it’s halloumi,” Chrissie offers.

“Ohhh, exotic!” Jo takes a bite. “It’s good, whatever it is.”

You pop a sliver of pineapple into your mouth. “My goal is to eat at least three of everything. And wrap extras in napkins to smuggle home. It’s a hard life, you know. Roping one’s fortunes to an almost-famous rock band.”

Jo smirks and shakes out her hair: dark, full, freshly trimmed. “I’ll have to live vicariously through you. I’m watching my figure.” She glances pensively down at her svelte body, which is sheathed in a silvery mini-dress.

“Love, you look amazing,” Chrissie says, somewhat pained. You’ve learned that when anyone suffers, Chrissie aches right along with them.

Jo just wrinkles her nose and shrugs. Jo is wilder than Veronica, edgier than Chrissie, less saccharine than Mary, more glamorous than you. She’s the only match you could imagine for Roger; and this brings you down some days, drags you low, sinks you into indigo melancholy. But lately Josephine has been the blue one, the quiet one. And you suddenly find yourself wondering if perhaps there is no match for Roger at all, no perfect counterbalance, no one soul that could tame his anywhere in the world.

“You’re flawless, Jo,” you tell her, but it feels hollow and anemic.

Mary appears, stroking her large gold earrings restlessly. “Fred’s almost done. They want to start in twenty minutes.”

You toss your empty plate into the garbage—rubbish, you amend mentally—and shake the crumbs from your dress. “I’ll go get John.”

You scuttle around the set, checking gloomy forgotten spots and the dressing rooms and broom closets. As you search, Roger finds you.

“Hey,” he says, mostly confidently, a dash apprehensively, his hands buried in his pockets.

“Hi. I’m trying to locate your bassist so you can pretend to perform in fifteen minutes.”

“That’s kind of you. I just passed him, though. He’s with Freddie. Everything is as it should be. Can I talk to you?”

“Um.” You stare at him, confused. “We’re already talking, aren’t we?”

“Yes, alright, true, but I have something important to say.”

“Okay.” You study him warily. Roger clears his throat and glimpses around. The two of you are standing in the shadow of a monstrosity of a lighting rig and are very much alone.

“I just...I wanted to inform you that...um...I’ll be...ah...well, you see...” He shakes his head and forces it out. “I’ll be breaking up with Jo soon. And I just wanted you to know. For you to be the first to know.”

You recoil, stunned. “Why would you break up with her?”

He smiles. “So I can take you out, of course.”

Oh my god oh my god oh my god. A furious barrage of images cascades through your mind: touching him, being touched by him, whispers in the darkness, rings, chapels, children, and then: Josephine. What it must feel like to be Jo, what the beginning looked like for her, what the end will: scorched earth and desolation. “I’m not interested,” you say, pleasantly surprised by the steadiness in your voice.

“Sure you are,” Roger replies, undeterred. “We’re going to be travelling all over. It’ll be museums and monuments and libraries and natural wonders galore. I can show you the world.”

“I’m really not.”

“Why wouldn’t you be interested?”

“Because I’m not looking to get played. And you seem like someone who might play me.”

Now he’s wounded; those massive pale eyes are glossy. “I most certainly would not.”

“Roger, I’m completely enchanted by you. You’re brilliant and fun and caring and so much smarter than people assume you are—”

“Thanks...?”

“—And you’re a fantastic friend. But if we do this and it doesn’t last...which, let’s be real, it probably won’t...I’ll lose you forever. And the band. And my job. The math just doesn’t work for me.” But, oh god, I’d do anything to rearrange those numbers.

Roger mulls that over, shuffles his feet, lights a cigarette. “I have a list, you know. Not a written list. It’s just in me, a part of me. Here.” He points at his chest. “It’s not long. It’s only things I can’t live without, or things I wouldn’t want to. There’s becoming a musician. There’s leaving Cornwall. There’s finding a band worthy of me. Check check check.” He takes a drag and exhales smoke into the air. “Next there’s becoming a famous rock star, seeing the world, providing for my family. That’s all coming together presently.” His eyes find yours. “You’re on that list now. And once something’s made the list, it never comes off.”

“Not until you’ve had it.”

That knocks Roger back, makes his brow furrow, makes him blink as it rolls through him; because maybe that cuts just a bit too close to the bone. Then his face clears like a cloudless sky and he smiles, brightly, blissfully, as he always does. “I’ll just have to change your mind.”

“You can try.”

He takes your left hand, skates his teeth lightly over your knuckles, grins mischievously. “I’m going to need one last toast for good luck.”

Roger leads you back to the snack table and pours three flutes of champagne: one for you, one for him, and one for Chrissie, who’s waited for you. John, Freddie, and Brian are testing their equipment on stage; Mary, Veronica, and Jo have commandeered spots with the best view and refuse to abandon them. The three of you toast, drain your champagne, and watch the preparations from afar. John is bopping around the stage as he strums his bass, lost in the music in his head.

“Such a strange man,” Chrissie murmurs, although not unkindly.

Roger immediately bristles. “He’s only strange if you don’t bother to try to understand him.”

“Oh hell, Rog, come on, I didn’t mean it like—”

But Roger pushes by her and breezes away. He swipes a pint of beer and a bunch of grapes off the snack table, saunters over to where John is playing, and gnaws the grapes messily as he points and asks John questions.

Chrissie sighs and turns to you. “You know I didn’t mean it like that. You know I adore John.”

“I know it.” And of course, you adore him too. But you have something else on your mind. You tilt your champagne flute towards Roger. “What was he like when he and Jo first got together?”

“Why?” Chrissie asks, eyebrows raised. “You mean...was he the same way he is with you?”

You twirl your empty glass morosely. “Sure. If I am in fact that transparent.”

Chrissie chuckles and rubs your shoulder reassuringly. “Now now, don’t be grumpy.” She lights a cigarette and thinks. “Honestly, no. He’s different with you. More himself, less dramatic. Less always trying to be the dashing playboy. Just pure energy, that enthusiasm he has that’s almost childish. He’s happy. Really happy.”

You nod. “So you think I should give him a chance if he asks for it.”

“Absolutely not.”

You startle and whirl to her, not understanding.

Chrissie smiles tenderly, sadly, wishing she could change it. “He’ll ruin you. He ruins everyone. Now if he asked you in ten years? Fifteen years? Maybe. But if you say yes now, he’ll burn through you like battery acid. He’ll love you until you can’t imagine a world without him, until everything you were before is quarried from your bones. And then he’ll move on. He can’t help it, that’s just who he is. Reckless and wonderful and insatiable. And good luck trying to find anything on this whole fucking planet that can replace Roger Taylor.”

“I understand,” you whisper. “Thank you.”

You watch Queen up on the stage as they count down the minutes until showtime, how Freddie fluffs his hair and checks his eyeliner, how Brian meticulously rehearses his notes on the Red Special, how John and Roger exchange comments and jokes. And it occurs to you how symbiotic they are: Roger bringing passion and dauntlessness and fire, John tempering that when necessary and contributing something so dissimilar and yet vital, something steady and pragmatic and immutable. Brian’s a willow tree, Fred’s a lightning storm, Roger’s wildfire...but what is John?

You can’t decide. Roger is tapping away at the hi-hat and it sounds like a metronome, like something hypnotic, like a spell older than the pyramids.

I won’t fall in love with him. I won’t fall in love with him. I won’t fall in love with him.

[morningmoon]

Overall thoughts of Arc V

posted on NAC, figured i might as well share it here too. It’s a long one.

Setting Maiami City is great. The first we see of it is a modern and post-contemporary design to the city, there's a lot of commercialism on display taking iconic imagery of YGO and plastering it as billboards. You Show and Yuya's house are shown to be pretty unique in their architecture, but still very grounded in reality. It's a world that's probably not more than ten years ahead of us; it's a mayor city but with a very nice housing region. As the first season goes on, we see more of it, we see how important and varied the schools are, we see the not-so-pretty parts of the city. There's just enough depth to Maiami to feel more alive than even Neo Domino did. Then we leave it. The City is up next, and it's just a more surface level approach to Neo Domino. There's the shit part of the city and floating shit that's fancy. Before we can really dig into the latter, we're stuck in the former, then a prison and the rest of the season is the same hotel, racetrack stadium and a bit of the Duel Lanes before going back to the same shit parts. Oh and the trash mines. While 5D's included early on how the trash stuff works and how it's an insane way to fight your way to the nice part of the city, AV's just has this stark contrast that doesn't feel truly connected. If you walk long enough in a direction, you'll reach a nice part of town apparently. The mines and the prison exist, but you can't really pin their location or anything. They're stark contrasts that do not feel connected beyond lore. Heartland... is just some bits of ZX's heartland, but in ruins. There isn't much to the setting at all. Fusion has that sorta venice place we see for a couple of eps and then we go to Academia, which is just a series of corridors with 4 rooms. It doesn't feel real, there's a courtyard but I have no idea how you reach it beyond "go to a corridor and eventually it'll connect" Yuya going Odd Eyes Raeg happens in a room that I cannot fathom where it is compared to Leo's place because it's so hightech it should either be right next to it or buried underground, but the show just has it nebulously inside of academia.It's disappointing. We start with a strong location, a strong setting, and then we ditch it for the next and the next and the next and each is shallower than the last one. Duels You know me. Y'all know my shallow ass don't really care for the yugiohs. Hand me a Yuma vs Gauche once or twice a cour and i'm good. I'll meme that YGO was better when it was about zombire and paint mazes. Arc V promised me something that made me want to care even in my shallow level: Dynamic Duels. The premise of 5D's bought me over when I saw the first riding duel moving all over the streets into an abandoned factory and maneuvering crazy locations a bike shouldn't be able to do. Arc-V then promised me that mobility would be even more important because it's not rigid bikes, it's fluid monsters, able to chance the monster you're riding on the fly and interact with them. All for a goal that is a buff during the duel. You bet your ass I got hype when Yuya got on a pink hippo in that first PV. ACTION FIELD MAGIC CROSS OVER. FUCK. Dynamic places became less common during the first season, but they were still a thing! There were at least entirely different fields in every duel. Then came in Riding Duels and my god. MY GOD. Yugo suddenly makes me nostalgia hard for 5D's, he goes so many places, the scenery changes so much, the time of day the state of the city, it's so beautiful. Cross Over. Duel on the stadium. crossover accel. cross over cross over cross over. fuck. The duels lose intensity as it goes on, they often become duels of two duelists standing in places as if it was DMGXZX and every now and then Yuya will jump and run to get a card. Cross Over Accel usually involves picking up a card from the floor and every other duel will have a sick bike stunt. But yeah, for the most part, the concept's just burnt and interesting navigation is pretty much gone. Yuya is so tied to this. The ultimate thing of the show, is that entertainment is the greatest power, but Yuya can't muster the confidence to use it. Therefore, his duels are directly tied to his state of mind. Is he egaoing? then maybe there'll be some dynamic movements or, if we're lucky and it's a blue moon, Yuya will setup a big set piece act where the game straight up changes to let a big fun and dynamic moment happen. But if Egao is what solves everything, then your main character can't be holding that power, ergo, Yuya's duels have to be gimped most of the time, so stand over there like it's Gx, Yuya, but with less varied fields.It was just so promising, that duels would be a spectacle. But gameplay wise that deteriorated rather fast, with spectacle it got nearly dropped after year 1 and it's ultimately tied to Yuya believing in himself, which is the thing he struggles with the most. Themes and Message I love egao. The idea that smiles make the world better is great. If you are positive and you can pass that positiveness to others then you are improving the world. To look at all the issues around you and decide you can tackle them while also keeping a smile is a noble thing, I love heroes that can stay positive through adversity. A lot of people take issue with Yuya "forcing this down people's throats", but to me the problem is that Yuya needs it fored down his own throat. He's got some doubts here and there in Standard, then in Synchro it is offered that, much like Kattobing with Yuma early on, Yuya doesn't actually know what it means to bring smiles to people: he's parroting his dad and acting as he did. This breaks Yuya hard and he goes back and forth during the rest of the season until he gets a rematch with Jack and shows his answer... is that he believes in his dad, but will also throw in the dimension dragons. uh. Before that point there's stuff like Kachidoki shaking his resolve, and after that there's stuff like Yuto taking over so he cannot use smiles. There's stuff like getting so pissed he can't even think of using it against BB until JACK points it out. There's the fight against the mind control bugs and facing Yuri. And then the final act is him trusting himself all over again. Yuya Sakaki is smiles. If he is not believing at 100% then that's that. There are only, like, four other characters that implement that mentality into their duels. It sucks because it is explicitly shown time and time again to be the answer to the show's conflicts. A whole city is turned, Kachidoki gets happy and stops punching dicks, Yuya becomes more capable, Heartland is brave and starts dueling again. But it's so strong, Yuya cannot be allowed to use it or else show ends too soon. Other characters can't use it or the show ends too soon. To duel for smiles is to have a golden gun. It becomes more and more insane an OP until it reaches a climax: You Cannot Use Smiles On Zarc Because That Would End The Show Too Early. The dragon king is defeated, but not really because the blatant message wasn't used on him. Individualism beat him, but egao will Really beat him. Egao OP pls nerf so it can be a presence in the show. Then there's individuals vs groups. I also dig this a lot, and we see it far more consistently. Yuya gets laughed at by society itself bc daddy. His first foe is an opinion leader. His dad is looked upon fondly not for being a pro duelist, but for being a pioneer.  A big, strong corporation is trying to take over You Show, the smaller school run by a single guy. Yuzu realizes her dad, a teacher, is not enough for her to learn what she needs so she seeks out a tutor who is shown to be a bit of a rebel. Yuya duels wacky schools. After Yuto becomes egao.wav, Yuya's first foe is a guy who got messed up by the institution he's at. Obelisk Force are goons running the same deck, trained to be little more than soldiers with their individuality stripped away. Yuya's pushed forward to continue being a pioneer even when pendulums become normalized. Synchro Year is all about big capitalistic society fucking over the poor. Prison, the defense force and the government are all evil and abuse their powers. Roger is shown to have power but overestimates his own intelligence. Serena, in this time, gets pointed out that her dueling is too by the books and Yugo's unique style can trample her so she needs to adapt and be herself. Reira gets a donut by Shinji, so she doesn't want to blast him, she's starting to not become a child soldier. Jack's entire thing is that he himself crawled out of his hell life. Academia is up next, and, yeah, more of what you'd expect: school's evil, society supports it, individuals have to escape it and form their own place to survive. BB, much like Kachidoki, is ruined by his own school. Doktor creates parasites that strip people from their free will. And finally, we are told via ham-hands that Zarc was made who he was because Society demanded more violence. oh my god. Oh and Ed and the others also escape the school's mentality. It's a neat message, the bit with Zarc is just. It's thematic, it doesn't substitute showing the character and explaining the escalation. But then in Synchro Year there's that bit where Yuya gets the egao gun and destroys the societal norms of Neo Domino 2 in one blast and now everything's better. Kachidoki is back and saved, but like, what does that mean? did he bail out of the physical abuse school his parents put him in?? The conflict is rich and interesting, and yet the payoff is so sudden, escalated beyond belief and never explored. Another bit is what the show actually tells us "take a step forward with courage" or something. Pioneering goes with that, Yusho and Yuya start something new and it can't end there, those two have to keep evolving and lead the way. That message then ties into the war conflict in a cool way, to keep moving forward and not wallow in the past. Academia may have destroyed Heartland, but Shun and Yuto are objectively in the wrong for trying to use violence to get revenge. Leo is later on shown to be bad, not because he committed war crimes (those are retroactively forgiven) but because he is doing all of this to get his daughter back, when that will only tarnish her efforts and legacy, thus bringing Zarc back. Yugo & Shun Vs The Molesting Bugs From Out Of Gx has Yugo staying in the past and only remembering the Rin he loved while Shun remembered Ruri but then pushed forward and claimed how he's changed since. Yuya keeping with his dad's style and not fighting with his own is also a way of this. Every member of the resistance is shown with this problem, every left-party member of Synchro is also basically mourning themselves instead of trying to push forward if you're viewing the show in right-wing eyes I guess. Yuya being sad for pasts mistakes is shown 100% to be bad and he should continue moving forward to solve the issues. It sometimes feels gross because the groups are evil, but only Roger gets comeuppance. Leo caused war crimes, but he's a tragic hero, Zarc is a demon but he's a tragic figure. Meanwhile Shun and the resistance lost it all, Shinji lives in an unfair world and they are presented much more palpably as in the wrong because they are fighting with violence. The makers of war are never punished.The messages are all very, very interesting... but they tie kinda badly to the plot. It basically turns smiles from a philosophy that empowers Yuya and saves people from spiraling into drones of society or revenge hunters, to a golden gun that kills society and sedates the lust for revenge. Villains Now here's Real Problems. The show mismanages its villain cast. You have Himika, basically leader of LDS and actively running a child soldier program and... eventually she's very sad for Reira and turns into a motherly figure. You have Kachidoki, who is the first to awaken the second level of Zarc in Yuya and... he leaves the story for almost two years, only to get a quick defeat so Yuya can have a win. LDS Trio, rival our main trio and have some deep personal beef with Shun, a new comrade to said trio... they never show up again. Shinji argues with Yuya for a bit and is gone forever. Roger is let to sit far and above everyone else, he gets his butt kicked by Reiji and is gone forever. Barret fleshes out Academia, could possibly be an anti-hero fighting for Serena and then he is gone forever before we knew him. Anyone else from Synchro just doesn't show up for the last third. We are introduced to Grace, Gloria, Ed and Kite and they all turn to Yuya's side at the same time in the one-cour half-arc. We finally reach Academia... there is BB, a one-and-done villain for five eps straight. There's bugs that have a loose thematic connection and are gone forever. There is Doktor who only did that bug shit before being banished. There's Yuri with the better killstreak and then there is Leo who is shown to have only been acting out of love, and has enough honor to remove Doktor's facehole. There are all these villains.. and their role is minimum or they are so far from the heroes they don't get to actually Do much before their upcoming defeats present them as weak-willed all along. Then we have fucking Zarc. Hitotsu Ni and all them memes. Basically He's a dragon dick. All along everything was his plan bwahaha except he couldn't see the individuality theme hitting so hard via Reira and Yuya teaming up with Ray. But who is Zarc? ... anyway, Zarc's duel is the biggest in the show (wait, is it? did it have more eps than BB?) but ho boy ho boy. His duel is shite. He just sits three 2v1s in a row without taking any form of damage, then slowly loses enough composure for an admittedly cool finisher, but, just. Eh. He encompasses the show's themes of individuality vs group via the group forcing him down a path of evil. He wallows in his past and his attempt to move forward via the creation of Pendulum and manipulation of his parts puts him in the same  shoes that society had back when he turned evil. Then he saw the value of true smiles while inside of a baby. The problem here is... we never saw the individual crumble. Zarc's biggest failure as a villain is, well, the duel actually, it's just terrible, but his other failure is that we don't see enough of him. He's a thematic concept, but a linchpin of it is him as an individual losing himself for the sake of entertainment. We never see who he was, which worked when he was in a rampage so we'd see him as a monster, but once Yuya is crying at hsi backstory, well, it just feels trite and lame. We cannot feel bad for Zarc, we never knew him, he might've been a huge asshole and that's why things escalated.A big problem with the show is its use of villains. There's just two types, the ones that get disposed of ridiculously quick and the ones that are master planners so far above the cast that they hardly actually interact (or even act) in the story, and whose defeats just end up as underwhelming. There's outliers here and there, but they're not interesting either and ultimately any payoff from the conflict they bring is either too small or not interesting enough. Zarc, the final villain, suffers from all those issues. Characters Reira is god-tier. She begins shy and meek, we instantly assume she is a Mokuba. She gets a few duels here and there but we don't see them, so she's a dueling Mokuba that's strong bc her bro's the strongest. There's something offputting of her, but we just don't see her enough. Then we enter Synchro and she's away from Reiji, she is panicking, stressed and quiet. Shinji gives her a donut and that seems okay, kids like sweets. Then comes Yuya thinking of defending her and the big stuff drops: a) she's not afraid of dueling, she's afraid of having to harm others with duels and thus doesn't want to decimate Shinji and put him in the apple factory. b) legit child soldier shit. JACK offers her advice because he sees his own sadness from when he was a child, Yuya also saw that in her, but ultimately Reiji is right: it's not pity what she needs, it's a drive to make her own choices. It's why not wanting to fight Shinji is so big. The show keeps going, and next she goes further and acts to Defend Serena, she helps her friends now via dueling, fighting her PTSD and it culminates in the last bit to her wanting to save everyone that she's willing to sacrifice herself to get Ray involved, even when her brother tells her that would not work. And she does, and at that point we get her maximum Individuality moment: she defied Reiji by bringing Ray, and she defies us by defining herself as a woman. "Fuck all of you, even the viewers, this is who I am" and she stands tall, she gives one last sacrifice because not even Ray is good enough and she seals Zarc away herself. Fucking badass. And her reward is just being a baby. It's interesting in that it means she will not have the traumatic past anymore, but it also seemingly means that Zarc will always be with her now and that the Reira we knew simply ceases to exist forever. For the character that I rooted on the most, that sucks, i want the characters I like to be happy and exist! Still, her journey is easily the best in the show. JACK ATLAS fits this show like a glove. "It doesn't matter how bad Arc V or 5D's get, JACK ATLAS will always be a good character." Him as King puts an interesting pressure, he pushes characters in interesting ways and is ultimately just an entertaining and good addition. Hiragi Yuzu, well, she was really good that first year! Her arc was great, how she knew more of Academia leading into her interactions with Serena, which ultimately motivate Serena, are pretty great. Her time with Yugo's fun, her role in the tournament is great. It is gross that she was a flagpole for Yuya to reach and kept being yanked away over and over again. After that beautiful motorcycle parry, she just feels wasted, and before that her interactions with the cast were direly limited. Serena was interesting, she only really existed for One season, but her role and relationship with the Lancers was fun while it lasted. I really wish they'd explored her dueling more. Ruri and Rin were waifus. Welp. Rest of the cast, just likeable, not used well enough, Gongenzaka hilariously has an ED where he is one of 3 characters on screen and during that ED's run he shows up less than ten times to interact with Yuya. Sawatari is my man, but yup, not much for him. Shun has an alright arc, not much feeling for him. His end is bonkers. Kite, Ed and Asuka just feel tacked on. They don't offer stuff that only they could, in fact you can fancast many other characters to fit their roles better, I personally would go with Shark, Misawa and Tyranno (maybe Asuka over Tyranno). Ed's duel with Yuya was pretty amazing, tho and I love it, but again, just feeling like you coulda slapped other characters in to better fit the roles they play out in AV. Yuri, he's a fun villain. I went on about the use of villains and why his Pro MLG Killstreak is kinda bad, but he was fun during it. The structure deck stuff was great. His finality is... "we don't have time, or ideas, to make him turn to good. Uhh, shonen shonen shonen, thematic thematic and shonen tropes." He just happened. Yugo, one of my boys. Love his fun attitude, love his blatant crush, his gags are great, he's just overall fun but it didn't feel like they went deep enough for him, specially with how the bug stuff ended. Yuto. That kid is a mess. There's a fairly easy to follow line for his attitude, but he switches as hard as Yuya does from egao, but whenever he is Actually Showing Up, he instantly does a switch in alignment. He doesn't feel consistent. He's messed up and actively ignores all his relationships except the one time he told Shun to trust Yuya. I feel there's an interesting, cowardly, character in there that we just don't get to see because he's more of a crutch to guide Yuya's hips over how his alignment shoul be in the current part of the story. Sakaki Yuya. Wiat, no, there's others i can talk about. Leo's a dummy. I don't mind him too much, but he is a super dummy. I love seeing Reiji get owned. Uh uhhh. fuck. Okay, so, Yuya. Not a great hero. I tolerate heroes that doubt themselves, I do, but jfc the kid changes minds far too often. And like I said, when he egaos right, it feels like he holds a magic gun. He's OP in dueling, therefore he gets nerfed via self-confidence because that's directly tied to his magic gun. That means he needs the help of others to regain confidence, these others include: Yusho, Yoko, Yuzu, Reiji, Jack Atlas and Reira. All yelling at him into his ear that he should believe in himself. Two of these are basically rivals, who should be sources of conflict, but instead they are major supporters of Yuya. The harshest conflict Yuya gets is himself. That's not that interesting when it's hardly himself who overcomes it, it's his massive support network getting through his thick skull. Over and over again. I like Yuya when he is confident. I don't like him when he's not. I hate him when he is becoming confident all over again since that means it's someone else pushing him.Cast is great. Reira is my favorite for very good storytelling happening with her. A lot feel wasted. The Core Conflict Badly paced, basically. Synchro Year feels wasted in retrospect, 50 eps to tell what 2 cours could, and Yuya isn't allowed to keep his development at all times for it. Leo is built up too much, and Zarc too little. It just feels like not enough build up, too much buildup and the villains getting shafted in both ways. There's a lot of exciting series of fights when years end, but it just doesn't pay off nearly as good as it promises. The Finale Confusing. But not intentionally so. We're not left to wonder what the world is, we are told by Leo what happened and we simply don't get to see it. It's not clear what happened to Zarc besides he smiled. Sad. But not intentionally so. Reira smiled, that means everything's good for her while the audience is sad that she's stuck as a baby. The Yugirls and Yubois are gone forever, but Shun accepted that and anyone that might miss Serena and Rin just aren't there, the people who see them are just shocked but never knew them. Shun is happy. Us, the audience, being sad isn't something being played with here. If Barret looked at an empty dorm room, then this would be a bittersweet ending. If the orphans started reading books Rin had marked, that'd be bittersweet. If Shun Showed Any Emotion That He Should Have Then That'd Be A Sad Ending. But it's not. Everyone accepts what happened with an egao. Us being sad isn't intentional, it is the show misinterpreting how we would react to 6 people fucking dying. Duel was alright kinda. Gates are bad. I love Yuya comboing into summon methods, but the gates don't do that, they just activate, use a monster in the grave and extra deck and summon a hybrid. That's not XYZ, that's not Synchro, that's kinda Fusion I guess. That's just not a combo into summon method,t hat's a cheap way to get any monster out. The final action duel race is a very neat concept. The duelists don't interact for the most part, feels like a waste. The pacing in it is also not great, stops too much. Catapult monsters fireworks is fun, I like that it's a final ATK manipulation because BUT YOU'LL STILL TAKE THE DAMAGE. Already talked about the worlds combining and NAC killing Serena in cold blood. Reiji is a terrible final opponent. Yugi vs Atem: Atem is the best duelist ever and is testing Yugi in a test of skills as those two have never fought and we still don't fully know Yugi's skills. Judai vs Yugi/Atem: Judai still needs to get his fun back, he loves fighting strong people and Yugi is The Strongest. Yusei vs Jack: those two have a lonstanding rivalry and the fight has futures at stake Yuma vs Astral: those two have never fought and relied on each other the whole time. Astral puts everyone's future on the line. These are all great back-and-forths, the opponent has an edge, the characters have chemistry and only Yusei vs Jack features rivals that have faced each other. Yuya vs Reiji... is Reiji sitting on his opening hand and denying Yuya's combos until he gets a big enough one. There's no real back and forth, Reiji is basically a rock. Those two have fought a bit, we return to their first fight place... like how the start of the arc also reused duel fields. Feels lazier than it does bookendy. Atem's goal is to see if Yugi is strong enough, and he's ready to stay with his friend if not. Yugi's goal is to beat down Judai's asshole and have fun. Jack's goal is to shatter Yusei's asshole so everyone can follow their dreams. Astral's goal is to have the greatest fight with Yuma ever. Reiji's goal is for Yuya to make his sister smile. Reiji blatantly and explicitly set this whole thing up for Yuya to win. He's loved Yuya's antics since forever, he supports him and he knows only Yuya can save everyone. While everyone else is like a karate master goign "lets talk with our fists!!", Reiji is more like a dad playing baseball with his kid and hoping loudly that the kid will bat the ball he's about to throw. And in doing so, the kid gets to the major leagues immediately.The duel's just not that interesting in setup, the plays are not well executed, the animation doesn't make the final action duel setpiece any justice, the resolution of conflict is confusing and relies on telling rather than showing and hoping the audience loves the themes enough and the fate of the yugirls and yubois is a grossly miss-communicated message. The Pro Test feels like an early concept since the pun is so good. I legit feel that Reiji's laugh suits Sawatari better. Imagine if his almost-mayor dad actually went "That Yuya duel was amazing!", Sawatari then laughing would be such a good way to end his character arc by accepting all that Yuya is. All in all? Disappointed. I like a lot of things, but the execution is ass. There's good bits, but as a whole the show falls apart. BB and Yuri, and Sergei and Yugo and Yuzu and Masumi and duel schools and fight club class and splatoon. So many good bits, but they do not flow well. They don't link to each other. They do not build up. The show fails to use its 3 year runtime. Disappointed.