#Something special to make it worthwhile but. The execution was ''girl dies and this leads to boy being OP'' which. Great. Love that

[cursed-spirit-manipulation]

i like Yuuta well enough he's a weird little guy but. He is in close competition with Suguru for the award of "the writing choices surrounding them make me feel real fucking uncomfortable." Suguru's still winning bc of the fact his storyline has 3 different young girls' pain/trauma is used to fuel his character development. Riko is... A bit uncomfy, but she is A Character. But Nanako and Mimiko are genuinely inexcusable because they exist in the story to make Geto seem more sympathetic instead of just fucking evil, as seen by the fact they fucking die and aren't acknowledged afterwards (even when Miguel and Lauren participate in the story they aren't fucking MENTIONED). But God I hate how Rika is treated by the narrative it's genuinely just. A mess imo. Like 1. Obviously her primarily defining trait is loving Yuuta which is already ehhh 2. Dies as a kid and is obsessed w Yuuta 3. This isn't because of HER OWN ACTIONS BUT RATHER YUUTA CURSING HER 4. After "passing on" her curse form is. Still fucking there and being used as a tool 5. Her character profile seems to imply she was abused in some way by her family which. I don't have a lot to say beyond :/

[love-sapphirerose]

Yashahime: Princess Half-Demon Episode 16 Review

https://www.animenewsnetwork.com/review/yashahime-princess-half-demon/episode-16/.168486

I got a bad feeling about "Double-Edged Moroha" from the moment it started. You'd think, given that last week's episode randomly decided to break away from the story to have a flashback story time with Riku, that the show would take even a scant minute or two to establish things like context and pacing: Where the girls are. Why they are there. Some vague idea about how long it has been since that godforsaken misadventure with the Rapey Mountain Arsonist. You know, the simple stuff that helps the audience figure out what the hell is going on. But no, it doesn't even take a couple of seconds for Yashahime to start screwing up the most basic rules of “How to Tell a Coherent Story”, as we're plunged right into the middle of some anonymous mountain valley or something, with Moroha staring down Yawaragi, telling her cousins that there's some major beef going back three whole years that needs settling. If you don't recognize who this woman is, she's one of the Wolf Tribe members who has appeared exactly one time in the series before now, in a single frame from the very end of last-week's episode.

It honestly feels like something got supremely screwed up in the show's pre-production, and the Yashahime staff realized that they needed to cut an episode right out of the middle of the run, so they took the final scenes from the episode that led up to this climactic showdown between Moroha and Yawaragi, cut everything else that came before it, and slapped it on to the beginning of “Double-Edged Moroha”. Maybe that would explain the seemingly arbitrary placement of the Big Reveal episode from last week? The way it was written meant it could have been aired at almost any time and made an equal amount of sense (read: Not a whole lot), and the only information from “Farewell Under the Lunar Eclipse” that ties into “Double-Edged Moroha” at all is that Moroha ended up with Kouga and the wolves when her parents got sucked into the Black Pearl. If we hadn't gotten that single shot of Moroha being left to the wolves by Hachi, then “Double-Edged Moroha” would have come across as completely nonsensical. As it stands, it's now only 95% nonsense, which is technically an improvement. Good job, I guess?

If you couldn't tell, this was yet another episode of Yashahime that made me absolutely furious with how poorly written and executed it was, but in order to fully explain why, I'll need to cover the events of “Double-Edged Moroha” in chronological order, because the flashback-structure of the episode is stupid and pointless. We begin with the very last flashback, which shows us how Yawaragi attempted to train Moroha in the art of mastering her demonic transformations. We later learn that Kagome apparently placed a seal on these powers in some scene that we never got to actually see because the show was too busy failing at Towa and Setsuna's backstories, but Yawaragi decided to give Moroha the power to transform into Beniyasha with the rouge. Yawaragi then spends years yelling at Moroha for relying on the rouge too much and warning her about how too many transformations will result in her becoming a permanently bloodthirsty monster, so, uh, great call there, Yawaragi. Really thought that one through.

Anyways, one of the days Moroha goes berserk with her Beniyasha self and ends up calling down the wrath of a horde of

terribly-animated Birds of Paradise

before passing out. Instead of doing the logical thing and running away, Yawaragi just sort of stands there and decides they're screwed. That's when a weasel man (who is very helpfully named “Weasel Man”) wanders into frame from literally nowhere and offers to sell Yawaragi the Armor of the Iron Rat he's wearing, so that she can blow up the Birds of Paradise and whatnot. Not only is the completely random appearance of this obviously sketchy weasel not draw Yawaragi's suspicions at all, she also doesn't seem to find it odd that the guy can't even remove the armor himself without getting another person to unlock it with a key. Keep in mind that, for the entire duration of this stupid, stupid conversation, Yawaragi could have very easily just run away from all those birds and hid in a cave or something, but no, she casually takes the armor from the weasel, and wouldn't you know it, the darned thing is cursed to eventually crush its wearer to death unless they pay an exorbitant fee to the smithy rats for another key.

This is, to put it mildly, a very silly chain of events that do not paint Yawaragi in the smartest light, but we just have to roll with it, because that set of Iron-Rat Armor is precisely why Moroha has found herself sold into indentured servitude for the last three years. You see, Yawaragi decided that Moroha needed to complete the “crucible of Kodoku”, which has the eleven-year-old fighting a horde of demons in a spooky cave by herself to…get stronger, and master fighting without relying on Beniyasha, somehow? Yawaragi claims that Moroha needs to absorb the powers of the strongest demon in the cave, but she definitely did not do that, and we've never seen any of these so-called disastrous consequences of the Beniyasha transformation so far, which makes the entire venture basically pointless for our little heroine. For Yawaragi's part, the whole thing seems to have been an excuse to do some gambling with Jyubei, because she previously lost a bunch of ryou in the demon gambling house, which one apparently has to travel through in order to even get to the Crucible of Kodoku; also she needs, like, thirteen Ryou in order to buy a key for the armor that is going to eventually kill her. All of this leads to Jyubei offering to buy Moroha as his own little bounty-hunting slave, which Yawaragi accepts instantaneously, and there you have it: The ridiculous, contrived, and ultimately meaningless explanation for why Moroha has been trying to buy her way out of debt for three years.

Then, the second flashback, which is actually the most recent chronologically, shows us how it took Yawaragi three whole years to get to that damned hidden village of rats, only to discover that Konton arrived just beforehand and killed all of them. Whoopsie! We even get a nice shot of a dead rat mother cradling the corpse of her rat child – a weirdly dark moment that Yashahime certainly hasn't earned or anything – just to remind you that these Four Perils are super evil and powerful (despite the fact that they keep getting their asses kicked by a trio of teenagers who can barely be bothered to acknowledge their existence). Konton makes a deal with Yawaragi that he'll hand over the key if she kills Moroha and the others, and she accepts. “But!” Yashahime then asks, “Is she really going to betray her adopted daughter figure? Or is Yawaragi preparing Moroha for the final and most important lesson of her training?”

The answer is clearly supposed to be that second one, but Yashahime is just so goddamn bad at even the simplest character writing that the point doesn't land. Throughout all of these flashbacks, Moroha and Yawaragi have been dueling one-on-one, with Towa and Setsuna being told to sit uselessly on the sidelines, and Yawaragi keeps insisting that Moroha use her “creative imagination” to beat her, instead of relying on the rouge. This kind of falls flat when Moroha's victory just comes from her busting out a new special move, the Crimson Dragon Wave, which is neither a creative or imaginative resolution to the fight. Every Yashahime fight boils down to some combination of the girls' different special attacks, so why is this any different?

Way late in the episode, Konton suddenly teleports into the fight to gloat at Yawaragi. Nobody else really notices or acknowledges Konton's arrival, though you'd think this is the point where Towa and Setsuna would get off their butts and do something, because it isn't like Moroha's honor would be besmirched by kicking Konton's ass again. The show even forgets to include Konton in the next couple of shots of Yawaragi reacting to Moroha's attacks, even though it is absolutely critical that he be standing right behind her, because when Moroha unleashes the Crimson Dragon Wave, she whips behind Konton to hold him down in an act of self-sacrifice.

Here's the kicker, though: The guy can teleport. Yawaragi just saw him do this, and not thirty seconds earlier! So it shouldn't be surprising to anybody when Konton uses his Rainbow Pearl powers to teleport out of Yawaragi's arms and escapes anyways while the other girls throw some useless attacks at him. So, to recap: The audience learns that Yawaragi created the whole issue of Moroha's Beniyasha transformation in the first place, and she then spent years fruitlessly attempting to undo the problem, including purchasing a deadly set of cursed armor from a random weasel that was traipsing about the forest one day. All of this led to Moroha being sold to Jyubei, which was ultimately pointless because Yawaragi just ended up being coerced into attacking Moroha by Konton, and the one thing that might have made this entire cavalcade of terminally stupid decisions worthwhile – killing Konton – ended up being foiled by random Rainbow Pearl Powers. In other words, absolutely nothing of importance was learned, the girls are not one step closer to any of their goals, and Moroha inadvertently murdered Yawaragi for no reason. It is positively stunning when Yawaragi dies, and the show has the gall to play the moment off like some huge, emotional payoff…except Moroha is more or less fine by the time the credits roll.

Good Lord, this show is continuing to outdo itself in all of the worst ways. I won't damn it with the non-score of Episode 14, because “Double-Edged Moroha” at least has some halfway-decent looking action to try and distract you from how bad everything else is. I did, however, spend far too much time teaching myself how to use image-editing software so I could slap together this dumb meme that perfectly sums up my feelings about Yashahime at the moment. That said, it was probably more time and effort than anybody working on the show spent going over its sorry excuse of a script.

[wellhalesbells]

I see you reblogging some comic stuff an I was wondering if you have a favorite comic or favorite character or ship?

this ask is from so long ago but [DEEP BREATH IN] i’m finally going to answer it, nonny.  finally.  i kept wanting to read a little bit farther in my comics stack because.... maybe i’ll like that and will regret not having recced it, i just hafta--get--to it, see?  and, honestly, i’m still there BUT, come on, i’ll never be caught up because that would mean comics would just have to stop coming out and i would be sad forever if that happened, SO

i’m not even going to pretend like i can narrow this down to one comic.  (one ship?  sure, that’s spideypool.  one character?  sure, that’s the merc with a mouth, the regenerating degenerate, wade motherfucking wilson.  but one comic?!)  there is just straight-up too much out there to make a definitive ‘yes, this is it, this is THE ONE ™ ’ statement.  instead, uh, let’s break this shit down, yeah?  (super special secret bonus round, will note all lgbt+ rep and standalone comics.)  in no particular order, here the frig it goes!

HORROR

infidel, by pornsak pichetshote and aaron campbell.  in case you haven’t seen this on every 2018 best list ever, here it is.  and, yeah, it was good.  a muslim-american main character living in a haunted apartment building where the entities feed off the xenophobia of its occupants.  if that’s not a fucking modern horror story i don’t know what is.

spread, by justin jordan and kyle strahm.  THIS IS ONE OF MY NEW AND ALREADY ALL-TIME FAVORITES.  what an awesomely weird and epic story.  the spread is an uncontrollable, unstoppable monster-making force that humanity accidentally unleashed by digging too deep.  it infects everything it touches and basically all of humanity is running from quarantine to quarantine just hoping for the best.  and speaking of hope.... she’s a baby, rescued by no, and the only thing that’s ever been able to stop the spread.  also, no’s gay?  and i just DID NOT see that coming.  it seems like it’s going to be such a formulaic, bro-y story about the action hero who kisses the face off his girl (her name’s molly and she’s batshit insane and amazing) and instead, nope, it is not that at all.  lgbt+ main characters.

the black monday murders, by jonathan hickman and tomm coker.  hate capitalism?  think all the rich and powerful are evil, soul-sucking monsters?  [obnoxious, low-budget commercial sound effects] MAN, HAVE I GOT THE SERIES FOR YOU.

the beauty, by jeremy haun and jason a. hurley.  i just started this recently but so far, oh my good golly gosh, i looove it.  a sexually transmitted disease that makes you conventionally gorgeous.... at least before it explodies you.  [wide, creepy smile]  the art is gorgeous, the characters are aces and i am very, very pleased so far.  lgbt+ minor characters.

the great divide, by ben fisher and adam markiewicz.  this?  was a COOL idea.  the execution stumbled a bit but, gosh, was it neat.  it’s post-apocalyptic where touching another person will literally kill.... one of you.  the survivor then absorbs the memories of the person who dies, taking on a ‘rider.’  some people collect them, some people go mad, some form a bond, all have the side effect of dyslexia.  like i said, neat as all get out.  lgbt+ minor-ish/main-ish character.  standalone.

revival, by tim seely and mike norton.  a rural town in wisconsin experiences ‘miracle day,’ where the dead rise again.... except, they were kinda already mourned and buried and this is really just fucking up the status quo.

the woods, by james tynion iv and michael dialynas.  a high school gets picked up and plopped down in an entirely new, and wickedly hostile universe.  it’s all survival and alliances and seeing what you’re really made of when it comes down to it.  lgbt+ main characters. 

clean room, by gail simone and jon davis-hunt.  a cult, a journalist and a clean room walk into a bar...

anya’s ghost, by vera brosgol.  you think it’ll be a cute story of a girl and her ghost.  HA HA THAT IS NOT WHAT HAPPENS AT ALL, OKAY.

FANTASY

rumble, by john arcudi and james harren.  SCARECROW WARRIOR GOD, SCARECROW WARRIOR GOD, SCARECROW WARRIOR GOD!!!  okay, first off, the art in this?  pushes every friggin’ button i’ve got, and many i did not know i had.  second, this book is so fucking fun.  it’s mythology that’s balls to the wall ridiculous, funny, and features a main character whose life motto is basically: ‘do i have to?’  infinitely relatable and then some.

heathen, by natasha alterici and rachel deering.  UGH, ONE OF MY FAVORITES.  the art is just horribly, horrendously gorgeous and it’s LESBIAN VIKING MYTHOLOGY, OKAY.  OKAYYYY???   lgbt+ main characters.

the wicked + the divine, by kieron gillen and jamie mckelvie.  one of my favorite ever series right here.  it’s a hella cool concept (gods reincarnating as humans every twelve years, and burning up their hosts in two), whip-smart and if you’ve ever met a human being who likes a pun more than kieron gillen i defy you to produce them.  lgbt+ main and minor characters.

batgirl, by gail simone and adrian sayaf and vicente cifuentes.  you know how people rave about gail simone?  there’s a reason people rave about gail simone.  honestly, i’ve never had much interest in babs.  i don’t tend to go for superheroes who don’t kill and i have even less interest in ‘the killing joke’ story line and i am convinced only gail simone could’ve done the recovery on that and she did a GLORIOUS job of it.

red hood and the outlaws, by scott lobdell and dexter soy.  (ignoring recent - and annoying - developments), this is my favorite of all the rebirths dc did.  scott lobdell is the only writer to have gotten the idea down of: okay, we’re starting over, i assume you don’t know anything but i also assume there are a bajillion people reading who know everything, and hit the perfect medium between those two things.  so if you want to start a jason todd run, you legitimately can here, and get all the found family, badassery, batman-teasing enjoyment there is to be had.

iceman, by sina grace and robert gill (covers by kevin wada).  classic super-heroing here and bobby’s first solo title.  he’s figuring out coming out while fighting (and flirting) with baddies.  sina really gets his humor and how truly wonder-awful it is!  lgbt+ main character.

spider-man/deadpool, by joe kelly and ed mcguinness.  watch those names there, those are your guys right there, period.  they looked at the void of a spider-man/deadpool series and filled it with absolutely everything you could possibly want for the pair (sans a hardcore make-out sesh, though they did get a few variant covers with some puckered up lips in there!)

limbo, by dan watters and caspar wijngaard.  a fusion of 80s aesthetics, voodoo elements and a noir tone.  just some remarkably cool shit in this.  the ending, for me, left something to be desired but it was more than worth it to see worship via mixtapes.  standalone.

hawkeye: kate bishop, by kelly thompson and leonardo romero.  kate bishop is, apparently???, a super impossible character for a lot of writers.  kelly thompson is not one of them.  kelly thompson is my favorite kate bishop writer, actually, and the fact that she is ever not writing her is a gd travesty.

the unbeatable squirrel girl, by ryan north and erica henderson.  honestly, i’m so tempted to just stick this under ‘contemporary,’ because it really does just feel very... normal.  doreen’s navigating college, new friendships, and y’know... the squirrely-ness.  this had every opportunity to suck and instead it’s funny as heck, never takes itself too seriously, and is just pure good-hearted entertainment through and through.

wolf, by ales kot and matt taylor.  a paranormal detective and the-possible-antichrist go on a road trip.  people hated this comic and i don’t know how you can hate a comic that has a character called freddy chtonic who has tentacles for a mouth??? 

ms. marvel, by g. willow wilson and adrian alphona.  hi, you read ms. marvel because the world is a garbage fire and people are terrible and your cynicism is at an all time high and then kamala khan waltzes in and reminds you people generally want to help each other and the world improves when we work together and that thing optimists feel?  you’ll feel that for as long as you’ve got the pages open and that’s a magical thing.  lgbt+ minor character.

monstress, by marjorie m. liu and sana takeda.  psychic links with monsters, matriarchal societies, magic and witchery, half-human/half-animal (and other ratios) characters, all through a steampunk lens.  what’s not to like about that??

inhuman, by charles soule.  i love this series, i love the idea of being a total average joe/joanne, getting smacked in the face by a cloud of mist and suddenly having to figure out how to live basically a whole new life.  also, if you don’t fall madly in love with dante pertuz, i don’t even know what to tell you, my dude.

heart in a box, by kelly thompson and meredith mcclaren.  break-ups suck, but only because of that whole pesky broken heart thing, right?  so emma gives hers away.  problem solved, no?  standalone.

i kill giants, by joe kelly and j.m. ken niimura.  i didn’t cry my eyes out or anything.  did not.  standalone.

sex criminals, by matt fraction and chip zdarsky.  having sex = stopping time, which leads suzie and jon to the only logical conclusion: let’s rob some banks!

hawkeye, by matt fraction and david aja.  honestly there are a lot of other artist combos in this run but the only ones that are worthwhile are the ones that have fraction and aja’s names on them - sorry not sorry.

SCIENCE FICTION

black bolt, by saladin ahmed and christian ward.  saladin revived this character one hundred million percent.  there is absolutely a reason this was parading around all over ‘best’ lists when it was released.  it really, really did the damn thing.

saga, by brian k. vaughan and fiona staples.  this is the comic you recommend to people who don’t even like comics because it is that good.  like, my dad - who hadn’t read a comic since he was a pre-teen, eagerly awaits each new trade.  the world-building, the characters, the care put into every single solitary bit of all the things?  unparalleled.  lgbt+ minor characters.

frostbite, by joshua williamson and jason shawn alexander.  a post-apocalyptic story that has humanity dying from a plague that literally freezes you from the inside out.  very neat, very cold, very readable.  standalone.

descender, by jeff lemire and dustin nguyen.  this had a rough start, for me, with the main character of the first trade being tim-21, an android who is literally incapable of having the depth to be a lead BUT that does not last through to the next trade, thank god.  lots of space and found family and world-building in this to be had!  but you know how people rave about jeff lemire?  there’s a reason people rave about jeff lemire.

paper girls, by brian k. vaughan and cliff chiang.  the 80s and time travel and lifelong friendships.  it’s brian k. vaughan, you know it’s good, okay?  why do i even have to sell you here, man?  lgbt+ main characters.

injection, by warren ellis and declan shalvey.  this is another one on my list that started out a little rough but really appealed to me later on.  there was just a lot to absorb in that first trade but, once you’ve got it, the ride gets way, way smoother.   lgbt+ main and minor characters.

black science, by rick remender and matteo scalera.  this was a rocky start, because the main character is such an asshole but in a way where he can’t see he’s an asshole, he’s just a tortured genius who’s superior to all of you, don’t you know? but i am so glad i persevered because if that’s the set up?  the rest of the series is knocking him back down.  super scientist grant mckay finds a way to access the eververse, every possible reality the universe has on offer, and that’s really what causes every single problem that follows.  hard to cause the apocalypse and be an arrogant prick, ya know?

CONTEMPORARY

giant days, by john allison and lissa treiman.  this series is so funny and smart and warm.  these girls are so kind to each other and relatable and failing at adulting regularly and often and i love reading about them.  lgbt+ main character.

lumberjanes, by noelle stevenson and grace ellis and brooke a. allen.  this is funny and ridiculous and kind and cool and all other awesome adjectives and you should read it, fact.  lgbt+ main characters.

my brother’s husband, by gengoroh tagame and anne ishii (translator).  this is such a sweet story about acceptance and family tbh.   lgbt+ main character.

fence, by c. s. pacat and johanna the mad.  i mean... i need to see nicholas and seiji hook-up, i need that, stat.  stat means now!   lgbt+ main characters.

WEB/INDEPENDENT COMICS

long exposure, by kam heyward.  so mitch and jonas are my absolute faves and i love them to death and the author is so kind in that they actually put this up in print on indyplanet so i can read it the way i, personally, love to read comics (and - bonus! - support them with the monies).  lgbt+ main characters.

modern dread, by pat shand and ryan fassett (editors).  i’ve been trying to find more better horror comics lately so i’ve been kind of half-heartedly stumbling through kickstarter on the hunt and this was SUCH a great find.  it’s an anthology but more cleverly done than any other kickstarter anthology i’ve read, with a main story line that seamlessly strings together the would-be-disjointed ones.  this was really thoughtfully put together and really well done!  standalone.

heartstopper, by alice oseman.  a very sweet story about two high school-aged boys becoming fast friends, playing rugby and falling in love.  the two characters are mentioned as an aside in the author’s book, solitaire, and she became so invested in them that she wrote their backstory as a free webcomic.   lgbt+ main characters.

the pale, by jay fabares.  JUST started this (like, just a day or so ago) but i’m enjoying it so far!

hotblood!, by toril orlesky.  i mean... is it a webcomic about a centaur falling in love with his boss?  it just might be.  did i get a bound edition through a kickstarter campaign?  maybe.  maybe i did that.  who’s to say?   lgbt+ main characters.

the bay, by bbz.  life on mars through the lens of three young professionals who form an odd but lasting friendship.  lgbt+ main characters.

hard drive, by artroan.  is it a nsfw comic about a dude and a robot?  .... it might be a nsfw comic about a dude and a robot.  [coughs]   lgbt+ main characters.

seen nothing yet, by tess stone.  a nsfw comic about two amateur ghost hunters.  can’t imagine why i might be interested in that [coughs]   lgbt+ main characters.

captain imani and the cosmic chase, by lin darrow and alex assan.  i mean did i want a starship captain who can’t help but lust after the smuggler he’s chasing.  i mean, maybe i did.  maybe.   lgbt+ main characters.

taproot, by keezy young.  ghost falls in love with boy, boy falls in love with ghost, AND THEY LIVE HAPPILY EVER AFTER.  lgbt+ main characters.

always raining here, by bell and hazel.  just two boys falling in lurve.  lgbt+ main characters.