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pass-the-bechdel · 4 years

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The Good Place season one full review

How many episodes pass the Bechdel test?

100% (thirteen of thirteen).

What is the average percentage per episode of female characters with names and lines?

49.58%

How many episodes have a cast that is at least 40% female?

Twelve of the thirteen; seven of those are 50%+, and two of those are over 60%

How many episodes have a cast that is less than 20% female?

Zero.

How many female characters (with names and lines) are there?

Twenty-four. Eight who appeared in more than one episode, four who appeared in at least half the episodes, and three who appeared in every episode.

How many male characters (with names and lines) are there?

Twenty-two. Eleven who appeared in more than one episode, three who appeared in at least half the episodes, and two who appeared in every episode.

Positive Content Status:

Solid; the nature of the show is such that they really need to be making a concerted effort to reflect positive, progressive morality, and as such faults in the content would also almost certainly be considered faults in the show itself (average rating of 3).

General Season Quality:

Magnificent! It’s a wonderful ride, whether it’s your first time through or not. Just delightful.

MORE INFO (and potential spoilers) under the cut:

So, let’s talk about plot twists. In the current entertainment landscape, it seems like everyone is intent upon ‘subverting expectations’, and the good old-fashioned plot twist is very much swept up in that, since a subversion is almost always going to play as a ‘twist’ by definition. The unfortunate thing about this current landscape is that it’s rife with ‘subversive twists’ which are really just bad storytelling; they’re only there because of some pathological fear of predictability, or worse, because the creative minds just want to feel cleverer than their audiences by delivering content that no-one saw coming, serving their own egos at the expense of coherent narratives. If your ‘twist’ is about your own (supposed) intelligence, if you’re baiting the audience by playing into a common trope and then laughing at them for thinking you meant it, if you’re changing the story out of nowhere just for shock value without bothering to build toward the twist because you’re too afraid that someone might figure it out before the reveal...that’s not a real twist. It’s not even a real subversion, it’s just a bad-faith gimmick. It’s not there for the story at all, it’s there to make the writer feel special, because apparently feeling special for delivering quality storytelling isn’t good enough anymore. A proper, genuine plot twist should:

1. make sense in the context of the narrative (it should not be tonally dissonant or jump the tracks into a different genre)

2. make sense with the content of the narrative (it may recontextualise previous events or character choices, but it does not contradict or ignore them in order to function)

3. be foreshadowed (if it comes out of nowhere, that’s not a twist, it’s a random event. It’s a deus ex machina. There’s no story in it if it isn’t built into the fabric of the narrative)

4. ultimately further the storytelling (if it has no consequences for plot or character, it’s a shock-value gimmick, not a real twist).

The above points do not guarantee that a twist will be good storytelling and not just a subversive contrivance for the fuck of it, but they should at least ensure some logical cohesion and protect the integrity of the plot instead of sacrificing it in the name of empty surprise. That covered, it’s easy to see how – even (or perhaps, especially) in this twist-saturated tv landscape we currently inhabit – the big twist for season one of The Good Place still manages to be – in technical parlance – dope. The writing protects the twist not by being ‘too clever’; it simply offers a decoy issue to drive the plot. Eleanor is a Good Place fraud; that’s the first twist in the plot, and it compels the entire season forward. Other twists - Jason’s reveal, Eleanor’s confession, the introduction of the ‘real’ Eleanor - set the stage for this being A Show That Has Twists, but in a way that makes so much contextual sense that it doesn’t set us up to be looking for the next one (a common problem for those shows that rely on ‘cleverer than the audience’ twists - they’ve set themselves up as mysteries for the audience to unravel, and then they kill their own storytelling as they twist in knots trying to keep ahead of millions of intelligent viewers). The Good Place actually tells us outright that something is wrong with this supposed ‘happy afterlife’, it just fools us into thinking that we already know what’s wrong, so that we don’t see the signs of the truth for what they are. Crucially, however, it doesn’t matter if you figure it out before Eleanor does. You can have your suspicions (or have had the show spoiled for you in advance), and you can still appreciate and enjoy it as it unfolds, you can pick up the clues and have a good time with them, and that’s something that all of those gimmicky-subversion plots out there are missing. Their ‘twists’ are not proper functioning pieces of the narrative, and so the story doesn’t work if you already know the reveal; there’s no juicy build-up to enjoy, or worse, you expose your own illogical contrivances or outright plot holes that were created in the course of writing a crappy twist just to feel relevant. The Good Place works because - like any good story - it isn’t about the twist. It’s about the journey.

An important part of what makes the twist work also is that it interweaves the sins of Tahani and Chidi with the discissions of morality without drawing too much attention to them; if all four humans had simply been frauds, it would have been narratively empty, especially if the reveals were coming late in the piece. Jason’s works because it comes out early, and because the Jianyu cover is interesting and distinctly different both to Eleanor’s ploy and to the behaviour of the rest of the neighbourhood, but if the others had turned in the same way it would have been too contrived, too easy, and it would toss out the personalities we had gotten used to (which would violate Good Twist point #2). Since the show DOES pull that trick with Michael (which works because he’s the architect of the whole situation, not a pawn within it), it’s essential that they’re more subtle with Tahani and Chidi’s reasons for being where they are, and in playing it as they do they also reinforce the show’s central deliberations on morality. It’s an inspired framework for approaching what are traditionally considered ‘heady’ themes (and y’all know I’m into it), and every decision about how to approach and balance character behaviour is coming from a position of ethical consideration, weighing not only the acts themselves, but how they compare to the moral theory of various different and conflicting philosophies. It just goes to show that you don’t have to make something ponderous and inaccessible in order to have a cerebral conversation through television - you can do it just fine with afterlife comedy.

As I noted above the cut, the nature of the show automatically lends itself to careful consideration of any feminist and/or progressive content, and as such it should keep a pretty clean bill throughout, or risk cracking its own concept. I do wish they would come out stronger on the queer side of things (as I said in the episode posts, they really aren’t vague about the idea that Eleanor is attracted to women, but her saying words about hot women is still not delivering a lot on the representation front, especially when she is known to do more than say words when it comes to dudes, and the only other queer content we get is the fact that Gunnar and Antonio are soulmates, and that doesn’t technically mean they’re romantically or sexually involved (especially since they’re fakes anyway, but that’s a whole ‘nother thing)). In the mean time though, we have a female lead, 100% on the Bechdel and an essentially balanced number of male and female characters abounding, plus some really nice variety in racial backgrounds (and great names to go along with those - it’s a bit of a peeve of mine usually when show’s include multicultural characters but land everyone with Anglicised or ‘white-friendly’ names. Let the Bambadjans of the world keep their names). We’ve taken a clear stance on even ‘benign’ sexism (i.e. the stuff that’s just men saying inappropriate things - ‘just a suggestion! just a joke! just trying to get a reaction out of you, why are you so sensitive?’ - it’s all literal demon behaviour here), and I won’t pretend that I’m expecting them to get into the real nitty-gritty, but that’s ok. I’m happy to have something which is making a point of not being problematic, because such refuges have real value. So, maybe there won’t be a lot for me to tease apart as the show progresses, but that’s not a bad thing. At the moment, we have green lights across the board, and that’s a hard thing to find. I’m going with it, and we’ll see where we end up.

#full season review #The Good Place #The Good Place season one #Bechdel Test #female representation

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commentaryvorg · 5 years

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Danganronpa V3 Commentary: Part 6.7

Be aware that this is not a blind playthrough! This will contain spoilers for the entire game, regardless of the part of the game I’m commenting on. A major focus of this commentary is to talk about all of the hints and foreshadowing of events that are going to happen and facts that are going to be revealed in the future of the story. It is emphatically not intended for someone experiencing the game for their first time.

Last time in trial 6, Tsumugi was very clearly just cosplaying Junko despite no-one properly figuring this out for ages, Danganronpa trivia was really not necessary to prove everyone’s memories are fake, Tsumugi kept insisting that Shuichi called this trial because of her backstory when really it has nothing to do with that and everything to do with Kaito, Maki was very distressed to learn even more how she was just being controlled and manipulated like always, Tsumugi was a literal fucking shapeshifter, everyone was more upset than they should have been over Hope’s Peak being fictional for something they’d only known about for two days, but at least that meant that the outside world was…

Well… about that.

Monokuma: “Puhuhu… Forget about the world. It wants nothing to do with you.”

Oh boy. It sure doesn’t, even though it should. Here we fucking go.

…Does anyone have any idea what “kumafarre”, the word plastered all over the trial background from this point on, is meant to mean? Because that’s always stumped me. It has to mean something for them to have put it there. Kuma is bear, obviously, but “farre” can’t be Japanese, so… ???

“first!”

Pfft, of course that’d be the first message to show up. But it also proves that everyone in the audience can see their messages showing up here, so they should know that the characters can see what they’re saying.

“Bring on the spoilers!”

How does this even make sense? You can’t have spoilers for a reality show that’s happening live. The only possible spoiler is who the blackened is during a trial, but we’re way past that now.

“Kyoko is my waifu.”

“Sakura is my muscle waifu.”

“Chiaki #1 waifu”

Ugghh waifu culture. And also, I told you everyone was a bunch of genwunners in this audience! No-one mentions anything like this for any character outside of DR1 or 2. And yeah, obviously seasons past 3 don’t exist in the out-universe, but the out-universe writers could totally have just thrown in some random names we’ve never heard and expect us to assume that they’re talking about unknown characters from other seasons. Fifty other goddamn seasons they could be choosing from! But nope, it’s all gotta be mostly season one with some two, that’s all that counts.

“My husbando Shuichi!!!”

And of course Shuichi gets that shitty treatment too, even though he’s a real goddamn person who never asked to be famous and nobody is entitled to anything from him.

“Wow, Himiko is still alive…”

Seriously, that’s the first thing someone wants to say when their messages are getting displayed in a place where Himiko can see it? Lovely.

“Viewers get to participate now!”

“I feel like I’m participating, too!”

At least these couple of people are currently being fairly reasonable – they’re just excited to be a part of it in some way!

…The first two characters Tsumugi cosplays after this moment are Kyoko and then Sakura, and then Chiaki pretty soon after that. She’s pandering to those people whose messages she saw, isn’t she.

“Sakura”: “Of course, those you see here are only a fraction of our total viewers.”

I. Should. Sincerely. Hope. So. Because that’s the only thing that makes this even remotely believable – the idea that the majority of the fanbase are somewhat more decent human beings than this (you know, aside from the watching real people kill each other thing) and we’re just seeing the vocal asshole minority right now.

…That’s really not what the narrative is going to be going for with this, though. If they actually wanted us to think that this audience we see is just the asshole minority and everyone else is more decent, this topic should get addressed in more than just this one throwaway line, and it is not. So probably the only actual reason this line is here is to establish that the number of viewers is way higher than suggested by just these commenters, and not that the attitude of the rest of them is significantly different.

“I believe in Keebs.”

This is a little early hint to the Keebo deal, since a lot of the audience should be thinking about him the most.

“You can do it, Shuichi!”

I like this person! This person is the most decent and realistic person we’ve heard from so far! Yeah, cheer on Shuichi just like I’ve been doing throughout this commentary! They care about him and want him to succeed! It is of course more twisted in this person’s case because he’s not actually fictional, and becomes even more so now that Shuichi can actually hear them and any pretense that he’s just fictional can’t be maintained, but at least this is otherwise a realistic and relatable response to this.

Shuichi: “W-Wait, why would a peaceful world need a killing game like th—”

“Taka”: “It’s *because* the world is so peaceful that this killing game is necessary!”

“Celeste”: “It is so very peaceful… And so, it is so very boring.”

“Kyoko”: “With so much peace, people have become bored. They need stimulation…”

That’s… kinda bullshit. First Shuichi’s assumption that only a world full of strife could possibly create a reason for a killing game, but then also the idea that peace would make people bored. Humans don’t start wars for entertainment, you know. World peace should be the least boring thing for humanity, because without having to spend so much effort on survival and equality, everyone would have more energy left to make all kinds of technology and art, including entertainment which should not have to involve killing real people to be entertaining!

To be fair, Tsumugi is probably exaggerating somewhat, given that she’s part of Team Danganronpa and is trying to sell the idea that her product is so necessary for the world. But it would seem that we are in a world where one way or another it’s become socially accepted to watch real people kill each other for entertainment… which doesn’t seem like a peaceful utopia at all, really.

“Chiaki”: “Every person in the outside world watching this is a huge Danganronpa fan.”

We get a demonstrative image of people all over the world apparently excitedly watching Danganronpa, most of whom are vague and faceless. If it were just them then it could be possible to imagine that Tsumugi is lying and this is just a hypothetical image of what she’s talking about rather than the truth. But… Makoto’s also there. The kid that we, the out-universe audience, very definitely saw at the beginning of the chapter in a context that had no connection to Tsumugi and no reason to be a lie. Which gives this image a lot of credibility.

(And if this is the truth, again, it really doesn’t look like it’s a shady hidden thing only accessed on the darkest corners of the internet.)

I will say one thing in this world’s favour. I’m not remotely trying to defend the part where they watch real people kill each other, but Danganronpa really must be hugely popular among absolutely everyone for this to have somehow ended up not extremely illegal. Which means, given the fact that the audience are basically telling themselves it’s fiction and treating it as such, this is also a world in which it’s socially accepted, not just in niche geek subcultures but in mainstream culture, to get really excited by and invested in fiction. If you took all the awful murderiness out of it and made sure it was all actual fiction, man I’d love to live in that kind of world. As it is, in our world, only children are really socially expected to get super-excited about fictional stories all the time, like it’s something people are meant to grow out of as adults. Among adults, only very few extremely mainstream fictions get even close to that kind of widely-accepted level of importance in people’s lives. Which is disappointing to me.

“Chiaki”: “This killing game is for everyone… So it’s everyone’s killing school semester.”

That’s the Japanese subtitle of this game, which actually turns out to be very meaningful! The general sense of it she’s talking about here would have applied to every season up until now, but there’s also the more specific sense that this season in particular has audience participation, which is apparently the first time it’s happened, making it even more “everyone’s” than before.

And the localisers just decided to nope on that subtitle and change it to the meaningless “Killing Harmony”, which is honestly a shame. Maybe the Japanese subtitle is a bit too long and too much of a mouthful for western standards, but they could have at least changed it to something which kept that relevance.

“Killing Harmony! I just got it! LOL”

Haha, no, that doooeees not work in the localisation.

“I’ve waited three years for this.”

“I thought the franchise was done.”

Huh, this is some juicy info. It’s taken three years since season 52, long enough that some people thought there wasn’t going to be another one? (And a lot of the rest of the chatter at this point is people applauding, perhaps being happy that they got another season.) That… suggests that Danganronpa might have been already on its last legs even before what happens in this trial comes and puts the lid on it all, which maybe makes things a little more believable. That’d also potentially explain why this is the first time they tried the Keebo gimmick, if they were trying to keep things fresh after worrying people would be getting bored of the same old thing.

Also, even if it’s usually less than three years between games, you’ve still got to imagine it’d be at least one year or so, which means it’s been over half a century since the Danganronpa franchise began. A lot of people who worked on it while it was still pure fiction wouldn’t even be alive anymore at this point.

Plus, geez, how long did they keep Rantaro in limbo between games? Was he allowed to live a relatively normal life for the time being while knowing that if they ever did get around to a season 53, he’d be forced into it, meaning he lived dreading that day and desperately hoping it’d never come? Ouch, poor Rantaro. Or possibly they do in fact have real cold sleep technology in this universe and they just stuffed him in one of those for three years.

“Shuichi, look this way! <3”

That’s… rather entitled but also kind of believable as something someone might do, since it seems like a lot of the audience have forgotten that these characters don’t just exist to perform for them.

“Get to the punishment already!”

Aaaand here’s someone who’s barely a believable person. Do the audience really just watch this to see people be horribly executed, rather than for all the character drama that happens in between those parts?

The opening theme music for this game starts playing… and apparently this is being played in-universe, based on the fact that Maki reacts to it.

Maki: “What is this…?”

“Fuyuhiko”: “Can’t you tell? It’s the title of the current Danganronpa you guys are doing.”

God, that has to be incredibly disturbing and wrong, being told that you’re hearing the theme music for you and your friends’ suffering and death… and it’s just this chill jazz tune, of all things. This probably hammered home more than anything else the awful sense that all of their struggles have just been entertainment.

“Chihiro”: “Danganronpa’s gone on so long because the whole world enjoys and supports it.”

No mention of the fact that apparently some people thought there wouldn’t even be a season 53? Of course not, Tsumugi wouldn’t want to admit that the franchise might be on its last legs.

“Makoto”: “What season do you think we’re on? You should be able to tell from the logo.”

So she claims. But you know what I thought when I first heard her say this? Since I already figured it was probably season 53 from Junko the 53rd, I thought the clue in the logo was the negative space between the V and the 3.

It’s actually kinda shaped like a 5 if you look at it that way! But nope, that’d make way more sense that what it’s actually supposed to be.

(I bet Shuichi figured it out from the Junko hint and not the logo, too.)

“V is the Roman numeral for 5.”

*deep breath*

That is not how Roman numerals work!!! In Arabic numerals, “5” can mean five, or fifty, or five hundred, etc, depending on its position within the number. But Roman numerals do not work like that! “V” only ever means five, and its position in the number does not change that. V3 cannot possibly mean fifty-three. It’s combining two number systems that work completely differently and do not make any sense being combined, but if one were to try and make a number out of it, it’d simply mean “five-three”, separately. Or maybe you’d add them together, so it’d mean eight.

In Roman numerals, fifty is denoted with an “L”. To actually get fifty-three in any vaguely sensible way by combining Roman and Arabic numerals, it’d be L3. Or, heck, why don’t we write the whole thing in Roman numerals? Then it’s LIII. Which just so happens to look and sound very similar to the English word “lie”. If the Japanese writers of this game wanted to do a clever little number/letter trick, why didn’t they go for that? It would have been great! Or they could call it L3 but make the negative space between the L and the 3 look kind of like an I somehow, so that “LI3” almost looks like “lie” as well. Missed freaking opportunity there, guys. Instead it’s just very apparent that nobody in Spike Chunsoft (or Team Danganronpa, for that matter) has any idea how Roman numerals work.

“Danganronpa 25 was the best.”

Shout-outs to this person. They’re the only person we ever see here who mentions any series other than 1, 2 or the one they’re currently watching. Props to them for knowing what their favourite season is and sticking to their guns in a sea of people who disregard every new season that comes along as soon as it’s not current any more in favour of obsessing over the first ones like they’re the only ones that matter. Season 25 probably was genuinely one of the best ones if it has a dedicated fan like this. You go, random person. I feel you.

“This is my first Danganronpa.”

Huh, so despite how much Tsumugi is trying to make us think everyone is obsessed with it, there have to still be at least a few people who don’t get what all the hype is about, if this person only just decided to check it out for this season.

(Clearly there hasn’t been a large enough proportion of these uninterested people who are upset about the whole killing-real-people thing to be able to put a stop to it before now, though. Even if it’s not their thing, if the rest of the world’s okay with it then it must be fine, right???)

“I love Shuichi <3”

Yes, thanks, we’re getting that impression. This is probably the same person from before, who still feels the need to mention this while everyone else is talking about this being season 53.

Monokuma: “The seasons just kept coming, and with it came more killing games… Until it transcended games and anime to become this, the Ultimate Real Fiction…”

They gloss over this quite quickly, but it is important to note that yes, the earlier seasons really were just fiction in this universe like they were in ours. They’re not trying to retcon that the Hope’s Peak killing games were actually only happening for entertainment thanks to Flashback Lights and fabricated backstory. DR1 and 2 were completely fictional in this universe, which means that nothing happening here matters to or compromises that storyline at all.

After all, it does make sense that Danganronpa would need to have worldwide popularity already before society collectively decided that doing this with real people (but definitely not really real people, right) would be totally okay. It’s unclear exactly when the transition to “real fiction” happened, although Shuichi and Maki’s comments on the files in his lab kind of made me assume that there were more real ones than fictional ones. So… I was just shouting out season 25, but that one probably involved real people being killed, too.

“Leon”: “What, did the letter in there throw you off? Well, I guess that happens. But isn’t it just rad how it looks like a letter, but it’s really a number!?”

I am way too amused at how they made it be specifically Leon, mister 11037 himself, who mentions this point. Nice one, guys. Nice.

“Sonia”: “Since this is the 53rd season, one would expect to see a multitude of characters…”

Tsumugi: “But you only have memories from the first two, so you wouldn’t recognize any others.”

They shouldn’t even recognise the ones from season two, like I’ve been saying! But she’s been cosplaying them anyway. So it’s probably a lot less about keeping them recognisable for the students here and more just about pandering to those genwunners and twoers outside.

(Obviously there’s a very good out-universe reason for this, but, you know.)

Tsumugi: “So yes, I’m the mastermind! But the *real* mastermind forcing you to do this is… the people of the outside world!”

Way to deflect your responsibility, Tsumugi! Yes, everyone outside is also partially responsible by demanding this and giving it an audience, but you’re still the one who made it all happen and got everyone killed!

The audience starts chattering about how they’re the mastermind, but it’s in a way that sounds happy about it, like they’re just excited to be part of the story. They don’t seem to register the fact that, hey, maybe being literally actually responsible for the suffering and death of the characters they’ve been watching and caring about isn’t actually a good thing.

“Mmm… Shuichi’s nose <3”

Meanwhile Shuichi’s “fan” here still has a one-track mind and is getting increasingly creepy. I refuse to believe that this is the same person who was cheering Shuichi on earlier, since that person actually cared about him and didn’t only shallowly see him as eye-candy.

“put Maki back on kthx”

Also apparently Maki has “fans” too. But hers probably aren’t the good kind either.

“Mikan”: “The ones managing this killing game aren’t psychos like the Remnants of Despair…”

“Ibuki”: “They’re literal managers! Literally!”

Just because they’re managers, that doesn’t stop them from being shitty, evil people on par with the Remnants of Despair in terms of awfulness. They are quite evidently both.

Tsumugi: “So I want to hear your best guess. What company is running this show?”

…

Shuichi: “…Team Danganronpa?”

I love how Shuichi’s tone of voice makes it clear that he’s just pulling this name out of thin air. How is he supposed to know? Conveniently, Team Danganronpa were apparently just really uncreative when it came to naming themselves. (I guess this is realistic enough, though – our world does have The Pokémon Company, which makes Pokémon.)

We – and therefore presumably the students and the in-universe audience – get shown the opening movie that was right at the beginning when you start a new file, the one that summarised seasons 1, 2 and 3 and then implied this one would be a continuation of it. Which still doesn’t actually make any in-universe sense, since all the evidence other than this clearly points towards Hope’s Peak having not being part of this game’s backstory until Tsumugi improvised it in chapter 5. Maybe this was a promo video Team Danganronpa then hastily slapped together after that point to try and act like they totally had this planned all along?

The only difference from before (because it would have been a huuuuge spoiler to see this last time) is that we also see the supposed logos of every Danganronpa season up to 53. 4 through 10 are clearly the out-universe writers having a field day referencing other works of fiction, but then 11 through 52 are all exactly the same logo with only the number being different. Yeah, that’s not how it actually was, is it. The out-universe writers just didn’t want to take the time to make that many unique logos for a split-second each of screentime. (And, fair enough.)

We then get shown a collage of what appears to be basically all of the illustrations in this game. Which you’d think shouldn’t actually exist in-universe, because the audience’s camera is supposed to be Keebo’s eyes, and he wasn’t there for half of this stuff! So this strongly suggests that despite what Tsumugi’s going to claim about that later, the audience could also watch the game through the Nanokumas’ footage instead and potentially saw all the same scenes that we saw that way.

…Makoto is on there, though. He definitely should not be. The out-universe writers didn’t catch that, I guess.

Shuichi: “Shut up… Shut up!”

Yeeeaaah, I don’t blame Shuichi for this. Tsumugi and Monokuma and the audience have been blabbering on for quite a while now, barely letting him and his friends get a word in edgeways while treating them like objects for their amusement. That has to be awful.

And even aside from Shuichi’s feelings about it, the way the audience has been suddenly babbling excitedly about Danganronpa in general to the point of almost completely ignoring the characters who are in this actual story they’re supposed to be invested in is pretty shallow of them. That’s already a sign of how unrealistically awful an audience they’re going to keep showing themselves to be.

Shuichi: “No matter how many false memories we’ve been implanted with, *we* aren’t fictional!”

This line is here as a setup for the big reveal, of course, but even so… he’s right. Just because literally all of their memories from before this killing game are fake, it doesn’t change that they’ve been real people from the moment they got all of those memories.

Shuichi: (Who… are we…?) “We… are real! We’re living, breathing human beings!”

“Nekomaru”: “No! You’re just like MEEEEEE!!!”

I made Shuichi answer this incorrectly at first because I really feel like he would want to assert this… and he’s still not wrong! They are very definitely living and breathing right now, nobody can deny that!

“Makoto”: “You’re just fictional characters created solely for this killing game.”

“Teruteru”: “Nothin’ we can do about it, I’m afraid. Danganronpa’s that kinda property.”

I’m sure it’s much less some intellectual property dispute and more the idea that everyone might have slightly more issue with actual real people from the outside world being killed in this. It’s totally fine if they were created solely for the killing game, though, because then they’re not real and only exist to die here, right?

And honestly… that does make all the deaths in this game come across as just slightly less awful and tragic, in that context. Not because they aren’t still extremely real people who very much did not deserve to suffer and die, but, since they were created to die, anyone managing to survive and escape despite that feels like even more of a victory than in the previous games. It’s less Monokuma killing a bunch of people who were never meant to die, and more Shuichi managing to save at least a small handful of people who were never meant to live.

“Gundham”: “Your immaterial existence is a fabrication, independent of your actual flesh and blood.”

To translate the Gundham-ese: their “souls” were created separately from their bodies. Kind of like how they were discussing when going into the Virtual World how odd it is that the two can be separated like that.

Tsumugi: “Yep, you’re all fictional.”

“Ibuki”: “You guys out there beyond the fourth wall already knew that, right!?”

I like how this works as simultaneously talking to the people beyond both fourth walls at once, while not actually breaking the real one. (Though the people beyond the in-universe fourth wall are only telling themselves these guys are fictional and aren’t actually right.)

Tsumugi: “You all didn’t look like this when you first came to the Ultimate Academy… Those were your true selves. Now you’re all just fictional characters. That’s the truth.”

Shuichi: (That’s the truth? Then… our real identities…)

Don’t get caught up in her manipulation, Shuichi! You are not any less “real” just because different people used to inhabit your bodies!

Tsumugi goes on to talk about when they first arrived at the school as their pregame selves before they got their outfits and memories. And again, we saw this. It is quite ridiculous to assume we saw an entire lengthy section in the prologue which just straight-up didn’t happen. The game has lied to us, but only with very small lies of omission (re: Kaede’s inner monologue). If the game was willing to lie to us about entire sections we played through, we couldn’t trust anything. We couldn’t even trust if this trial we’re playing is really happening right now, or if anything we saw really happened, which would render this entire story meaningless.

“Byakuya”: “But boring, everyday characters have no right to be in Danganronpa…”

Honestly, why, though? Sure, the talents are supposed to be a Danganronpa thing, but you could totally do a killing game with ordinary people. It might make for an interesting change, especially after 53 seasons.

“Peko”: “Which means your Ultimate talents are all just fiction.”

They may have come from fake memories, but they have those talents now. Nobody can deny that Shuichi’s been a pretty great detective.

Maki: “Our talents as well…?”

Maki Roll, you never killed anyone, and you’ll never have to! This is great news for you!

…I bet if Kaito were still here, he’d immediately turn to her with a big grin and tell her that. Encouraging and being happy for the sidekick with a bright side to this would be way more important than however he might be feeling about this revelation in respect to his own talent.

Maki doesn’t react here with anything other than shock and disbelief, though, so I don’t know if this quite sinks in for her yet. It’s probably very hard for her to accept that she suddenly doesn’t deserve to feel guilty about anything. After all, this won’t diminish the effect Maki’s memories have on her and that she’s going to have to live with feeling like she’s killed countless people for the rest of her life. But knowing that nobody real actually died because of her has got to help a lot. I’m sure that’ll sink in eventually, once she’s had more time to think about it without the trial getting in the way.

“Chiaki”: “I mean, they suited you to a certain extent, but mostly in a placebo effect sorta way. Kinda like a form of autosuggestion… You know, like if you do it, it’ll all work out.”

We’ve seen Flashback Lights do plenty of things that aren’t just straight-up remembering stuff: brainwashing everyone to be filled with meaningless “hope” and a sense of the completely wrong meanings of the words “hope” and “despair” in chapter 5? Brainwashing Shuichi into suddenly being a creepy pervert for that optional scene in chapter 3? Kaito’s phobia of ghosts leading him to feel anxious and nauseous upon simply thinking about a certain irrational stimulus? So, given that, it’s not too much of a stretch to imagine they can do this kind of thing too. Heck, most of the talents in this game are things that only require knowledge, and perhaps a certain kind of personality, something Flashback Lights can very evidently do. Some also require muscle memory, which is a bit more of a stretch, but it’s still memory.

The hardest one to buy for me is probably Angie’s talent. There’s some muscle memory and some knowledge involved, but a lot of what makes someone good at art is more intangible and hard to define and might be difficult to encapsulate in a Flashback Light. However, Angie was unique in that she explicitly did not remember creating her art, because Atua was supposedly possessing her, and she had to be alone for that to happen. That’s how she made the waxworks. So it’s possible that what was actually happening was some kind of hypnotic trigger making her pass out when she thinks she’s about to create something, and then the gamemakers put pre-created waxworks in her lab. Remember how Angie made four waxworks without having intended to? Almost as if the gamemakers weren’t sure who she’d choose for the ritual and just made all four in advance. …And, okay, admittedly it’s very unclear how anyone could have got inside the school to put the waxworks there, which is the same question as how a hypothetical clone-with-a-Flashback-Light would have got in for the resurrection thing if that was going to be possible. But there’s something there. (Can you tell I hadn’t thought of this idea until after the commentary for chapter 3 had gone up and so I’m awkwardly fitting it in here instead.)

And ultimately, if the characters being “fictional” is the point of this story the out-universe writers decided to tell, then that always had to include fictional talents as well, since Danganronpa insists on having all its characters be Ultimates. So Flashback Lights have to be able to do this, even if it’s a little bit of a stretch to believe, because it’s just necessary for the premise to work.

It’s a lot like how we had to buy that the Exisal randomly had a voice changer that could perfectly mimic any student’s voice, simply because that was vital for the fifth trial’s premise and that story wouldn’t work if it didn’t. We can’t just use the fact that it was somewhat unrealistic of the Exisal to have a voice changer as any kind of evidence to propose that it actually didn’t.

Another example: I once saw a blind LP of the first Danganronpa game where it got to the memory wipe reveal and Junko handwaved how memory-wipe technology worked. And the LPer was all “Um, no, how is memory wiping even possible? I think it’s pretty important to establish this, actually!”, like he was using the fact that he didn’t understand how to question whether it had even happened at all. But that was missing the point; explaining the technology really wasn’t all that important. The existence of memory-wiping technology was just a necessary part of that story that had to be accepted, because if memory wipes weren’t possible then that story couldn’t have happened. This story is the same, except with Flashback Lights and the multitude of things that they need to be able to do to make this story work. At least in this case, Flashback Lights and some of the things they can do are well-established already, which is better setup than the memory-wipe technology had in DR1.

Tsumugi: “Can you really say you’re not fictional now?”

Yes! Yes, they can and should say that!

“Hajime”: “Even if your body is real, your identities, personalities, talents and past are all fiction.”

Past, sure. Identities… maybe? At least if we’re just talking about legal identity? But their talents are quite evidently still talents now, as I’ve just been saying, and their personalities are also something they’re expressing right here and now. Even if they were deliberately crafted and created to be that way, it doesn’t mean those personalities aren’t now real. You can only call a personality “fake” if that person is knowingly putting on a façade and pretending to be someone they’re not. So the only fictional personality we ever saw was Kokichi’s supposed love for this killing game. …Oh, and Tsumugi’s, of course.

Also, hi, Hajime. It’s fitting that she’d choose him for this. If we’re supposed to believe that Izuru got shoved full of every single talent imaginable by them doing weird brain stuff to him, it’s perfectly reasonable to also believe Flashback Lights could do something similar on a lesser scale. And Izuru’s entire existence was created from that process, but that didn’t make him any less “real” of a person than Hajime was. If anything, it made him more real at that point, because he’d overwritten Hajime completely (at least until the simulation). It’s honestly a very similar thing. Maybe Hajime’s story partially inspired the idea for this game.

Shuichi: “…”

Unfortunately… this seems to be working on Shuichi.

…You want to know what Tsumugi ought to think of as the real reason she killed Kaito? Not to have his death inspire Shuichi to become even stronger. That would still be happening anyway if Kaito were still by his side encouraging him; all that was needed for that final push was for Kaito to admit that Shuichi’s even more of a hero than him and tell him that. The real reason for his death should have been because Kaito would completely annihilate what Tsumugi is trying to do here.

Because the only thing that matters is what you want to believe! Tsumugi is trying to argue that their pasts being fabricated means that they don’t count as “real” people, but who even cares about that? They believe they’re real, and have always believed that, and still want to believe that, so why should anything else matter? Someone like Kaito who puts such value in belief and has such strong, unbreakable convictions about being true to himself wouldn’t be listening to any of this crap. He’d be shaken to learn his memories are all fake and that his grandparents and fellow astronaut trainees don’t exist, sure, but it wouldn’t even scratch his belief in who he is. He’s Kaito Momota, Luminary of the Stars! Who cares if he’s only this way because someone else wanted him to be, it’s still who he wants to be, so it’s who he’s going to keep being, dammit! And, of course, upon seeing that his sidekicks are having trouble with this idea and are starting to doubt if they’re really real, he’d give them just the pep talk they’d need to keep believing in themselves and their own existences.

Kaito is exactly the kind of person who would be able to blow this whole trial out of the water, and nerfing him enough to prevent him from doing that required nothing less than him not being alive any more.

(Meanwhile, if Kokichi were still alive at this point, he’d be his usual infuriating self. “Oh, you guys are only just figuring this out now?”)

Also, if Kaito were still alive in this trial and ultimately ended up surviving and escaping while having learned that his memories are fake and he was never actually an astronaut trainee… you know that would not stop him from striding up to JAXA’s front door and being all “Let me take the astronaut exam, sure you already know I’m too young but you’ve also seen I’ve got exactly what it takes”.

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[Next post]

#danganronpa #danganronpa v3 #drv3 #ndrv3 #chapter 6 #class trial #commentary

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comicteaparty · 5 years

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November 4th-November 10th, 2019, 2019 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from November 4th , 2019 to November 10th , 2019. The chat focused on Princess Pop by carcarchu.

Featured Comment:

Chat:

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Week Long Book Club~! This week we’ll be focusing on Princess Pop by carcarchu~! (https://www.webtoons.com/en/challenge/princess-pop/list?title_no=173793)

You are free to read and comment about the comic all week at your own pace, so stop on by whenever it suits your schedule! Remember, though, that while we allow constructive criticism, our focus is to have fun and appreciate the comic. Below you will find four questions to get you started on the discussion. However, a new question will be posted and pinned everyday (between 12:01AM and 6AM PDT), so keep checking back for more! You have until November 10th to tell us all your wonderful thoughts! With that established, let’s get going on the reading and the chatting!

QUESTION 1. What has been your favorite scene in the comic so far? What specifically did you like about it?

QUESTION 2. What do you think Kizumi’s secret is that she seems to be hiding? Why is she convinced it would change how others saw her? Additionally, how does Ritsu know the secret and why is Ritsu willing to keep it a secret?

FeatheryJustice

Just started reading but I wish I knew more about the poor girl who left her spot for Kizumi. Must be so disappointed later.

carcarchu

@FeatheryJustice I actually have plans for her but it'll will take forever to get to them at the pace i'm going

FeatheryJustice

Ohhh! I'm glad, I want her to be actually really good and it's like the feels bad moment if she just was able to stay in line long enough she would have been able to get in XD

Also so far I don't trust Rain, bubbly girls make me scared XD

carcarchu

ok this is somewhat of a spoiler but goldie (girl who's spot got taken by kizumi)'s entire character gimmick is that she has horrendous luck. in season 1 she tried to audition but got horrible food poisoning and couldn't make it too. basically her greatest enemy is herself

FeatheryJustice

RIPPO I love her

RebelVampire

@carcarchu Just so you know, spoilers get archived along with the rest of the chat. So make sure it's something you don't mind the public knowing before posting spoilers.

carcarchu

Yep it's no problem! Thanks for letting me know!

RebelVampire

QUESTION 3. At the moment, who is your favorite character? What about that character earns them this favor?

QUESTION 4. Given Yuna originally didn’t do so well at the beginning of her own season, what do you think changed how she sung and eventually caused her to win? How will this play a role in Kizumi’s story?

snuffysam

3) Hmm... I'd say my favorite character is... Luna. She's abrasive, but she's very practical rather than just being mean for mean's sake, which I like. Like, I find it interesting that Luna's deciding to be Kizumi's friend even after she (allegedly) tried to screw her over, because Luna knows Kizumi can be helpful to her. 4) My guess as to how Yuna's story plays into Kizumi's story is that Yuna sees herself in Kizumi. Like, she sees the potential for Kizumi to go beyond like she did (which I'm guessing is why she was disappointed in Kizumi's team performance). As for what specifically caused that change... no idea. Could be something like "she sings from the heart", or perhaps a really rigorous singing practice regimen?

RebelVampire

QUESTION 5. What has been your favorite illustration in the comic so far? What specifically about it do you like?

QUESTION 6. What do you think Ritsu’s story is given how cynical and serious she is about the world of idols? Do you think her mind can be changed, or will she continue to suffer through everything?

jaciopara

5) any panel with Luna being a snob in it. Shes my fav. We stan a queen 6) shes gotta have some kind of like,, tragic my parents were celebrities bg or like a bad experience with kizumis kind of hopeful personality

RebelVampire

1) My favorite scene so far has probably been the group session where Kizumi enacts her plan to have everyone just skip solos. It was nice to see Kizumi and Luna work together, and I kind of liked that someone not Luna was the "villain" in that moment. It really spoke to the fact that no matter how nice all the girls might be, they're all also rivals. 2) I feel like Kizumi must have some past as a celebrity. Either through her parents, or maybe she had been a failed child star. Or maybe she was a baby in a diaper commercial. I kind of feel like this isn't her first time singing though, granted probably the first time singing for people on such a large scale. Which I think this must be how she knows Ritsu. Ritsu recognizes her for showbiz way back in the day.

3) My favorite character is probably Kizumi. I like her overly polite attitude, because I kind of relate to that in a lot of ways. That and I respect her attitude to just want everyone to get along. I also like that this is kind of a double-edged sword, where sure she can play peace keeper, but then she get walked all over and dragged into contests she didnt want to be a part of. So I just really like this cute and sweet aspect about her. 4) I feel like Yuna must have had some transcendental experience. Like maybe before she wasn't inspired and that although she tried her best, she didn't have the right motivation to win. And then she met a singer who really inspired her and who changed how she viewed singing in general. And instead of something that sounds nice, she strived to make her singing something that changed the hearts and minds of those around her. As for how this plays into Kizumi's story, given this mysterious Nagato figure, I assume that is who changed Yuna's life. The joke dark theory I have is a storyline ripoff from one of my fave mangas where the singer made herself sing better by tapping into sad emotions. Which she made herself sad by killing people close to her. So maybe that's what Yuna did.

5) It's definitely the illustrations from Yuna's performance. https://www.webtoons.com/en/challenge/princess-pop/chapter-12/viewer?title_no=173793&episode_no=15 I like the color schemes used, but legit, I am super biased this time in terms of favorites. I just honestly really love Yuna's outfit. I could look at that outfit all day. <3 6) I feel like Ritsu was happy go-lucky, maybe kind of like Kizumi, and then got super betrayed and super burned because showbiz is cut throat. And I also feel like she must have people around her who have put intense pressure that she has to succeed as an idol. So Ritsu feels trapped while also incapable of showing trust. So this makes her cyncical and mean because that is not a fun way to live. I feel like Ritsu's mind could be changed, but I think she either has to be convinced to trust again or convinced that showbiz is dumb and do things that make you happy. I feel like either is a challenge, but I do think Kizumi could help her since they have this mysterious past connection.

carcarchu

@RebelVampire THANK YOU for your long and thoughtful comments!! i won't say how close you got on some of your theories but it was a joy to read them!

RebelVampire

QUESTION 7. Which characters do you enjoy seeing interact the most? What about their dynamic interests you?

QUESTION 8. What do you think this story has to teach us about rivalry, competition, and how people handle it? In what ways do you think rivalry will get the better of the characters, and what ways will they triumph over those obstacles?

redbeanbunny

1. Favorite scene is definitely Kizumi making the plan proposal to Luna, and their meeting afterwards. It's one of the most intriguing personality bits we've seen of Kizumi, and it's cool to see that Luna isn't a cookie-cutter prissy rival. Kizumi is a nice girl but she's not just passive! I'm so interested in what Kizumi will bring to the table in the future! >:3 (alsoluna'soutfitsareallstylish) 2/4/6. I think Kizumi may be related to Nagato, the singer Yuna likes, whether he was a relative or maybe someone who she met up with randomly and joined during singing sessions. IDK, maybe in a park somewhere lol? There's no way she would just be a wildcard singer with no training or interest! Yuna was probably fibbing a little bit about seeing herself in Kizumi, she really made a connection between Kizumi and that singer even if it was just through her voice or style. Maybe Kizumi didn't want to be judged for being related to a celebrity. Or maybe... when she was a child she accidently did something in the past that prevented Nagato from continuing to sing. Depending on what it was it could possibly make people angry with her and she avoided a great opportunity for it. Is it really a coincidence her home is so near the filming site of this contest? :3c I think Ritsu knows about it from childhood bc showbiz and is angry at Kizumi for giving up on something she worked hard to get but was easily given to Kizumi, and maybe she knew Nagato too so thought that Kizumi wasted his efforts on her. Maybe she was involved secretly maybe accidentally and this contributes to her anxiety? Who knows.... but someone is definitely putting pressure on Ritsu maybe forcing her to stay in the biz.(edited)

redbeanbunny

3. My favorite character so far is Luna. She's kind of mean, but she's direct, confident and knows what she wants. Not to say she's not complex, but right now being straightforward makes her stand out from the cast. But my favorite design is definitely Yuna. I think I need to know more about everyone. 5. Probably the last panel of Ritsu in the group concert. Her pose is so powerful. It's so different from her backstage anxiety, makes me wonder about her! (I also love the endcard of Kizumi in a black dress and pink teddy jacket ) 7. It was short, but definitely Luna and Kizumi for the aforementioned reasons. They both have potential to be successful for different aspects and really compliment each other! Like Rain is nice too, but I feel like she doesn't have much going for her right now and it's also a reason she didn't have the presence to bring together her team. Marina is hilarious (I'm sorry for laughing at your suffering Marina but I can also relate to people not pulling weight on a big production T^T...) and I thought the scenes where she was reacting to Kizumi to be great, even if it's more as commentary than them interacting. 8. I think there will be lessons about taking what you're given and working with it to solve problems and move forward. You can only go so far without support, but you can't just go with the flow with others. You can already see the differences in the group elimination. I'm not really sure what the winner of Princess Pop gets, but maybe the girls will find something else out of their time on the show.

RebelVampire

QUESTION 9. What sorts of art or story details have you noticed in the way the comic is crafted that you think deserves attention?

QUESTION 10. Who exactly is Nagato, and why is Yuna so obsessed with them? What does this have to do with Kizumi? Additionally, how might Yuna’s obsession bias how she judges the contest, and what consequences might there be for that?

RebelVampire

7) I enjoy seeing Kizumi and Luna interact the most. At first, I thought they were gonna have the typical bully/rival relationship. But then not only did Kizumi willingly say "Hey, let's work together," but then Luna through a curve ball saying, "Hey, let's be friends." Nothing about their relationship is typical for what their characters would normally be expected to do, so I like this aspect of figuring out exactly what their relationship is. 8) I feel the story shows us that there are two ways we can go about rivalry. We can use rivalry to drive us to a better place and use it as motivation to do better, in a respectful and friendly manner. Or, we can let rivalry and competition bring out the worst in us in the most self-absorbed way possible. Sadly, I think this comic is true to life in that we've seen a lot more of the worst than the best, and that when it comes to competition, we should probably prepare for the worst (and not think ourselves immune). I feel like the characters will are going to overcome the obstacle of having to hate your rival. But I think there's going to be lots and lots and lots of betrayals as characters have to pick between new friends theyve known a short time and their lifelong dreams.

9) I've really enjoyed the inclusion of bits from the last episodes in the new episodes at the very beginning. I know this is one of those things people will feel really mixed on, but I think in terms of not reading the comic in bulk, it's super helpful in the presentation. Sometimes people need a refresher if it's been a while, and the moments are pretty short so it doesn't hurt the bulk read all that much either. 10) As I theorized earlier, I think Nagato is someone who Yuna was moved by and influenced her own singing to the point she won the competition. I would say that maybe Kizumi is Nagato's reincarnation, but not sure that's the direction this story is going. Maybe Nagato is one of Kizumi's parents or something though. Also, yes. Yes this obsession will totally bias Yuna. We already saw it happen since she criticized for not being able to hear each singer individually. And I think the others will pick up on the fact she has a preference for Kizumi and get super mad at Kizumi for that. It's legit probably just gonna make Kizumi's life hell. ;_;

RebelVampire

QUESTION 11. What do you think are this particular comic’s strengths? What do you think makes this comic unique? Please elaborate.

QUESTION 12. Given recent events, why do you think Luna is suddenly interested in being Kizumi’s friend? Is it genuine, or does Luna have ulterior motives? What do you think Luna’s backstory is in general?

jestershark

11. I think this comic's strengths are definitely in the character interactions -- like all good idol competition shows! I also think one of the most compelling things is the subversion of some of the expectations that you have going in. 12. I think Luna is both interested in Kizumi and in it for her own purposes-- I think she's genuinely curious and interested in Kizumi, but maybe thinks of it as more of a self centered move.

redbeanbunny

9. I think a plus point is that everyone has a really unique style that i think matches their personalities, even ahen wearing different clothes. I also like when the artist tries to do something fancier with panels for moments like showcasing Ritsu in the group song or for Yuna singing. 11. I think the comic's strength is where some of our expectations of characters are challenged, while keeping it light-hearted though. 12. I think its probably that she's genuinely interested! I mean Kizumi technically reached out first after all. But she'll probably be okay with some messing and around and manip, but not malicious. Its competition. And you know what they say, keep your friends close and your enemies closer xD

RebelVampire

QUESTION 13. What are you most looking forward to in the comic? Also, do you have any final thoughts to share overall?

QUESTION 14. At the end of the day, who do you think will win the current season of Princess Pop? Will it be Kizumi or someone else? What do you think will become of the winners and losers?

RebelVampire

11) I think this comic's strengths are how it kind of defies expectations. There are a lot of moments in the comic where you think the story is gonna go one way based on past story flows and general character types. But then it doesn't. Instead, it takes you to a new place, so each plot point is really interesting to explore since the outcome keeps you on your toes. 12) I think Luna sees Kizumi as useful. So instead of trying to oust Kizumi from the start, she's decided keeping Kizumi in the competition longer is more interesting and more beneficial in the long term. As for this longterm benefit, it's hard to say. Maybe Luna feels that Kizumi's lack of cutthroat passion to slay the competition at all competition makes her sort of a weak leak when it comes down to individual competitions. So Luna can essentially focus on getting rid of the opponents she feels are stronger first and then easily oust the weaker links, so to speak. As for Luna backstory, I feel she's the type of person who must of had parents who put constant pressure on her and told her winning was the only important thing. So Luna developed a personality that was highly geared towards being self-confident, snobby, and a little bit manipulative, since those are the things most likely that have helped her in the past to win.

13) I am actually looking forward to Kizumi coming to a head with her roommate (whose name escapes me atm). But either way, I feel the roomie is not as innocent as she pretends, and I want to see their relationship pushed as the competition gets more heated and they both come to accept they can't both win. 14) I don't think it'll be Kizumi. I feel like though the experience will inspire Kizumi to go on to have a singing career, I think ultimately it'll be someone else who wins. As for who, I'm torn cause I need more backstory. I think it's gonna depend on who reason for singing is simultaneously sad but filled with surprisingly innocent and sincere passion. I feel like the winners who wanted a singing career will get that. But I think a lot more of the girls will discover showbiz sucks and instead pursue other things that fulfill them more. Cause kind of how we see through Ritsu, showbiz looks glamorous from the outside, but is 100% not for everyone and constantly exposes you and make you vulnerable. And I think they'll also learn you don't have to have a professional singing career to sing for fun and spread music around, especially when the internet is all powerful.

Kabocha

It's gonna take me some time to answer questions, but I'm going to answer them out of order! Huzzah! 14. At the end of the day, who do you think will win the current season of Princess Pop? Will it be Kizumi or someone else? What do you think will become of the winners and losers? You know, I'm kind of hoping it's Luna? Ritsu might have the skill, but I think being showbiz is going to destroy her emotionally. Kizumi may make it to finals, but I feel like she might just step back at some point for someone else to win. Seems like her type, especially since she's only going forward with this because her dad suggested it might be a good idea. (Besides, what happened to the REST of Kizumi's life, anyway?)

3. At the moment, who is your favorite character? What about that character earns them this favor? My favorite character... I like Rain, honestly. She's so cheerful, and has such starry eyes... ...Literally, too. She's a cute. A shame it looks like she's going home. I wonder if we'll see her some more? Maybe on the outside, she'll exchange numbers or contact info to talk to Kizumi.

2. What do you think Kizumi’s secret is that she seems to be hiding? Why is she convinced it would change how others saw her? Additionally, how does Ritsu know the secret and why is Ritsu willing to keep it a secret? I kind of wish I knew what her secret is! I feel like the audience drama could be heightened by knowing what Kizumi's deal is, and seeing what the potential fallout for the other girls knowing that is. In any case -- I feel like maybe she and Ritsu met in school, but Rebel's suggestion of her being a model or celebrity in the past makes sense too. Maybe there was a singing competition for school or somesuch, and Kizumi did well there, but Ritsu understands the stress of being popular and saw how it ate Kizumi then, and will probably eat her again. Or maybe the secret's just as simple as "Well, you took goldie's place" and that's it. And everyone kiiiinda knows that, but...

4. Given Yuna originally didn’t do so well at the beginning of her own season, what do you think changed how she sung and eventually caused her to win? How will this play a role in Kizumi’s story? Someone in her life died. ...I dunno. I don't think we have enough information at Yuna to really theorize, tbh. But I mean, clearly Yuna had something happen, and it made her want to change. So she did. It could just be realizing that the prize money coulda been used to help someone? Or having the career woulda been beneficial to meeting her goals? Who knows.

9. What sorts of art or story details have you noticed in the way the comic is crafted that you think deserves attention? THE DRESSES Gawsh, they're cute! Just... hhh. Yuna's dress during her special performance kind of inspired me so maybe something will come of that. Who knows.

Kabocha

7. Which characters do you enjoy seeing interact the most? What about their dynamic interests you? I really like Kat and Lobelia - and I'm curious to see how they play off one another as siblings. Will they do any sort of duet outside of the group? Will they simply go solo? What if one of them wins? How's that gonna affect their relationship?

Honestly, I can't see that going well in some regards, but hopefully they'll find a way to work it out since they're siblings.

Kabocha

6. What do you think Ritsu’s story is given how cynical and serious she is about the world of idols? Do you think her mind can be changed, or will she continue to suffer through everything? I'm inclined to think that Ritsu just has issues with getting panicky in crowds. It might not be anything more complicated than that, and she's just like, "LISTEN, if you don't do well with crowds, this is NOT THE JOB FOR YOU" But I suppose we'll seeeeee~.

Kabocha

12. Given recent events, why do you think Luna is suddenly interested in being Kizumi’s friend? Is it genuine, or does Luna have ulterior motives? What do you think Luna’s backstory is in general? You know, I wonder. Luna seems like the type who might avoid making friends just on principle. In competitions like these, it would be difficult to keep friendships made among contestants, so it's just better to be standoffish. I wonder if she expects Kizumi to be less likely to backstab her if they're friends? It's hard to tell.

mathtans

I thought the topic for the comic looked interesting and I needed a break from doing report cards so I'm going to participate this week. O.o Will peek at questions before other answers.

1. The scene where Kizumi calls her dad stands out to me, I think because it helped to ground everything in a sense of reality. Having parents is a thing. Also amusing that he was a fan of the show.

2. Kizumi is secretly an android. ... Okay, no, but not sure aside from probably relates to her family. Ritsu knows her from way back, so that makes sense, and I think all of them would hold off on saying things they could use for blackmail. O.o

3. I'm leaning towards Rain. I like her mix of seriousness and goofiness. Also, nice entrance ducking down from the bunk above.

4. Yuna may have been like Kizumi in terms of just going along for the heck of it, until she realized she might have a shot - or possibly didn't want to see someone else win. So that could connect.

5. I kind of liked the Halloween costumes, am I allowed to pick that even though it wasn't canon? Though in general I like how the art flows down the page, a bit like how one's eye would when looking at someone singing. And there's some neat extra arts at the end sometimes.

6. Ritsu may have family issues, could also be why she wouldn't out Kizumi for family issues. She may feel like she has to suffer for her art.

7. I rather like the Kizumi/Yuna interactions. Feels like there's always something under the surface there. What with Kizumi feeling like not measuring up and Yuna kind of dancing around straight answers.

8. I feel like the plan of "flying under the radar" works well when there's multiple rivals, as we kind of saw, but that only works for so long. Not sure what else it will get into. I could see some of the more naive characters falling for ruses.

Kabocha

Yuna? Straight answers!? That would involve Kizumi actually asking a direct question, too XD

mathtans

9. I guess I already mentioned the flowing down the page matching the tracking of an eye. I also think that some of the art reuse is well done, not simply as a quick recap to start, but callbacks to people singing, or in the dream sequence... that was clever. And some of the explanation font stuff (like 'applause') doesn't come across as weird or goofy.

Kabocha: Heh. You're not wrong. She only really seems to have opened up to Rain, and then only in part.

Kabocha

Yeah. I kind of wish Kizumi would come out more with what her deal is - it would save her a lot of drama! But on the other hand, this comic does give me a very shoujo-manga sort of feel, and those sorts of misunderstandings are a pretty staple trope in the genre :3 So it's not a bad thing, it'd just be interesting to see where it went, yanno?

mathtans

10. I don't recall the Nagato thread, I've been reading very sporadically over the past week.

11. Well, the topic seems to have drawn me in. And it seems to have a good sense of which characters to bring to the forefront out of what is theoretically an oversized cast. I'm not great at this sort of analysis. O.o

12. Oh, Luna definitely has ulterior motives, but I think for the moment the offer is genuine in that she sees Kizumi as being someone who would hold her own. And better to be friends with that sort of person than on their bad side. The ulterior motive being a belief that she could win if it came down to the two of them. Something like that - Luna seems to be a strategist too.

13. It'll be interesting to see how the field gets narrowed, as it is the writer managed to cut the field in fifths with one contest. Pity about Rain, I'm wondering how she's going to handle things. Also some of those helpers/employees in the background got full bios, I'm wondering when and how they'll pop up again.

Kabocha: Also good points there too. And yeah, though I like that there's not so much misunderstandings at this point as much as secrets.

14. Goldie will win, in the most bizarre twist ever. Seriously though, uhhh? Maybe it'll be a tie. That'd be a twist too.(edited)

Kabocha

That's fair Math~ And oh god, if Goldie came back.. That would be really interesting

The final showdown is between Kizumi and Goldie! That could be amazing.

carcarchu

Ahahaha very interesting analysis's guys~ it's very difficult to sow all these seeds and then have to wait so long to be able to pay them off, i hope it will all be worth it in the end!

Kabocha

It'll definitely be interesting to see as it goes on!

I have to admit, that starry dress that Yuna wore was sorta inspiring in a weird way. It's sparked the urge to make some new brushes, too so we'll see what comes out of that. XD

mathtans

Been reading through the other comments. Interesting idea about Ritsu having been burned in the past, I can see it. (It's interesting how she was set up as a rival and then Luna became an additional wild card.) I didn't mention Marina, and that's an oversight because she was a fun character.

mathtans

Also, how could I NOT end by doing ships? With so many wonderful female characters? I mean, there's the obvious Kizumi-Rain, but I'm not sure I see that going beyond friendship. Kizumi-Yuna has potential. Ritsu seems like a bit too much of a lone wolf... whereas Reeni could pair with any of them, she's precious. Luna-Yuna I like for the name alone. (Lyuna?) But part of me likes Luna-Kat, having secret romantic walks in the morning.

redbeanbunny

13. I'm excited to learn more about Ritsu and Luna, and I hope some healing from Ritsu. They say that ppl are most critical of the flaws they have in themself, and for now she's still lashing out at Kizumi. Also to get to know the other contestants. I have no idea who the cannon fodder is right now and who will actually stay and make it to the end. For all I know Luna could get booted in the next round (noooo...). I think there are so many ways things could potentially go. And not to be shallow but more outfits for the gals, please!! Excited to see how things roll from here on out ^^ 14. We haven't met everyone yet, have we? So there's still others to consider. And I think that the other bickering characters haven't revealed their full potential yet. We don't even know the interns that well yet and what they have to put in. I mean there has to be a reason they have names I assume others will be getting their time to shine, so to speak. I just have this feeling the winner won't be Kizumi or Ritsu,,, but eh that's my gut. Who will win is one thing, I wonder who will actually continue their singing career. Maybe someone will get an image change (Ritsu? maybe she'll switch to a different style in the future). (Also Kizumi and Luna duet please at some point!). I think the real wildcard has yet to show up, kind of like how Yuna suddenly changed in the middle of the competition. This is one of the reasons why I'm so confused about what she sees in Kizumi (besides the whole Nagato thing and Kizumi possibly being his protegee). Could be Rain even. You know, like those shows that bring back the old contestants to raise the tension(edited)

Kabocha

13. What are you most looking forward to in the comic? Also, do you have any final thoughts to share overall?

I'm looking forward to getting ANSWERS! What is your deal, Luna? As far as final thoughts, I look forward to see how this goes forward. I'm glad I read this week's comic, honestly :3

FeatheryJustice

I didn't have time to finish reading but I have to say I like the concept at least

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB END!

Thank you everyone so much for reading and chatting about Princess Pop this week! Please also give a special thank you to carcarchu for volunteering the comic and creating it! If you liked Princess Pop, make sure to continue to support it via some of the links below!

Read and Comment: https://www.webtoons.com/en/challenge/princess-pop/list?title_no=173793

carcarchu’s Twitter: https://twitter.com/kurumadraws

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #book club #bookclub #webcomic book club #webcomic bookclub #comic tea party #ctp #princess pop #carcarchu

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silverfae16 · 6 years

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Thoughts/Review: Beyblade Burst ChouZ episode 49 (Our final villain fight is here)

Nice lead-up ep this week yep ^^

Apologies for the lateness, I had uni work to deal with this week

Spoilers ahead, so under the cut we go~

This ep was chill in the first half, not so chill in the second half.

The episode starts off with a dream sequence ft. Phi and Aiga facing off against each other...which ends in Aiga’s defeat. And like most of these nightmare sequences, Achilles gets destroyed before Aiga’s eyes. I’d imagine this is reinforcing the idea that what happened before is still weighing heavily on his mind, especially with seeing Phi destroy three more beys after his own.

And thus, this more tense section is followed by a continuation of last week’s more chill ending...and everyone’s fallen asleep. Including Aiga. I’m not surprised if the combo of intense training plus good food = sleepy bladers.

Understandably, Aiga’s still pretty nervous about his upcoming fight, so he and Naru make a trip back home to get some comfort. It really says a lot when a character’s instinct is to return home and seek reassurance from the parents ^^

I appreciated seeing a different side to Taiga, though I suspect that his goofy demeanour was a way to help Aiga relax. Still, it was a cute scene, made even cuter by the next scene with Kana. The flashback from way in the beginning of the season reminded us just how far we’d come since those days.

So we move into the more intense half of the episode, and Phi starts out by suggesting that this battle be a Burst match--a format that basically means only Burst finishes are counted. 1) You can tell Phi is very arrogant here, since using this format when your opponent’s bey’s main gimmick is that it can’t be Burst means that you better know what you’re doing. 2) This is apparently a known format, since the announcer wasn’t surprised at all, just explained it.

Aiga obviously accepts, and thus the battle gets underway. The first three rounds are basically Aiga being on the defensive and trying to avoid getting Burst, since we know Phi can quite easily shove the ChouZ Wings back in.

The third round was the most interesting one, since this is where the moment that stood out the most to me happened--Aiga almost Bursting Phoenix. The way this was played out made it very plausible at first (or maybe I’m just easily fooled, who knows), since we hear what sounds like a Burst, see Phoenix fly out of the stadium...and then there is complete silence for several seconds. By the time Ranjiro realises what must have happened, the intended effect on the audience is that this is it, and thus we get caught up in the ripple effect of the in-universe audience. This is then cut short because the announcer quickly butts in, saying that no, Aiga hasn’t won...and cut to an un-Burst Phoenix with the armour off. Cue frustration because Aiga nearly had it!

Interestingly, Phi twice visualises Valt over Aiga, perhaps indicating that his real target is in fact Valt, and he’s just dealing with Aiga as a stepping-stone. The end of the episode is Phi grinning maniacally and going “How interesting!”, indicating that this is just going to get more intense from here ^^

Next week looks absolutely epic holy crap o.o The animation looks cool as heckie and Aiga seems to be pulling out all the stops to beat Phi. Aside from the epic clash, there are two moments in the preview that have caught my eye: the moment where Phi and Hearts are face-to-face, with Phi looking shocked; and the moment where Aiga and presumably Naru are on the beach right in front of the arena, with an Achilles drawn out in the sand next to them. The fact the second moment looks like it's at sunset makes me think it’s after the Phi vs Aiga match, but this could easily be a weird dream sequence thing... Guess we’ll have to wait and see.

Overall: Nice lead-up ep, absolutely looking forward to what Monday brings ^^

See ya next week ^^

#silver talks #beyburst things #beyblade burst #beyblade burst spoilers #beyblade burst chouzetsu #ahhh I am so ready for next week

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flyswhumpcenter · 6 years

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Bad Things Happen Bingo! The event where you send me requests according to this marvelous card!

My friend and I7-suffering pal @nehamerchant123 (wow Tumblr thanks for sucking even more than a character in an André Gide novel) requested the Izumi brothers + “Big Brother Instinct” (the very reason why I picked it in my form, sorry not sorry)! Knowing me and my tendency to write Izumi bro angst, she went there and I went there lmao.

Content warnings: obsessive fan behaviour/stalking (inspired by Kpop stans and other fandoms) and spoilers up to IDOLiSH7 Part 2 Chapter 1. If you want to go unspoiled into the second season, I’d advise you not to read this one.

Edge of the Razor

Summary: All fans aren't nice people, and all breaks aren't nice to take. (Or: someone isn't happy about how her favorite idols are going, and decides to act upon it. With a weapon.)

Fandom: IDOLiSH7 Relationships: Iori & Mitsuki

Wordcount: 2.8K words

Event organized by @badthingshappenbingo

AO3 version available here.

Being the older sibling was sometimes tougher than single children would expect at first glance. It was a life filled with fears and anxiety: expectations, duties, goals and being a role model were all part of the course one couldn’t be responsible for being a part of.

Usually, it was mundane things: tell your little siblings not to let go off your hand when they’re very small when you’re in a crowd, speak to them about growing up and puberty, show them the ropes of the fun stuff your parents wouldn’t tell you about… and feel like a failure when you see them be better than you in every single field you’ve ever stepped a foot in.

Well, perhaps that last thing wasn’t every older sibling’s reality, but it sure had been Mitsuki’s ever since his little brother could do as much as talk.

A lot of people would have rather talked about Iori than about him. The former was everything a parent would want to raise: easily disciplined, wise beyond his years, good at everything school-related and outside of school too, mature and sharp. There was no way around it: Iori was simply a much, much better version of him.

That didn’t prevent Mitsuki from having a few issues with him. That kid would always meddle with his dream of becoming an idol or with, well, everything! Baking? Oh, it’d be better if you did that. Redecorating his room? It’d be handier if you placed the furniture that way instead. Practicing dancing and singing for the next audition he’d fail anyway? Perhaps you should watch that idol unit before, if you listened closer to the song, etc, etc. It was hard not to get fed up with this after a while.

However, that was all petty banter these days, right? He had achieved his dream: being an idol. He didn’t even have to throw Iori under the hype train as he did so: they had both gotten in, in the same unit. The world was finally smiling on him, didn’t it? About time! That meant the kid could stop meddling with his dream or, at least, it wouldn’t be as noticeable as it used to be.

In fact, they had bonded over being part of this unit again. Mitsuki had finally been able to be the big brother he had always sought to be, comforting his sibling when he forgot to sing and triggering one of their biggest group hugs to this day. It had been better for their relationship, but alas, being an idol was a risky occupation and he would rediscover that soon enough.

The centre switch had been… quite the event, to say the least. This had created a rift in the middle of their fanbase: there were centre Riku fans, centre Iori fans, fans who wanted to see other members be the centre instead… It seemed like their “Perfection Gimmick” setup truly hadn’t pleased everyone, as temporary as it was. Anxiety had settled among their ranks because of that, but they decided to stick together and get through the storm united.

However, that wasn’t the case for their fanbase, and it was made abundantly clear on forums and video comments alike. They could get violent at times against each other, but also against the members themselves. It was all verbal violence, of course.

Or was it just words spelt out in cold letters on phone and computer screens?

It had all seemed kind of surreal to them, for the first few days of this ongoing switch. It just felt like having some nasty comments about some of them, albeit there was already some discord between them because of it. It’d get better, right? They couldn’t disband from just some dissatisfied fans’ reactions to a sudden change. It’d be fine.

Perhaps Mitsuki had believed in their fans too much. He had always seen them as the nice middle school girls from the plaza or the young women having supported them since their very beginnings for some of them. They had to be nice people who would understand. Right? Well, he’d have to soon revise that judgement.

Going undercover in the streets wasn’t too uncommon for them. They’d wear paper-thin disguises, sure, and some fans would recognize them, but they usually didn’t get into much troubles when they did so. It was a way to remember they were still humans and that this adventure could, sadly, stop suddenly at any given moment if they weren’t careful enough. It was a tough life he was always ready to face.

Fame came with that price of being recognized in the streets, after all. It usually was a pleasant experience: exchanging quick words with fans, taking selfies, getting some precious (and direct) feedback was anything but bad for them. Alas, there were times where it wasn’t the case. Times Mitsuki honestly didn’t want to believe could happen to them.

It seemed to be a regular afternoon. He was out with Iori to buy the guys some drinks during a training session, nothing out of the ordinary. It was calm outside, not much going on even for a school-less day, everything was just fine, wasn’t it?

They had come across a couple fans, some of which hadn’t noticed them, when one of them seemed insistent in particular. That was displeasing to see: being followed around was an annoyance at first, then a chore, then turned into full-on creepy behaviour. Mitsuki had to say something: if Iori’s face indicated anything, it was that he felt uncomfortable, yet was determined to make it to the agency without causing a fuss. Too calm for his own good, huh.

“Hey, you!” Mitsuki bolted in that creep’s direction once and for all. “What’s your deal?! You’re being a creep!!”

“Big brother,” Iori put a hand on his shoulder. “Don’t scream like that. We’ll get in trouble.”

“We’re already in trouble,” the older sibling replied before looking back at the third wheel. “Stop following us around like that! We’re humans too, y’know!”

The chick, a black-haired and brown-eyed teenage girl around Iori’s age, simply stared at the latter in silence.

“If you don’t leave us alone, we’re gonna call the cops on you!”

Despite all the threats he’d make, Mitsuki had to admit something: it didn’t goddamn work! Why was she being such a creepo anyway?! Did she get off to that shit in secret or what? Words didn’t work: perhaps it was time to simply call anyone to act on her. Standing here speaking menacingly wouldn’t do anything.

Taking a glance at her showed she was a huge Riku fan: her phone’s charm, her keychains, her jacket’s pins and her purse’s zippers all were showing Riku’s face or a red double sharp. If she was a Riku fanatic like that, why was she following them? It had to do with Iori, sure, but was it any positive or negative? In such times…

It had very little chance to be any positive.

“I don’t want you to be the centre,” she said in a monotonous voice, staring right into the younger idol’s eyes.

“That’s an opinion shared by a lot of fans,” Iori tried to calm the game down. “I’m afraid this will last for a bit longer. I never intended and still don’t intend on replacing Nanase forever.”

“Too honest for his own kind” wasn’t an exact match, in this situation. Mitsuki could easily see Iori was speaking that way exactly because he was afraid and under pressure rather than because he wanted to apologize. The fact they were trapped by walls in a small street didn’t help.

“I don’t care about that! You should have never been centre in the first place! You’re nothing compared to my sweet Riku!! I don’t want to see you in his place!!”

That must had hit Iori somewhere, considering the distorted expression on his face. He’d have usually tried to remain calm in face of such a situation.

“Hey,” Mitsuki attempted to chime in, “c’mon now! That’s just mean! Iori’s trying his best you know!”

“Well, if he’s tried, then he’s fucked up,” she simply replied as she went to grab something in her bag. The older idol was this close to grab the pepper spray bottle he always had in his sweat’s pocket. That was becoming too dangerous.

The chick pulled out a fucking cutter from her bag and pointed it at Iori, holding it like it was the harmful weapon she intended to use it as on them.

“Are you fucking mad?!” Mitsuki let out in a scream, hoping people would hear him too.

“Sometimes, you gotta do what you have to do,” she simply replied as she got closer to his brother’s throat. “Some people just won’t go away.”

Okay, she was completely nuts. There was no way reasoning her. It wasn’t Mitsuki’s forte to be a third party anyway: his blood was boiling and he was retaining the urge to insult her because he was in public and in certain danger in this very situation. Iori didn’t seem like he wanted to be a mediator to such a situation: there were big drops of sweat pearling all over his temples.

“That’s enough! Get away from us, you fuckin’ psycho!!” Mitsuki attempted one last time to threaten her, using his deepest voice and harshest tone for this, but she still didn’t budge. She kept glaring at Iori with these menacing eyes.

She launched herself off her feet with the cutter clenched in her hand, heading straight for the throat, clutching her teeth. Despite her inhuman velocity, Mitsuki had managed to leap into the fight before she could, preventing the knife from reaching Iori’s throat. It was dangerous and reckless, but his self-survival instinct had shut down as soon as he saw his brother having a real chance to die here and there, in this dark corner of a street to a fucking psycho.

The cutter’s direction didn’t change much, though: when he slapped her hand out of that way, she instead opted for Iori’s broader chest area. In the confusion and heat of the moment, Mitsuki had fallen to the ground, taking her with him as he made her slip using his legs to sweep her off her feet. He would defend his brother to the very end and she needed to get that ingrained insider that little stalker brain of hers.

When he looked up, he noticed red dripping to the ground, right onto his hair and, soon, face. She had pulled the cutter out of a newfound wound. She had managed to cut his brother in the chest, deep enough for it to already be pouring out blood, right between his left arm and what he could assume to be his fucking heart. Iori’s breathing had heaved enough for it to be noticeable.

He wouldn’t forgive her for this.

Mitsuki got up quickly, jumping to his feet, telling his brother to please muster up his strength and call an ambulance and the police or something. They were in a fucking pinch and she was insane enough to remain there after stabbing someone like that. It was even worse than that, in fact: when he glared at her, trying to keep his punches to himself, he noticed she was clutching onto the blooded blade and had that… crazed expression in her bloodshot eyes. She was clearly enjoying this.

“What’s the fuck is wrong with you?!” he screamed again, needing to let all that steam getting to his head. “How can you be happy about doing that?!”

“You don’t get it! I’m making Ainana better!”

“It’s just about whatever Ainana you wanna see?! There’s something missing inside that head of yours!”

The psycho titled her head and stared at him as if he had been nonsensical all along.

“Stay out of my way.”

“Fuck no! I don’t tolerate killing people” around here!!”

His blood was boiling inside his veins.

“Why are you this angry? I’m just making things better. Ainana doesn’t need… that as their centre. Nor as a member.”

“Who are you calling that?! Iori?!”

Something snapped inside his skull.

“We’re not objects! You can’t just decide to one day attempt murdering one of us just because we made a centre switch! For fuck’s sake, do you think of us as just props to amuse people?! You’ve been treating Iori as a fucking item all that time!! You’ve injured someone just for some idol unit!”

As much as Mitsuki loved being an idol and was an avid fan of the idol universe, this was fucking bullshit and he wouldn’t stand for this. She needed to understand and fucking pay.

She clutched her cutter.

“You really don’t get it.”

“Why don’t I fucking get? You don’t make any sense!”

“He isn’t needed.”

“He is Iori, right?”

“Yes.”

Something snapped even harder, the anger becoming a pounding heart and boiling thoughts of wanting to see that chick taste the floor already. It had gone from fiery and burning to strangely calm.

“I don’t give a damn if you think Iori’s unneeded. Nobody does, in fact. Our parents don’t. Our friends don’t. Other fans don’t. His classmates don’t. We have a life and you can’t just decide to end my brother’s life end like that just because you don’t like him as a centre or something. I won’t let you kill my brother in the name of some bullshit principle.”

Tears started to appear.

“You don’t get it. You don’t get why a brother would defend his sibling. You’re that unsympathetic and awful? You want me to watch not only a comrade die in front of me, but also my little brother?! Go fuck yourself, that ain’t happening on my watch!!”

As psycho as she was, she was really fucking stupid: from the side of his view, he could see Iori had called the cops all along, his other hand resting on the cut he had taken to the chest, white shirt getting tinted in reds. His eyes were starting to get unfocused.

Fuck. This was turning into a disaster, and this bitch was still fucking ready to kill them both while she was at it.

Before he could even think about it, as soon as he saw her get a more forward glance, he leaped at her, making her slam the ground as he pinned her. That wasn’t before she had her chance at getting a hit on him: the pain of getting stabbed right under his ribs in his fall was late to arrive. He kept a scream inside, shaking her hand with his so she’d drop her goddamn weapon already.

When she did, he allowed himself to just grab and get up from her. She had been knocked out by the shock anyway, her head having slammed the ground just as hard as her back had. Stumbling on his own feet, Mitsuki fell to the floor, back against a wall, right next to Iori sitting next to him.

“Where… where are the cops…?” he asked, voice weakened.

“Near enough for me to hear some sirens,” Iori replied with what sounded like a cautious tone, before looking at him again. “Big brother, how are you?”

At this question, Mitsuki scoffed. “Isn’t the answer obvious…? I just got stabbed… That hurts like hell…”

“I had figured… I didn’t know the centre switch would upset people this badly…”

“Nah, it’s more than just some Riku-obsessed asshole… That girl was just psycho at that point… Don’t even try blaming this fiasco all on you, Iori…”

“Then on who?”

“Her, entirely her…”

Despite the utter pain and the discomforting feeling of having your blood drained by an injury, he still managed to speak. He needed to keep Iori and himself awake until help arrived.

“Y’know, you can let yourself speak like someone injured. I can tell you’re trying to sound solid, but you’re zoning out… Just speak to me for now, okay?”

His brother’s unfocused eyes turned to him again.

“Did you know she could injure you?”

“Who wouldn’t? She was armed and had already hit you…”

“So you jumped to…” His face distorted as he seemed to have realized something horrific, “…protect me? Why?”

“You’re still asking? Because I’m your big brother, that’s all… It’s my mission to protect my younger sibling, isn’t it…?”

Mitsuki gave his little brother a weak smile, yet the biggest he could make, which got met by tears and a sudden embrace. It was weak, kind of awkward in that regard, but the emotion was there and so was the intention.

“Heh, Iori… don’t cry… It’ll be fine…”

No direct response. Silence was enough. As long as neither of them would go cold, it’d be just fine.

Red and blue lights soon drowned the scene as people barged into the scene. Impossible to hear or see anything decently. Oh well, it was all over now.

It’d be fine.

#bad things happen bingo #i7 #izumi mitsuki #izumi iori #whump #brotp: bakery brothers #stabbing #stalking #i7 spoilers #bthb 1

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thesethingsofours · 4 years

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Watchmen, Anchors & This Extraordinary Being

As anchor episodes go, what makes Watchmen’s This Extraordinary Being so… Extraordinary? Beside the rest, it’s a masterclass of meta.

In its entirety, HBO’s Watchmen is deserving of tremendous praise: “woke” without patronising, intellectual without pomposity, indulgent without narcissism, complex without confusing. Its best trick is to make the fanciful believable, laying on just enough familiarity and pseudo-science to imagine we really could be watching a parallel version of our own reality. Many of the ideas originated from its source material — Alan Moore’s seminal 1980s graphic novel of the same name. But successfully adapting, updating and elaborating on those ideas is no simple task, notwithstanding the presence of showrunner Damien Lindelof, and his history of intricate storytelling (Lost, The Leftovers, Prometheus, Tomorrowland).

The series follows Vietnam-born Angela Abar (Regina King, If Beale Street Could Talk) as Sister Night — a highly-skilled police officer in Tulsa, Oklahoma. Masked vigilantes are outlawed, but several are now openly integrated into the police force. Ironically, all Tulsan police officers now wear masks to hide their identities — a reaction to a white supremacist terrorist attack on officers in their homes, several years earlier. The KKK-like “7th Cavalry” responsible for the attack were forced underground, but have re-emerged, threatening to re-boot their police-killing operation. Dr Manhattan, a blue, atomic, god-like super-human has long-since disappeared to reside on Mars, and (oh yeah) the world appears to be in occasional overlap with a portal to another, squid-filled dimension.

If you are familiar with previous iterations of Watchmen (either from the novel or Zack Snyder’s 2009 movie), you’ll recognise some of these elements and be unacquainted with others. Set 34 years after the novel, the surviving characters have evolved in tandem with their invented surroundings. Given George Floyd’s recent death and the recent focus on Tulsa (via Trump’s floppy rally and heightened awareness of Juneteenth), the intersection of the setting, white supremacy and policing makes this version unavoidably topical. Beyond that, the original thematic similarities are maintained — what if superheroes (with the notable, dick-swinging exception of Dr Manhattan) were just exceptional people, without supernatural powers, but with typical human flaws? What if there had been a different chain of presidents and major events in the latter 20th century? What if we better understood quantum physics and could put it to use?

Does Your Anchor Hold?

Every season of novelistic, modern TV has that episode, anchoring the entire show. In a typical 8–12-episode affair, it tends to appear around two-thirds of the way through. In a good show, it allows the other episodes to tread lightly on otherwise clunky exposition and foreshadowing, resolving unanswered questions from the first two acts, while constructing intrigue for the third. In a great show, it will go further, offering up an ambitious concept with cinematic exposition and efficient storytelling. It can virtually stand alone — a piece of poetry amidst a wealth of narrative, specifically memorable beyond the whole.

Often it is played out in a context outside the conventional environment or characters of the show. At its best, it can even make the finale seem underwhelming (which, despite our natural (perhaps biological) craving for a climax to signal a conclusion, is no bad thing). On the other hand, it can just as easily go underrated, without the major twists or revelations offered elsewhere.

It’s the cradle into which the show’s fundamental ideas are birthed. For everything to work, it’s the point the show needs to reach. The list is increasingly extensive, but a few examples, recent and historic, are listed at the end of this article.

Joining the anchor pantheon is Watchmen’s Episode 6 — This Extraordinary Being; a significant reason for the show’s recent 26 Emmy nominations. The episode itself is up for 8 categories: direction, writing, cinematography, original music, picture editing, sound editing, sound mixing AND supporting actor (Jovan Adepo; Fences, When They See Us). Wowzers.

WARNING: DEPENDING ON YOUR TOLLERANCE LEVELS, WHAT FOLLOWS POTENTIALLY CONTAINS (LIGHT) SPOILERS. YOU COULD PROBABLY READ IT ALL BEFORE WATCHING THE EPISODE WITHOUT ANY MAJOR HOO-HA, BUT IF YOU LIKE TO GO INTO EPISODES COMPLETELY BLIND — I FEEL YOU. JUST SKIP TO THE LAST PARAGRAGH, NO HARD FEELINGS. WHEN YOU’VE WATCHED THE SHOW, COME BACK AND GET FILLED IN.

This Extraordinary Episode

As anchors go, what makes This Extraordinary Being so… Extraordinary? Well, in addition to drawing the story threads together and answering a wealth of pent-up questions, it’s a masterclass of meta. A meta Beretta. A meta Matryoshka. A full meta jacket.

It opens with a big storyline reveal on “An American Hero” — a fake, popular TV show within Watchmen, which portrays a fictionalised (and inaccurate) version of the (also) fictional story we ourselves are watching unveil. Phew. Maybe read that again.

[Incidentally, this is just the self-referential rollercoaster making its initial ascent. Keep your hands and legs inside the episode at all times.]

It quickly progresses to depict one character’s experience of another’s memories; including memories within those memories; and the occasional reversion to the show’s reality. If that weren’t enough, among the fiction, chunks of your and my actual, human reality continue to land, in the form of real-life people, events and societal norms. Cleverly, the effect is to blur what is true versus what Angela, the other characters and we, the audience, perceive to be true. This not easily achieved (nor easily explained), but simply put, in This Extraordinary Being, it is seamless, sumptuous, and sensational.

The audacious concept of “Nostalgia” — a pill that contains a person’s harvested memories — drives the episode. Tremendously cinematic, it’s filmed in rich, crisp black and white noir, with flashes of colour emphasising critical moments to pertinently fuel the story. Constantly on the move, the camera switches between first and third person, accentuating the feeling of simultaneously experiencing several perspectives. There are very few gimmicks or effects — it’s traditional film-making, reliant on great camera work, acting, direction and editing. Hard cuts and smooth transitions are cleverly blended, with flashbacks quietly interspersed, allowing the story to move at pace. Beautiful pacing is one of the episode’s most impressive achievements.

Back to the action, which is precisely detailed. Playful, symbolic flourishes compliment heftier motifs, often subtly relating to previous episodes or our own cultural reference points. Note the lettuce in the grocery store, the (real-life) Bass Reeves, Will painting his eyes white (compared to Angela’s black), the piano playing in the (again traumatic) cinema, the comic book reader on the sidewalk, the Alt-Right “OK” gesture, the destructive and restorative functions of fire. All these pieces efficiently collude to inform the present story, as well as crafting Will’s personality and guiding his behaviour.

Adhering to it all is deeply affecting music. Its simplest impact is to aptly recall the early 20th century era in which the memory is set. But the romantic, haunting, crooning over both tender and violent moments consummately mirror the emotional state of the protagonist. In particular, I Don’t Want to Set the World on Fire, by the Ink Spots (1941) — with lyrics variably ironic and literal — will infiltrate your dreams for some time afterwards. Between the ballads is the show’s thematic, dramatic, western movie piano music — a tormenting echo in Will’s psyche, recalling both his mother and his hero. Reminiscent of Birdman (dir. Alejandro G. Iñárritu, 2014), chaotic, thrilling solo jazz drums play whenever he escalates the power of his own agency.

With these ingredients blended, the scenes all underscore the internal and external conflicts of the characters: between blacks and whites; rage and serenity; integrity and corruption. The underlying messages of racism, history, and technology essential to this version of Watchmen are wonderfully extolled.

Notably, there are no plans for a second season of Watchmen. Rather than a question of HBO’s reticence to renew (I’m sure they’d love to), Lindelof himself has stated his intention for the show to end where it does — his exhaustive love-letter to the ever-extending Watchmen epic. As much as we have become accustomed to the fulfilment of our insatiable desire for sequels, we should be grateful that this symphonic limited series and Its Extraordinary Episode will exist in illustrious isolation. Like Nostalgia, some things are best consumed in small, perfectly measured doses.

Watchmen is available to stream on HBO Max (US), Amazon (UK, £11.49), HBO Go (elsewhere).

Other Anchor Episodes for Your Viewing Pleasure:

Sopranos Season 3, Episode 11 — Pine Barrens (HBO / Now TV) Mad Men Season 4, Episode 7 — The Suitcase (Netflix) Atlanta Season 2, Episode 6 — Teddy Perkins (Hulu / Amazon) Better Call Saul Season 2 Episode 7 — Inflatable (Netflix) The Wire Season 3, Episode 7 — Back Burners (HBO / Now TV) Bojack Horseman Season 5, Episode 11 — The Showstopper (Netflix) Westworld Season 2, Episode 8 — Kiksuya (HBO / Amazon) Succession Season 2, Episode 8 — Dundee (HBO / Now TV) The Marvelous Mrs Meisel Season 2, Episode 7 — Look, She Made a Hat (Amazon Prime)

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aion-rsa · 4 years

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Palm Springs Timeline Explained

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This article contains Palm Spring spoilers. Our spoiler-free review is here.

Time loop movies are quickly becoming a genre, and we are here for it. The paterfamilias of the concept on screen is of course Harold Ramis’ existential romantic comedy, Groundhog Day, but we’ve seen the concept repeatedly riffed on ever since in everything from big action blockbusters (Source Code, Edge of Tomorrow) to slasher movies and indie thrillers (Happy Death Day and The Endless, respectively). So it was inevitable someone would eventually circle back to using the idea of a perpetual time loop for romance. Luckily the first film to do so is the exceedingly clever Palm Springs.

A millennial rom-com stuck on repeat, Palm Springs slyly deconstructs some potentially problematic aspects about Groundhog Day while offering a smart variation on the concept of love through trial and error on the same day. And director Max Barbakow and screenwriter Andy Siara are aided greatly in this by the general appeal of Andy Samberg and Cristin Milioti, who turn two potentially unlikable malcontents into a charming pair of co-dependent adult-children searching for maturity. But how they got into their predicament, and how long they’ve been stuck there is a little more complicated than other time loop movies. So we’re here to unpack the timeline in the movie, and how and why events occur.

The Jurassic Period

Following in Groundhog Day’s tradition, an exact explanation for our temporal glitch in spacetime remains elusive, but we know it is caused by a glowing physics anomaly in a cave located in modern day Southern California. And it’s been there a very long time. Since at least the late Jurassic period around 150 million years ago, to be exact. We can trace that because on one magical drug-fueled night shared by Nyles (Samberg) and Sarah (Milioti), the pair see what looks like several Apatosauruses (or Brontosauruses) in the distance. It’s dark, they’re high, and the movie is hinting that it could just be a hallucination, but nope. In the final frame before the end credits, we see the long-necked dinosaurs again just wandering around.

It’s a fun wink and one that suggests this isn’t some temporary gimmick created by the universe to improve Nyles and Sarah as human beings; they’re trapped in a temporal loop by something that has existed since dinosaurs walked the earth and potentially much longer. It’s fair to wonder if the time loop is as old as the planet, if not the universe, with these gentle giants roaming the same plains for eternity. But you know what? Good for them! When you think about it from the dinos’ perspective, Nyles and Sarah are throwing away the gift of eternity like suckers.

Nyles

We of course don’t see Nyles’ first day in the time loop—and we may not have seen a moment from even his first million. It is intentionally vague how long he’s been trapped in this time loop, but certainly years and probably decades have passed when the film begins. Refreshingly breaking from the formula established by Groundhog Day, we as viewers have skipped the early sense of exploration, the subsequent gleeful anarchy without consequences that follows, and finally a brief nihilistic despair. Rather we meet Nyles after he’s come to a happy resignation toward his fate. Hey, at least he gets to wear the same shorts and Hawaiian shirt each day and either aid or subvert the wedding he’s attending however he chooses.

We can be pretty sure that it’s been ages since it began because he already knows about everyone in town, from his cheating girlfriend to the deal about the local barflies. In a pinch, he can even call on a memory about the bearded hermit still pining for the woman who took his virginity when he needs to steal the dude’s car. Plus, as he tells Sarah, he first met J.K. Simmons’ Roy in the “early days” when he was still exploring the wedding’s guests and probing them with a sense of curiosity. Hell, he was even still wearing a suit in those before times.

If those early days were actually early years, then many more must have passed since then. Whatever the case may be, we can deduce that on the original day zero, he must’ve come into this desert after there was a morning earthquake which opened up the cave hiding a time paradox. I’d speculate it was at night after the wedding—perhaps he even was on a drunken bender after discovering Misty (Meredith Hagner) was cheating on him? In any event, he entered the cave and I’d guess the next 40 or 50 years remained much the same ever since… just long enough for him to forget what he even did for a job in the way, way back.

Roy

While we only discover Roy’s full story late in the movie. Roy is a man who married (or remarried) late in life and started a family even later. But despite all that time to reflect on the transience of existence, he still was missing his early wilder days when he made a fateful drive from Irvine down to Palm Springs, California. He’d regret it.

Seeing Nyles as simply someone stuck in a funk like himself at the bar, Roy laments that marriage is a bottomless pit that, somehow, still has a bottom. He also tries to relive glory days by doing drugs with the much younger man. As a consequence, Nyles introduces the cousin of the groom’s daddy to a cave that both condemns and improves the old guy. Oh sure, Roy periodically lets out his bloodlust every few weeks by driving down to Palm Springs to hunt Nyles for sport and then go Jigsaw on him, but by and large, he spends more time living his suburban life until he can finally appreciate it.

If he met Nyles in the “early days,” then Roy has been trapped in the time loop almost as long as Samberg’s protagonist. So I’d again speculate years or decades have passed. But it’s also been long enough for even this old man to finally grow up and really appreciate the prospect of spending family time with his children and seeing them come of age. Living long enough to regret not paying the kids enough attention, Roy may yet be able to do the whole father “thing” right when he gets out of the time loop and comes back home. Which thanks to the post-credits scene, we know is only a matter of time.

Sarah

And yet, it’s the introduction of Sarah into the timeline that really sets events in motion for both hapless man-children she’s stuck in this loop with. Indeed, the plot only begins on the particular trip around the loop in which she follows Nyles into the cave.

Making Sarah the catalyst for everything that comes afterward also allows Palm Springs to lightly interrogate aspects of the undeniable classic Groundhog Day. In that movie, Bill Murray’s Phil Connors spends most of his decades (or centuries) in the time loop trying to court his co-worker Rita Hanson (Andie MacDowell) and get her into bed. While he never succeeds until the end of the film, where he isn’t trying and has actually displayed true enlightenment and self-betterment, he is still rewarded with her love in a single day… all while she’s oblivious to the fact he’s studied her like a cross between a stalker and anthropologist for years. He also has slept around the small town they’re trapped in.

Despite Nyles’ protestations to the contrary in Palm Springs, he likewise did sleep with Sarah apparently many times (he uses the word a “thousand”). The reason she can be shocked that he’s only slept with a handful of people at the wedding and local bar is because he viewed her as an easy mark, time and again, when he was feeling horny. He also was using an invisible position of power over the timeline to manipulate her, just as Phil attempted to manipulate Rita, and did successfully manipulate other women in Groundhog Day.

The grossness of this act is brought out into the glaring light of day in Palm Springs with Sarah distancing herself from Nyles for the remainder of the movie’s second act, effectively ghosting him for his creepiness. Her character also challenges the simplicity of Groundhog Day’s ending, because being a better person does not necessarily equate to a “Get Out of Jail Free” card. But then one could argue Sarah isn’t being a better person when she tells her sister on her wedding day that she slept with the groom the night before—and only to please some God she hopes is watching.

But Sarah is also incredibly flawed. As she mentioned, she’s already made plenty of mistakes that felt like she was living on autopilot before the time loop. She married a dude she knew wasn’t right for her, even before he proposed, and still went through with it, hurting both their lives with the brief, ugly marriage that followed. And rather than reach toward actual self-improvement, she self-destructively pursued a one night stand with her sister’s fiancé the night of the rehearsal dinner.

It is her own failings that allow her to eventually see Nyles and their situation clearly…

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End of Day

Which is why it’s Sarah who brings an end to the time loop in the movie. Unlike Nyles or Roy, she doesn’t wallow in complacency but attempts to solve a problem, using what is at least months if not years to become a pseudo-expert in quantum physics. Ironically, this is made possible by the fact she slept with the groom the night before. For this reason, she always wakes up early in the day before Nyles does—as she originally awakened to get out of his room without being seen—and leaves the ranch house while Nyles is still fast asleep.

Eventually Sarah realizes that the three-plus second quantum leap they all make to restart their time loop is actually a trip through a literal hole in space time…. one that can theoretically be escaped. While the logic of using C4 to escape said time loop by literally blasting their bodies out of the loop seems dubious at best—wouldn’t they still be blowing themselves up even if it worked?—it creates a narrative excuse to bring the movie’s larger themes to a head.

Most pertinently this includes the sad truth about Nyles: He enjoys the regression of being trapped in this time loop and he’d rather spend eternity reliving the same day and same dippy wedding than face the uncertainty of living his life… or growing up. This is highlighted throughout the movie in the way his preference is to spend eternity in shorts and perpetually drunk with a beer can in hand. While Roy is furious he’s trapped in this loop when he realizes he’ll never see his children grow up, Nyles is cool with never seeing his children or, hell, even his dog again.

In fact, it’s kind of damning to note he never mentioned his dog to his new girlfriend, a woman he claims to love, after spending months or years with her. Such shallowness suggests he really isn’t growing up; he’s just afraid of spending eternity alone. Hence my serious doubts about Nyles and Sarah being a long-term couple.

She previously talked about not wanting to relive the same mistakes again and again, and that was in reference to her marrying a man she knew was wrong for her. Nyles’ desperation was enough to get him to accept he should grow older and not remain in the arrested development many millennials are accused of embracing, but it was a reluctant decision. Methinks when she is outside the loop and has the “millions of other options” of men besides Nyles out there… this ain’t going to last for an eternity.

The post Palm Springs Timeline Explained appeared first on Den of Geek.

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trendingnewsb · 7 years

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6 Famous People Who Hilariously Trolled Their Own Fans

Some celebrities see fame as tremendous burden and distraction from their craft, whereas others treat it as a golden opportunity to screw with thousands of strangers for no logical reason save “shits and giggles.” We’re talking about such famous rascals as …

Chris Pratt Trolls His Fans With Bad Jennifer Lawrence Photos

Hollywood certainly made a weird choice when it needed a hot new action star and decided to pick that zaftig fellow from Parks And Rec. During the press tour for the 2016 science fiction thriller Passengers, which starred Pratt and Jennifer Lawrence, fans got overly enthusiastic about the pairing and started “shipping” them. (For those who aren’t up to speed on the internet lingo, that means they want the two to hook up and mash their bits together and make babies.) Followers of Pratt’s Instagram account started demanding that he take more photos of himself hanging out with Lawrence so that they could satisfy their vicarious need to imagine these two millionaires spending time with each other.

And so Pratt proceeded to do what the fans were demanding:

Chris Pratt/Instagram

Over the next few days, Pratt went on to post a number of Instagram selfies featuring himself and Lawrence together. Technically.

Chris Pratt/Instagram

You can’t argue that he didn’t give the fans exactly what they’d asked for. Still, a bunch of them didn’t seem to appreciate the photos, leaving comments like “Why isn’t she ever full in the pic” or “Why you cut Jennifer out?” Some people are simply impossible to please.

Nirvana Would Fuck Up Their Live Shows In Delightfully Stupid Ways

Nirvana are much better-known for their catchy grunge tunes than for Kurt Cobain’s primal screaming, but it’s not like he was intentionally trying to ruin the songs. Unless he was playing live, that is. Here’s a compilation of clips of Cobain mumbling into the microphone, or putting on a fake stupid accent, or sometimes replacing his lyrics with caveman grunts:

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It’s more or less the Charlie Brown teacher voice.