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narutakijune · 3 years ago

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About ATLA Relationship Arcs

So, this is me, finally trying to write some meta after lurking in my little tumblr corner for months! Hi!

Although I’ve tried to tag properly, if you are a Kat*anger and just want to enjoy your favourite couple in peace, this might not be the post for you. I am not trying to bash characters but I do have a lot of critical stuff to say about the writing.

Anyway, you have been warned and here is my story about my personal first Atla experience: I watched the show this year for the first time, and after the end of Book 1 I decided to look up spoilers, because after what happened to Yue, I wanted to make sure that Zuko and Iroh would be ok. So I knew what was going to happen: Kat*ang endgame and absolutely no Zutara at all. Still, by the end of Book 3, I was convinced that I had read wrong - that there would be an epilogue with a different ending or at least that Aang would only get together with Katara post-show- in that Korra series or something - because anything else wouldn’t make sense- right?

….

After I got over my shock and surprise, I went online and found out about that decade-long aggressive passionate ship war and how even the showrunners got involved.

And then I really worried that I might have missed a few points. Apparently ”Aang and Katara were the DNA of the show”, according to the creators themselves, and “Zutara could never have happened”.

Another popular anti-ZK argument I found was: Why do you always go on about Katara and Zuko? Just look at Zuko and Aang! They are the hero/ anti-hero and each other’s foils, their relationship is much more meaningful!”

So I tried to find out what it was that I apparently couldn’t see.

(Another disclaimer: I love analysing stories (like many Zutarians apparently) and this will get long and rambly. If you get bored to tears when people start talking about “narrative structure” you will probably not like this.)

Talking about narrative structure, I do believe that, in order to let your story, your characters and their relationships really shine, a good basic structure is important. There should be a recognizable development and individual parts of the story that build upon each other and lead to consequences and change, until there is a completed arc - because it is all about the journey that takes you to a satisfying ending, right? So that’s what I tried to do, with my personal Kat*ang vs. Zutara take, I tried to look at the structure and development of their relationship arcs.

The argument that threw me off track for a while is that compared to Aang and Zuko, Zuko and Katara’s relationship is not supposed to be that relevant for the plot. After all, Zuko is the foil, the anti-hero, the deuteragonist to Aang, who is the hero protagonist.

This is all true of course. But then why is it that in every finale, Zuko’s main opponent (and later ally) is not Aang but Katara? Why is it that their sun/moon, red/blue, fire/water dichotomy is so obviously highlighted?

I think one reason why Zuko and Katara are paired off so frequently in the story - as opposite elements, as opponents and as allies - is that they BOTH are Aang’s deuteragonists. While Zuko also acts as antagonist and Aang’s foil/mirror, Katara takes over the more traditional deuteragonist role of confidant / best friend/ narrator.

Protagonist Aang is what connects them, although they are on opposite sides: Both need Aang because he represents their hope to save their world. Very simply put, Katara protects him, so he can make the world a safer place again, and Zuko wants to capture him, so he can go home and be safe again. That rivalry between them is already established in the first episode, even before they meet each other: Katara, who hopes that the Avatar will return (as she tells everyone in the intro), and Zuko, who seems to be obsessed with finding him for more sinister reasons.

And just to make sure, I am not talking here about the characters’ feelings and emotions! This is just about the abstract roles they have been assigned within the narrative.

When regarding Zutara’s special connection to Aang and their rivalry with each other, it makes absolute sense to stress their “same but different”ness as well, visually and metaphorically: Red and blue, fire and water, sun and moon, arguably Painted Lady/Blue Spirit, and, when you put into account their story arc, also Oma and Shu.

With this basis, which puts them together and sets them apart simultaneously, their relationship already becomes very dynamic and interesting, even before you consider any romantic potential.

And here’s another thing, Zuko and Katara also have their own story arc within the main plot. Although they don’t have many scenes together before Zuko joins the Gaang, when they do meet there is always a new shift in their relationship and in quite a few cases their interactions are important for the main plot as well. If you just look at their “end fights” at each book’s finale, there is an obvious and consequential build-up, like any decent story arc should have:

Book 1 starts with Zuko as the powered-up enemy and Katara as the weak newbie waterbender. Both are battling over Aang. At the end of Book 1, they are finally established as equally powerful fighters but still fundamentally different (You rise with the moon, I rise with the sun!)

In CoD at the end of Book 2 happens the next step: they realize that they are not different at all! But Aang still doesn’t represent the same for them and they end up on opposing sides of the war again.

In the Book 3 finale, when Zuko has completed his own (anti-) hero's journey and Aang represents the same “hope” for both of them, they do not only join forces: Their “same but different”- traits make them such a uniquely suited match that they are even able to save each other’s lives during their fight with Azula (who in turn happens to be Katara and Zuko’s antagonist/mirror/foil).

And in addition to their own story arc they even get an individual recurring theme, which also appears in every book whenever their relationship status changes: The lost mothers, especially Katara’s mother.

In Book 1, Katara’s necklace (the symbol of Kiya) plays not only a major part in two of Zuko’s capture attempts, it is the reason for their very first one-one one encounter in the story.

Their first friendly connection in COD in Book 2 happens because they start talking about their mothers. And in Book 3, their final reconciliation (sealed with a very cathartic hug) happens after their life-changing trip which is, of course, all about Katara’s mother.

Again, I am not even trying to analyse their characters and motivations within the story - there are many metas that have already done that much better, more detailed and with screenshots. This is just dry structure and tropes and themes. But I think people recognize and connect with a well-structured arc, even subconsciously, which is one of the reasons that makes Zutara such a compelling couple. They complete and contrast each other, their relationship dynamic constantly changes, builds up, falls apart, reconnects. Such a setup is the perfect playground for a lot of creative takes on what-ifs and alternative scenarios and of course, shipping them romantically is extremely tempting - think of all the possibilities! It’s no wonder that the Zutara fandom is still so active decades after the end of the show. And it’s also no wonder that the Zutarians are known for “over-analysing everything”. You can only over-analyse if there is anything that gives you enough food to analyse to begin with. Which brings me to

KAT*ANG

I just go right to the top and take the quote from Br*yke themselves:

Kata*ng was in the DNA of the thing from the start…. [Zutara] was just dark and intriguing.

If you read this quote and then start watching the show, I would (grudgingly) agree that:

Aang and Katara understand and complement each other really well. Aang gives her the chance to have fun and go on adventures and in turn, Katara is his fiercest supporter from the very beginning, something that he really needs after he lost all his people AND has to find out that the world thinks the war is sort of his fault. In turn, the journey to the North Pole is as important to Katara as it is to Aang, because it is her dream to learn waterbending properly. That’s what she literally says when Sokka & Co try to banish Aang: (Sokka: Where do you think you’re going? Katara: To find a waterbender. Aang is taking me to the North Pole.) In that way, they are friends who give and take equally and are equally taken care of. They even have the last Airbender/ last Southern Waterbender status that connects them. The few times they have a fight, Aang does something in the end to redeem himself (perform some heroic feat) and Katara sees that she is right to believe in him.

Aang has this very sweet crush on her and it will be very sweet and wholesome when Katara will return his feelings at the end of their adventure after he has hit puberty. On the other side, there is also some heavy shipbaiting with Zuko: I save you from the pirates. The betrothal necklace. June and her excellent shipping taste. But in the end they are enemies, they barely know each other and, come on, it would be too dark and intriguing! There is no real threat against friends to lovers Kat*ang, the soft heart of the story. It’s very straightforward and there are a lot of simple “the hero saves the day” scenes for Aang but that’s fine! It’s not really my kind of ship but that’s not the point, it works for the story they want to tell.

End of Book 1.

In my - probably harsh- opinion, everything you really need to know about the Kat*ang relationship has been told by this point. If you want to be really mean, already by Book 1, episode 3.

That explains maybe why many (not all! but many) pro-KA arguments sound as if their shippers have not watched Book 2 and 3 at all. The Book 1 synopsis also perfectly sums up Bry*ke’s quote above. But then Book 2 and 3 are still there and I don’t know what happened but it seems as if they somehow decided that the Kat*ang story does not need any new and lasting input. Maybe because they were afraid that too much new development and change would stray too far away from their original Kat*ang vision. But there are still 2 more books and more adventures and Kat*ang somehow has to be kept apart until the finale.

So the tension in their potential romance is based largely on the question whether or not Katara will return Aang’s feelings. In general I don’t have a problem with that will-she-won’t she-technique. It works well in books where the love interest is not a POV or in shows/ movies where the love interest is not one of the main characters. But Katara is not only the female lead but also arguably the narrative voice of the whole story! As a result, this kind of writing makes Katara look as if she doesn’t have any agency in their relationship, which is not surprisingly a very popular anti-KA criticism.

Additionally, since her dream - learning waterbending - has been fulfilled by the end of Book 1, the relationship work becomes a bit one-sided. Of course Aang is the hero and his journey is the heart of the story. But in order to highlight their special connection it would have helped to give Katara another personal agenda, which Aang could have supported in some way. She is still the last Southern Waterbender and he the Last Airbender but this is not really explored in the Kat*ang relationship. And her other personal agenda, her mother, is already reserved for the Zutara arc.

Instead, in Book 2 and 3 the Kat*ang story is somehow all over the place. Of course there is new conflict and a few romantic scenes as well. But obstacles are either introduced too late or just dropped when not needed anymore, conflict is not resolved and their flirty, romantic moments never lead anywhere- and if they do, they lead to more conflict that is not resolved (yes, I am looking at you, EIP Kiss!).

Take for example Katara’s very sudden argument that they cannot be together now because there is a war going on. We hear her saying that for the first time in the very last episode (EIP) before the 4-part finale. That is too late to have any impact! That she has these kinds of thoughts was never even alluded to before. Not once.

Or the pattern Aang runs away/ is flaky - Katara is upset - Aang comes back and does his hero thing - Katara is relieved. In regards to their relationship arc, nothing changes here between Book 1 and the finale, only the stakes for Aang’s heroic performances get higher.

Or Katara being the one who is able to calm Aang down when he cannot control the Avatar state (which, in my personal opinion, is neither romantic nor healthy). This is also connected to the problem with the seventh Chakra, that Aang needs to let go of his attachment for her. I will be angry forever with how they wasted this for a possible relationship development! That Aang has to decide to either do his duty or save his forever girl (because let’s be fair, he did try to let go and only ran when he had the vision of Katara in danger) - that’s a fantastic setup!

But no, it doesn’t have any real consequences for Kat*ang at all. Instead there were only half-baked attempts – Aang does lie about his failed practice with Guru Pathik but the ultimate reason why his chakra is blocked is Azula, not his decision to run. Aang does try to let go of Katara for a little bit but then Azula shoots him. Nothing in Book 3 shows any change in his feelings that could have been a result of his instant let-it-go. If anything, he gets weirdly obsessive - which could have been used as a side effect of his blocked chakra but – again, no, nothing happens.

I suspect the whole thing was just introduced to create temporary drama for poor Aang, but it is never explained why Katara holds him back, what aspect of the attachment is blocking him or what would happen if he did let her go. Maybe they tried to make a statement about how love is more important than Avatar rules – which would have been fine but it’s also never properly explored. Instead, as soon as that plot point becomes inconvenient it’s simply dropped like a random rock™.

Compare all that to the Zutara arc, where both characters’ feelings about each other are always very much in the open, and where every interaction causes lasting effects in their relationship. Yes, it is unfair to compare that to Kat*ang, because up to the end of Book 3, Zuko and Katara almost never meet, while Aang and Katara spend almost every episode together – of course they cannot do meaningful things all the time. But on the other side, with Kat*ang, there would have been a great chance to show a subtle, gradual build-up instead.

It also doesn’t help that the Zutara arc seems hellbent on sabotaging every romantic moment Aang is allowed to enjoy:

There is Kat*angs first maybe-kiss in the dark before the background of the Oma and Shu legend. But it does not lead anywhere. Instead, Zuko and Katara almost reenact the legend itself in the Book 2 finale as two real enemies to almost-friends, including a glowy rocks-backdrop and the right costume colours, just so nobody misses the message.

In Footloose The Headband, Aang and Katara have a really sweet dance together, and everybody can see how they almost intuitively know each other's moves. This could be a great hint on how well they will fight together in the finale. But is it plot-relevant? No, because the final tag team is Katara and Zuko! While Aang gets paired off with random rock™.

Then there is Aang’s riding off to battle- kiss in DotBS, which Katara is not even allowed to enjoy, because keeping her feelings vague is apparently more important than character development at this point. It is the only romantic moment that gets mentioned again, but in a way that sinks the former cute and wholesome ship into the deep ocean, and the reason is - Aang is jealous of Zuko!

If all of this was only done for the sake of shipbaiting, then it really went out of control at some point.

In the end, the showrunners still had their reasons to choose Kat*ang, maybe because that corresponded more to their own vision, and there are still enough people out there who agree with them. Which is absolutely fine! In the end, what matters most is how you personally connect to the characters and nobody needs to defend their personal taste. But the typical anti-ZK claim, that all the Zutarians with their crazy analysis and rambling meta essays are reaching and delusional and that they desperately try to construct something that isn’t there, is not only a very lazy argument but simply not true.

And I’d claim that in spite of the canon choice, Zutara is technically the better written relationship. By far.

#zutara #antikataang #anti kataang #anti-kataang #atla critical #atla writing critical #long post #atla meta

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anime-grimmy-art · 4 years ago

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Told you guys I’d ramble in due time.

I absolutely adore Bravely Default 2. It came at a really bad time cos I can’t waste 70 hours on a jrpg, but well, it’s too late to be concerned about that now. And as is tradition with me obsessing over a new game / show / whatever, you’ll basically find a fullblown review disguised as ramblings right under the cut. Be aware that I’m gonna talk about EVERYTHING, so spoilers are a given. Some maybe even for the previous Bravely Default games.

Also, if you wanna talk about this game in any capacity, hit me up, I’m DESPERATE to talk more about it.

Just for reference on how long this is gonna be, I made a voice recording while driving to remember all the points I wanna make, and that recording is almost 2 hours long. I did cut it down but still, this is gonna be a lot.

I’ll start off with the things that actually bugged me about the game, since there are only 3 things that really bothered me. First of, I really don’t like that you can name Seth. He has too much personality to be a self insert and player integration is not that big of a part in the game that this decision can be justified. It wouldn’t bother me that much if it didn’t leave a bad mark on the ending. First of all, we were robbed of Gloria desperately shouting for Seth, which makes the impact work less, and it’s just so prevalent that the name can’t be said because you have all the normal sound design going. If they’d just let the credits still play I wouldn’t have batted an eye, but because every other sound comes in it’s so obvious they’re just silently shouting in this scene, which makes it look silly. Like I said, this decision is more a detriment than an addition, and it’s a shame it casts a shadow on an otherwise heartfelt ending.

Speaking about lost potential, the other thing that really bothers me is the lost potential in certain plot points and character conclusions. I mainly mean Adam and Edna here. Both of them have been built up to be these formidable foes but they just, die. If it was just Adam I’d be fine with it, since you expect Edna to backstab him and be the actual big bad of the story, but I cannot fathom why they dropped Edna this HARD. If not Edna herself, I don’t understand why we don’t get more of a reaction from the Fairies and especially Adelle. I mean, Edna was her sole reason she left for her journey in the first place, then Edna dies and that’s it? No part where she grieves for a second? No concern from the others about Adelle? Mind you, I haven’t finished all the Sidequests, so maybe there actually is one in which this is addressed, but I think even just a Party Chat after Bad End 1 would have been sufficient to show how Adelle suddenly feels about the loss of Edna. It would have made Bad End 2 / The Secret Ending even more impactful, because, yeah, of course, you kinda know Adelle isn’t going to turn her back on fairy kind, but one of the reasons she doesn’t leave is because if Enda didn’t get a happy ending, then she shouldn’t either. It would have been amazing foreshadowing if she showed this sentiment before this scene happened. Other than that, it’s a shame that we know so little about Edna, or rather, how she became “bad”. I get she’s supposed to be corrupted by the Night’s Nexus, but how did it even come to this? It can’t have been a gradual thing, after all, Adelle says Edna was always good natured and then just disappeared one day. Really would have loved seeing more of that plot point.

Ok, last gripe I have, some choices in the soundtrack and sound design. Don’t get me wrong, I absolutely love the OST, and I will get to that, but damn, whatever Revo used for the lead instrument in Wiswald hurts my ears. It’s a really good track, but I always have to turn down my volume because these high pitched sounds physically hurt. And for sound design. Dude, the Night’s Nexus is the least threatening, nightmare fueled abomination that ever existed. I get that its growl is kinda supposed to be layered with Edna’s or sth, but it, it just sounds silly. If they went the route of just swinging between different voices or began distorting it from phase to phase, it would have been fine. But the choice they made really made an otherwise creepy design just absolutely silly.

Ok, enough jammering, on to the good stuff. Like I said, there’s going to be a lot, so I’ll try to be brief in each aspect.

Gameplay

I honestly like the new battle mechanics more than the old ones. This individual, turn based system feels way more dynamic and it’s easier to strategies in battles. Because nothing made me more angry than setting up for a heal and the enemy suddenly being faster than me and killing my healer. Now it’s easier to plan ahead a bit.

I also found myself experimenting more with the jobs. Not sure what it really is, but none of the party members leaning more towards certain types of jobs and the job leveling being way faster probably helped.

And I know some people get up in arms because the boss sometimes can be a real pain in the ass (looking at you pope dude), I still found it very interesting getting around counters or even using these counters as a benefit. As an example, I made Adelle my main physical fighter and gave her lots of counter abilities to help her profit from being countered by enemies themselves. Now, she can attack enemies, get countered, automatically evade that counter and earn a BP at the same time. Made a lot of boss fights way easier and fun to exploit.

Music

Ok, I will try my best to be really, really brief, because in my recording this part takes up almost 40 minutes. Anyways, Revo might have just become one of my absolute favorite composers ever. I don’t know what kind of magic he used, but I initially wasn’t that impressed with the OST, but every time I listened to it, I just fell in love harder and harder. Before getting into specifics, I wanna highlight the two things that made me love this OST overall. First of all, this soundtrack almost seems like a refinement of BD’s. While losing some of that fairytale vibe, it sounds even more fantasy now. And in contrast to the original, this almost sounds more balanced? Like, BD’s OST felt high energy throughout, BD2’s on the other hand manages to find a good balance between high and low energy pieces. Like, the character themes or battle themes are absolute hype, but the overworld themes are a lot calmer and easier to listen to while exploring. Second big point that makes this soundtrack amazing is that Revo is an absolute god at using emotional progression/storytelling and leitmotifs in his songs. And heck, do I love myself my leitmotifs. You’ve got some obvious ones, like the final battle theme in which all the character themes and other leitmotifs are integrated. Then you got some maybe more subtle once, just like how the overworld themes are just the main theme, just a lot calmer and using the lead instruments of the towns of the areas.

But my absolute favourites gotta be the character themes and the main theme. I love how fitting the themes for the characters are and in general, each of them is such a bop. At first I prefered Elvis’, because I sure am a sucker for jazzy vibes, but over time Adelle’s became my fav. It’s just something about the trumpets, and how the theme almost sounds a bit melancholic and bittersweet, that drew me in. And considering her story, mostly her bad end, that the bittersweet tone really fits.

Then there’s the main theme. Just like BD’s it shouts “triumphant anthem” and it definitely gives you a very familiar vibe, but I’d argue it has even better emotional progression. Heck, the first time I heard the music start up in the reveal trailer, I didn’t have to look at the screen to know this is gonna be a BD game. Also, the credit song version had me weeping at the true end. I’m someone who’s very easily affected by music (if me shouting about soundtracks on this blog wasn’t proof enough) and just hearing that ending song, getting the after credits scene, just for the second credits to start as a freaking duet. Dude, at that point I just started sobbing, I’m not gonna lie. Just this little part showed how much Revo knows how to put emotion in a song and also write it in such a way that he can elicit strong, emotional reactions from you too.

Story

People have been complaining how the story is too boring and kinda disappointing in comparison to the last one, but I just think the games tried to accomplish different things here. Since the BD series is a celebration of old, classic jrpgs, “cliche” storytelling is a given. Though, BD did throw a lot of meta stuff in there too. BD2 in contrast just feels like a direct execution of that initial idea. It feels familiar, it feels comfy and it feels safe. Except for the little things with the endings and then overwriting the Nexus’ “save file”, BD2 doesn’t really get that meta, which is totally fine. It doesn’t try to reinvent or innovate anything, it just wants to be a fantasy story, that might be cliche, but still fun and enjoyable in its own right.

I’d also argue that the pacing is a lot better than the old game, because with BD I sometimes found myself skipping through scenes to get on with the story. Not that this game didn’t have me rushing through stuff as well, but I found it kept my intrigue way better than the original.

Characters

Next to the music, this is the part that I absolutely love the most. While, yes, they did lose a lot of potential with some characters, mostly with the villains, the main cast is just so much fun. I love these 4 dorks so, so much.

I honestly can’t stand how much people compare them to the original cast. Yes, ofc, I’ve been doing my fair share of comparisons too, but calling these four a more boring version of BD’s party physically hurts me. Because except for some initial impressions, the Heroes of Light are completely different from our beloved Warriors of Light.

While yes, Seth and Gloria give off strong Tiz and Agnes vibes at first, they both grow into such different characters that they’re not really comparable. I think this shows with Adelle and Elvis even more. I do understand how people could compare Adelle and Edea, since they’re both the feisty girl type, but I can’t understand how people can see Ringabel and Elvis as the same character type. While those two are the “suave” party members, they act so differently from another. And that’s honestly apparent the first time you meet them.

Anyways, I love these 4 so much.

We technically don’t know a lot about Seth at all, but they manage to pull so much out of just the fact that he’s a sailor, that it makes him really endearing, really fast.

I was kinda disinterested with Gloria at first, because again, the initial impression was Agnés2.0, but she grew on me a lot. Gloria is way more hard headed and honestly sassy in comparison to Agnés and I absolutely adore it.

Elvis. Elvis, my man. I love this fantasy scottosh wizard so, so much. He’s such a ridiculous character but so endearing at the same time. You got all this dorkiness, with him setting himself on fire as a student, him doing god knows what for a good drink or just laughing danger and prejudice in the face. But then you got his super empathetic and caring side. Mind you, most of his wise moments come from quoting Lady Emma, but still, as much as he’s hopeless with certain social situations, he’s actually still really good at reading the room and playing things smart. He’s a smart and powerful idiot, which makes him a danger to everyone and himself, and I love him for it. (I also can’t believe they called him Lesley I MEAN COME ON)

And then there’s Adelle. I liked her from the start, but I didn’t think she would stick out to me. I think now she’s my favourite character. Not even talking about all the stuff that happens in chapter 3 and onward, because these story threads are awesome in their own right, but there’s just something about her personality that’s interesting and appealing to me. Like I said, I’m not surprised people compare her to Edea, I did too at first, but while Edea walks very close to the line of a Tsundere, I was really surprised that Adelle is, well, not a Tsundere at all. Yeah, of course she’s putting Elvis down a lot, but that stems more from her preventing his ego from going to his head than her being all embarrassed. No, Adelle is actually really well adjusted when it comes to communication. While it’s hilarious that she and Elvis met with her chucking her shoes at him, the two just got along well right from the start. Adelle in general has this really open and helpful personality, but also doesn’t shy away from putting her foot down, even if that sometimes comes out as an embarrassed sputter. She’s also the mother hen of the group. She looks out for the other three and gets concerned about them real fast.

I dunno, Adelle just really grew on me over the course of this game, and then her kinda being paired with Elvis too, as partners and as partners, makes me like her even more. Because as much as I like their personalities individually, I like their character dynamic even more. I honestly love the relationships between all four of them a lot. You really feel them grow closer as friends and all the little character sidequests just always made me really happy.

Conclusion

You might not believe me, but I really held back there. This could probably have been 3 times its length. As much as I love this game, it’s of course not perfect. It struggles and flails in some parts a lot and it certainly has some aspects that might turn people off. But for me, it was just a very familiar and comfy game that didn’t necessarily deliver anything new, but that told its story in such a way that it still got me excited to keep going. The soundtrack is absolutely amazing and the conclusion of the story actually got me to cry. While not groundbreaking, this game is highly enjoyable and leaves you absolutely satisfied at the end.

Also, I would like to iterate that I am desperate to get more content about this game, so if you wanna chat about it, hit me up.

Anyways, anyone else felt like having a fever dream when everybody in chapter 2 started talking fantasy scottish? Cos I sure did.

#bravely default #bravely default 2 #bd #bd2 #fanart #review #ramblings #seth #gloria #adelle #elvis #elvis lesley

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itsclydebitches · 3 years ago

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I was once more thinking of vol 8 and other works to compare it to. I hit Harry Potter, specifically Order of the Phoenix. Literally all that happened there showed a much better "proactive Hero" and "Big Bad vs Big Good" battle that it feels unfair to compare. What say you Clyde?

It's been a very long time since I read Order of the Phoenix, but putting aside that and the series' problems with representation (something that always feels like it needs to be acknowledged when discussing HP nowadays), Rowling did a good job of setting up both motivation and justification for Harry's actions. Which isn't to say that he was never wrong — quite the opposite, especially in OotP — but that Harry's involvement in this war is justified in a way that Ruby's involvement is not. He's not just generally active (no tea sipping equivalent scenes), but we understand why he's the one taking that action.

Harry is an unwilling participant forced to fight due to a prophecy, so when he stumbles along the way, we as the reader are understanding because jeez, what else what he supposed to do? Literally no one else can do this and he's trying his best. Ruby, in contrast, is not necessary to this fight. We might have gotten that with her silver eyes, but we didn't, so when Ruby willingly steps up — or, in Volume 8, forcibly takes control — and then gets upset because things didn't go well, the viewer (or at least some viewers: us) are far less forgiving because she demanded this responsibility and then found she didn't like having it. When Harry rushes off to the Department of Mysteries, endangering many of his friends in the process (even if they volunteered) we understand that this action is done out of love. We've spent five books establishing Harry's desire for a family, it's literally his greatest wish according to the Mirror of Erised, so going after Sirius, while reckless, is such an in-character, relatable, human decision. It's integral to who Harry is as a person. Compare that to the lack of work done surrounding Summer and the unanswered question of why Ruby is fighting Salem. Because it's the right thing to do? Great, fantastic, but uh... that doesn't really explain or justify why she's leading the charge when all these other huntsmen — with the same goals, more experience, better plans, etc. —are trying to do The Right Thing too. When thinking about HP vs. RWBY, my mind always goes back to that moment at the end of the first book when Harry tries to tell McGonagall about the stone and she brushes him off. "Ah," I thought later. "That's why three 11yos are going off to save the magical artifact when there are adult, full-fledged wizards around to do it instead. The kids tried to turn hand this off to the adults and the adults failed them." Now, combine this with Harry's growing tendency to go it alone, the implication that Dumbledore may have been allowing him to face certain threats to get stronger, each book's individual situation like a hidden chamber that only Harry can enter, his Godfather being on the run, a magically binding contract that keeps him in a competition because the bad guys are specifically after him... Harry is at the heart of the story. He's integral to it, his part in the fight inevitable, so all that's left is to see how he bears that burden.

Ruby is not integral to this fight, her presence and even her silver eyes are not necessary, her facing down Salem is only inevitable from a meta perspective regarding expectations for a protagonist (and then, in Volume 8, Ruby didn't face her.) There's no clear personal motivation to drive her. There's not even a Guardian's of the Galaxy-esque motivation in the form of, "We'll step up because no one else will." Others do keep stepping up and Ruby keeps forcing them to follow her instead, insisting that her way is better. Only problem is, it's arguably not and that's when she has a plan at all. It's like if instead of going after the stone because his professors won't, or going after Sirius because he loves him, or going after Voldemort because a prophecy and a life of having a saving-people-thing has pushed him to that, Harry made his way to the front of this war Just Because, rejecting everyone else who fought in the first war, has more experience, and actual plans along the way. Why does he do this? Because his name is in the title of the book, I guess.

RWBY throws in lost of classic ideas and setups, but doesn't seem to understand their point. Even something as simple as that Big Bad vs. Big Good conflict in Volume 8. Putting aside how muddied this has gotten between the Gods' involvement and Salem's dip in the grimm pool, Volume 8 took the threat of our Big Bad arriving with an army and... ignored it. Instead, they ran with Ironwood as the primary antagonist of the volume, the guy trying to stop Salem, a previously established ally, the guy who just gave up his arm to capture another clear-cut villain, and who throughout Volume 7 demonstrated none of the manipulation we would attribute to a Dumbledore-like figure. Rather than running with their Big Bad's arrival, RWBY asked how they could force one of the good guys to become a bad guy instead, hence the sudden shooting of Oscar and murder of the councilman. This is a far from perfect comparison (and I take my virtual life in my hands bringing up another controversial character lol), but it's a little like if after we learned about which side Snape was truly on, he suddenly tried to kill Hermione, succeeded in killing a minor character like Professor Flitwick, and then made plans to destroy all of Hogwarts. Meanwhile, everyone is ignoring Voldemort standing on the front lawn because the narrative randomly made Snape the biggest problem instead. So a lot of the fanbase is like, "Yeah he's absolutely a dick and his horrific past/contentious choices are the point of his character... but he's also supposed to be one of the good guys at the end of the day? And the Big Bad is right there? We can argue about how 'good' Snape is until we're blue in the face, but he's no Voldemort. Why did you feel the need to chuck the morally gray character off the deep end for our heroes to oppose when our primary antagonist is literally right here, trying to kill them?" From this, to introducing a dead mother that in no way motivates our cast, to having Oscar face down Salem with an improvised weapon instead of Ruby with her eyes, to giving Penny an arc about accepting her android body only to rip it away, etc. etc. RWBY continuously throws out ideas without understanding what they're meant to accomplish. There's a lot to criticize about Harry Potter nowadays, but a lack of logical development isn't one of them.

And just to chuck in another text — because I too think about what has done Volume 8 themes better lol — consider: Loki. Stop reading now if you don't want spoilers, but a couple episodes in Loki and Sylvie end up on a dying planet that is only evacuating the rich. That's said overtly in both the dialogue and visually in the mise-en-scene, with poor people screaming that only the rich are getting tickets for the rocket and elaborately dressed elites enjoying the comforts of that ride. Then, just as they're about to escape, leaving the rest of their world behind, a piece of the moon hits the ship, either killing them instantly or stranding them with the people they abandoned. And I thought to myself, "See, this makes sense in a way RWBY never did." Evacuation was never about wealth in RWBY, despite what the fandom continually claims. Ironwood was trying to evacuate everyone and only stopped because they all assumed Salem would be killing them momentarily. This situation included Relics and a Maiden that would easily turn the tide of the war, meaning their safety influenced the whole world, not just these people. Mantle was not necessarily about to be destroyed — indeed, we find out later that Salem had no interest in it — and it was always a bad faith (and OOC) assumption that Ironwood was leaving his kingdom for good. The story doesn't even acknowledge the huge number of Mantle citizens already on Atlas when the attack begins. I was just sitting there thinking, "This two episode mini conflict in an insane show with alligators and time shenanigans somehow holds up better than RWBY's 27 episodes that are trying to be deep. How does that happen?"

#rwde #rwby #Harry Potter #HP #mymetas

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platypuskenny · 4 years ago

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Can I get more f that Kenny’s physiology with his alter egos? I’m rlly interested in that

(assuming this means psychology, as a follow up to this post)

i’ve put it off cuz i’ve been busy with other stuff but i‘m really glad i got this ask cuz i love kenny and I love thinking about them in the context of their two alter egos!

CW: discussion of child abuse and neglect, including inexplicit discussion of child sexuality. also a lot of discussion of The Whole Kenny Death Thing. also spoilers for the stick of truth if you haven’t played it!

kenny’s been treated a lot more seriously in recent seasons, with a shift in character to be a lot more mature as well, and it’s a development that makes a lot of sense in the context of “the characters have undergone A Lot and it’s really shaped their personalities because they’re at a stage when their brain is still very soft and malleable and susceptible to trauma.”

the addition of karen in “the poor kid” seems to have shaken up the depiction of the mccormicks a lot. in earlier seasons, kenny was more passive about his home situation, or at least went out of his way to ignore them, (like in “best friends forever” when he plays on his PSP and leaves the house while his parents fight). there are early scenes where he does have some responsibility to his family (i.e. trying to win a can of food for them in “starvin marvin”) but usually he’s just depicted as a kid trying to live through a tough situation. though his “willing to do anything for money even if it’s deeply upsetting, depraved, or outright deadly” character trait from “fat camp” kind of tracks with this understanding that he prioritizes financial security over his personal well-being.

however, ever since karen was added to the show, kenny’s been depicted as a much more responsible and often even tragic figure. his parents are too caught up in their own shit to address their children’s emotional needs, and kevin sadly gets caught up in their violence as well in “the poor kid” (he’s also vaguely implied to be developmentally disabled in the few scenes he speaks up but that’s mostly speculation). because of this, kenny ends up being karen’s main caretaker - holding her close when she’s distressed at losing her parents, buying her a doll, etc.

kenny’s situation is a textbook example of parentification. he ends up taking care of karen, at least emotionally, because his parents and brother are unable to do so. he also becomes the breadwinner in “the city part of town” as soon as he gets the chance. this is a really unhealthy scenario that a lot of children in poverty, especially older siblings, see themselves in. it can result in the child not knowing their true place in a family that takes them for granted, and thus not considering their own needs and/or feeling shame if they need help because they’re so used to putting everybody before them. i think this tracks with kenny being “the quiet one” and rarely asking for anything.

that’s not even getting into the constant death and the fact he spent so much of his life not even understanding why he was doomed to constantly die in horrible painful ways, and for nobody else to remember that he even died to begin with. (kind of symbolic of the neglected child, huh?)

this brings us to mysterion and princess kenny. in both the superhero game and the fantasy game, you’ll notice kenny is the one who tends to get the most involved, with the only exception being possibly cartman, who could be the topic of a whole other essay on identity issues. mysterion is the one superhero with a real power who exists outside of their superhero game (besides the kewn, whose superhero persona is entirely self-motivated anyway), and princess kenny gets so defensive of her identity that she betrays her friends in both the trilogy and the game. kenny also talks about lady mccormick in the third person in the first black friday episode, and i don’t know if any other characters speak about their personas in that way. so kenny intentionally places more distance between his personas and himself than the other kids do with their personas.

therefore, i see mysterion and princess kenny as how kenny copes with his deeply repressed psychological issues. it’s a way to compartmentalize his feelings towards his constant suffering and the burden his family inadvertently placed on him by developing these two identities. one embraces his role as caretaker to the degree of becoming a superhero, and the other rejects it in favor of being entirely doted upon. (some people have read the prominence of roles as signs of a dissociative disorder, and i can see that with this context, but i don’t know if it’s really a perfect fit for any specific disorder, especially when there’s little information on kenny’s consciousness when it comes to these personas.)

mysterion is more obviously a tool for kenny to express his discontent with his town. in his first appearance, he states, “i could no longer sit by and watch as my city became a cesspool of crime,” which tracks with his earlier characterization as reluctantly accepting his family’s poverty despite constantly suffering. (plus i’m pretty sure several of kenny’s deaths were the result of crimes.) he refuses to be unmasked because he “would stop being a symbol,” and only does so in order to quell the unrest that his mystery has provoked. that "symbol" wording suggests that mysterion is an extreme version of kenny's self-sacrificing lifestyle to the point where he defines himself as a symbol of justice and hope, not a person. kenny himself is also pretty quiet and secretive, but more because nobody cares about him and he’s kind of afraid of getting killed any second. mysterion’s secret persona is something bold, powerful, and masculine. he is physically adept in a way we don’t see kenny behave, and much more reasonable and cautious about what’s best for him and humanity. (a good visual of this to contrast with kenny is the “mysterion re-rising” animation in the fractured but whole, where he consciously rejects the chance to go to the heaven full of naked women that kenny loves because he has to return to battle.)

mysterion is also a way for kenny to reclaim his "curse” and use it for good. as mysterion, he uses death (albeit reluctantly) to get out of tough situations and save his friends. in video games like fractured but whole and phone destroyer, mysterion’s ability to exist as a ghost and revive himself is a gameplay mechanic. this self-sacrificial personality trait has shown up in earlier seasons, and he kills himself for the good of the community/world/etc in “cartman’s mom is still a dirty slut,” the movie, and “jewbilee.” but he’s not nearly as interested in world issues unless he’s under pressure to care. (for example: he does join the workers’ strike in “bike parade,” but he’s not very passionate about it and doesn’t even care about the issue until his dad takes him to a union meeting.) kenny’s good with solving short-term issues while mysterion worries about the deeper, long-term problems with the town.

this brings us to mysterion and the mccormicks. when we see mysterion’s interactions with karen, we see how mysterion represents kenny’s responsibilities towards her. mysterion is able to offer karen elaborate, heartfelt emotional support, and guarantee that he’ll always be there for her. he also beats up a girl who bullies her and threatens anybody else who thinks about hurting her - more on that aggressive instinct down below. while mysterion’s identity is known to his friends and the rest of the town, it’s not known to karen, who sees him as a guardian angel. presumably, this is so mysterion can remain a symbol of hope to her, just like he is to the town, and so karen feels like there’s people in the world who care about her besides her brother. however, this does backfire in the fractured but whole DLC where she laments how her brother doesn’t seem to spend time with her, which embarrasses mysterion as he promises to tell him to be there for her more often. this implies that kenny gets so wrapped up in being mysterion that he forgets that he has a duty to karen as kenny as well, further indicating that mysterion is a way to cope with the tragic responsibility of caring for a sibling not much younger than he is.

during the superhero trilogy, kenny also uses mysterion to question his parents about their cult meetings, something that shook him so badly when he learned about it that he broke character. mysterion also told his parents to be nicer to the kids, not beat each other up, pay their kids allowances, and not smoke. it seems that mysterion is able to approach kenny’s parents about serious issues while kenny himself mostly stays out of their business - possibly out of fear? (kenny’s more confrontational in later seasons, though - flipping off his dad in “bike parade,” for example.)

on a similar note, mysterion is way more openly angry and violent than kenny is, especially when it comes to the death curse, which he openly complains about in a way kenny himself never did. compare kenny complaining about stan ignoring his deaths in “cherokee hair tampons,” which only gets further ignored, and mysterion complaining about it in graphic detail in “coon vs coon and friends,” even killing himself in front of his friends, and understandably scaring the shit out of them. mysterion also gets really protective of karen, violently so, as seen with the girl he beats up in “the poor kid” and his distrust when the vampires befriend her in the “from dusk til casa bonita” DLC. such a mysterion is way more passionate and loud about justice and direct action while kenny is more resigned, and most of his good deeds are unknown to the public. if kenny has embraced this caretaker role, it makes sense that he vents his repressed anger through mysterion, especially if you take it in the context of dissociation - kenny can’t handle dwelling on his shitty life all the time, so mysterion holds that anger and finds a way to cope with it by trying to fix everything around them, including kenny’s home life.

princess kenny is very opposite mysterion in many ways. most obviously, she’s a girl. kenny’s relationship with gender is something i think about a lot in light of PK. “tweek vs craig” depicted him as the only boy in home ec, and he was thrilled because it was the safe alternative to the deadly shop class. i think that, regardless of your headcanon for kenny’s gender (i personally see them as feminine nonbinary - i’m mostly using “he” pronouns in this essay strictly for recognition’s sake and because i’m mostly talking about the show’s depiction of kenny), he sees femininity as safe and comforting, but nevertheless very powerful. (remember that his mother, while not super feminine, is a very outspoken and aggressive woman who calls stuart out on his shit constantly.) and what’s a better combination of femininity and power than a magical girl?

also one thing i want to note real quick is that karen still refers to kenny as her sister in the stick of truth despite not being super involved in their game which i personally choose to read as Trans Rights Subtext

this is how we get lady mccormick / princess kenny, who is largely a passive character during the black friday trilogy, sitting upon her throne and cutely commenting on the surroundings while stan translates for her. then when sony takes her in, she becomes the star of her own show, a magical japanese princess who doesn’t take shit from cartman or his army and gets whatever she wants because she’s a cute little girl and now she gets to be protected and doted upon! also she speaks japanese and is not muffled in the slightest despite wearing her parka....symbolism? and really interestingly is that when she supposedly dies, she brushes herself off and immediately revives, declaring that she’s okay. in kenny’s feminine fantasy, she doesn’t suffer when she dies, and revives without any mess at all. princess kenny is always gonna be okay!

PK is also very flirty and overly sexual. it’s no secret that kenny is very interested in and knowledgeable of sex. he also absolutely worships women’s bodies, as seen with his views of heaven and that whole plot of “major boobage.” i don’t even read this as lust, because he’s ten, but sheer fascination with sex. maybe it plays into that whole “growing up too fast” concept where he tries to indulge in the “fun” parts of adulthood to make up for the exhaustion of caregiving, but this has been a thing since before kenny was depicted as a real caregiver so IDK.

anyway, i think PK is also a way for kenny to experiment with flirting and sex, particularly with other boys. she uses her coyness and, in the games, her bare chest to entice boys. her cuteness also attracts grown men in “titties and dragons” which goes largely unremarked upon, which is a bit uncomfortable but still works with the idea that she’s the most “lovable” form of kenny. she also apparently thinks the new kid is “cute.” iit’s really funny to me how kenny is depicted as interested in strictly girls while princess kenny only focuses on boys, which could support the idea that PK is a separate entity from kenny, or that kenny just needs to figure himself out. either way, i imagine kenny finds some thrill in getting men to pay attention to them when their male friends often treat her as superfluous, and even then it often involves objectifying herself (this also tracks with their behavior in “fat camp”). it’s kind of sad if you think about it.

in the climax of the stick of truth, princess kenny has her own in-depth backstory, where she was an orc/elf rejected by both the elves and humans. i think this reflects kenny’s feeling of being “othered” as non-human (since this game chronologically comes after the superhero trilogy) and just generally not feeling welcome among their friends unless they need her. there may also be some parallels between her friends denying her the right to be a princess and kenny’s friends refusing to believe in his immortality. when she rebels against her friends choosing the stick over friendship, it’s another way for kenny to cope with their mixed-to-negative feelings about their friends. so while PK is a figure to be doted on, she’s still probably more gutsy than the kenny we usually know.

however, PK is not entirely selfish or apathetic about the world around her. in the opening of “a song of ass and fire,” her inner monologue explains her choice to deflect to the PS4 side as the side she believes “is best for all.” she also laments that everybody, including her parents, will be fighting on black friday. it seems that PK dreads the mere idea of war, which contradicts mysterion’s tendency to use violence as a means to protect others. PK still uses her adorableness to help her team, and only asks that they accept her, which really isn’t much. it’s just when she, you know, becomes a nazi zombie and puts the world in danger because she’s so pissed about not being accepted for who she is.

in my original post, i used the freudian personality theory to explain these three personas, which i regret because i fucking hate freud and he’s heavily responsible for modern consumerism and planned obsolescence. but the basic concepts of the id, ego, and superego do kind of illustrate what i’m getting at with these guys. i assigned princess kenny as the id, because she’s more about self-gratification and getting what she thinks she deserves as well as a tendency towards sexual gratification, and mysterion as the superego (hehe get it super) because of his strong inclination towards morality. however, this isn’t that black-and-white, as princess kenny has some moral considerations and mysterion has violent impulses (the “aggressive instinct”) that are more easily attributed to the id. nevertheless, it seems that kenny is still the balance between these exaggerated personas, and when he expresses attitudes similar to theirs, they are far more downplayed due to the necessities of his situation as a caretaker and an underappreciated friend. kind of makes you wonder if/how the attitudes of mysterion and princess kenny will manifest in him when he’s older.

#kenny mccormick #princess kenny #mysterion #south park #LONG POST #kenny #answers #my-nostalgia-is-horror #analysis

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mc-critical · 4 years ago

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your analysis of selim? i think he's hated way more than he deserves. hating him for valid reasons is fine but telling that he's gonna be such a bad sultan is really stupid [and especially because only now do they bring out history & say selim was bad which is historically inaccurate as well]. out of all of suleyman's sons, it was only mustafa who was loved by all & talented [show only cuz apparently mehmet was also extremely talented & selim wasn't a bad sultan] enough for the throne. bayezid was extremely hotheaded and you can't tell me that a prince who can't control his emotions, especially in front of state officials, will be a good sultan. everyone tells selim was extremely selfish & the instigator of all their fights, when they were younger & older. siblings are always like that?? mustafa obviously wasn't like that because he was way older than mehmet, mihrimah, selim, bayezid & cihangir to get into stupid fights w/ them. mehmet & mihrimah had frequent & annoying arguments because they were closer in age. selim & bayezid had frequent fights because they were closer in age. this is a thing with many siblings; the elder provoking the younger & the younger disrespecting the elder. why do people point out their sibling fights as evidence for selim's personality? i feel sorry for bayezid as a kid but i feel less remorse for him as he's older. i don't say he deserves execution, especially at the hands of his own father, but he did rebel against his father's order & then proceeded to flee to another empire; like, the punishment for that is execution, what did he expect after rebelling? i feel extremely sorry for all his sons though, they didn't deserve this fate when they were just victims of their father's rebellion. also, unpopular opinion but bayezid is lowkey overrated pls don't cancel me i love him but he's annoying at times like all characters & no one really acknowledges it back to selim, he was honestly very underrated. he was really slandered in the series and he didn't have any real support w/ him until nurbanu & sokollu. although hurrem did vouch for him to go to manisa, it was literally only because he was 'peaceful' [we can read that as untalented as well] and no harm would reach him because he wasn't a threat [i actually really liked this plan of hurrem's, tough & clever; only if she was actually supported in this]. even mihrimah, till the end, is quite unfair to him. he had a problem w/ alcohol & people telling him to just stop? like, it doesn't work that way? people have to suffer so much in order to stop their addictions & they're actually restricted from their addictions; selim was a prince, no one around him could restrict him [his parents could but they weren't w/ him in his provinces]. he did become politically active w/ nurbanu's growing ambitions & he took smarter, more cunning & dirtier measures than bayezid to win the throne. the battle for the throne was bloody; resorting to honour like mustafa did was obviously not the best decision & people insult selim for being cunning enough [or being influenced by cunning people] to win the throne. let's also keep in mind that selim didn't even have much of an interest for the throne until manisa & nurbanu. i also like his relationship w/ nurbanu. it paralleled suleyman & hurrem's w/ the concubine arcs but selim did end up being monogamous to her in the show. their chemistry was fantastic [props to engin & merve for their acting] and although i don't really enjoy the 'a woman makes a man strong & influences him in everything; good or evil' kind of take, i did enjoy their relationship [he also sometimes looked at her like she was this ethereal type miracle, appropriately so w/ her courage]. i like what the show did w/ bayezid's execution a lot, the whole scene was such a wonderful cinematic experience; the music, bayezid's agonizing screams, his sons falling one by one, selim crying because he didn't want it to end up this way, bayezid falling & his screams ceasing, selim's heartbroken face because he was always a soft person & he always loved bayezid;

ahh, what a scene, so much love for it. anyway, that's just my opinion; i think he's hated way more than he deserves, especially in comparison to other characters & he's actually one of my most favourite characters from s4 [but i honestly love all characters w/ their good & bad, mc has many complex characters & i live for it]. what do you think about selim? sorry if you got annoyed at the long ask, i can get really heated when talking about selim [especially in reference to his historical figure], hope you don't mind if❤ [if it is annoying i'll stop it]

(okay, I'll talk strictly about the show, since I don't feel like delving deep into historical waters. There is still stuff we don't know for sure and I do want to keep the line between show and history in my head, except for the similar themes.)

While he isn't particularly my favorite character, I appreciate MC Selim and he is a very interesting subject when it comes to analyzing him. I'm actually amazed with what the show did with him in the span of a season (and something, counting some S02B and S03B moments) - he was one of the most fleshed out characters in S04 and we could get a clear picture as to why he does what he does.

Some people consider his debut to be an insult, for it immediately showed some of his weaknesses, putting him in a bad light right out of the gate. But all I can see in this debut is a showcase of his predicament of the prince no one sees as a capable heir of the throne. It’s as if he sleeps with women and drinks as a coping mechanism he’s delved into, with Mihrimah having to do effort to snap him out of it. The Selim we see in the beginning of S04 is a hopeless person. He doesn’t have dreams and ambitions, it’s as if he’s a already a lost cause and he has no one to truly support him. Even Hürrem wanted to send him to Manisa not because she deemed him as worthy, but to use him as a shield in order to deceive her enemies and protect the actual favorite. That may seem like a clever plan, but in actuality, it failed spectacularly - not only did her enemies not get confused for a second and didn’t attack Selim at all, but she forgot to tell Bayezid why she did it and made Selim confused to the point of demotivation, because none of his brothers were truly happy with this decision and they were all opposing it, directly and indirectly. And while he may not show it that much, because of his more composed and pragmatic nature, Selim is sensitive to the opinions of his brothers and the people around him and their prevailing disapproval may be a part of why he became so different than the rest. It’s like no one wanted to get to know him.

Nurbanu’s entrance in Selim’s life is very cathartic in this aspect, for she actually worked with him and gave him the needed motivation and ambition to fight, awaking sides of him that were dormant for a long time. And yes, I do think that Selim’s pragmatism is something he always had, if the whole arrow incident in S03B where he sabotaged Bayezid’s arrow, which caused him to lose is any indication.

{I don’t think that the quarrels Selim and Bayezid had when they were little are so much indicators of Selim’s personality as they are foreshadowing of their future conflict. Right, these quarrels are normal for siblings and Mehmet and Mihrimah also fought like that (heck, even little Mehmet and Mustafa had a fight once in S01 and that fight was used as the conflict of the remainder of that one episode), but they weren’t as frequent as the ones of Selim and Bayezid. I don’t know, it’s just the atmosphere of these scenes was different and hinted at something more. It could be because we know the historical events and we could see every tiniest bit of early sibling rivalry between them as build-up, but still, I always felt there just was something else. Like the whole arrow incident I mentioned, a presumably harmless little situation gains a whole other meaning later on. It sets up neatly Süleiman’s opinions of both of them (his reaction to apparent disobedience and the making of a scene by someone he doesn’t expect to, by which I mean Bayezid), Hürrem’s retroactive ignorance of a possible bigger enmity and the roots of the whole conflict. It’s not Selim deciding to sabotage Bayezid’s performance as a last resort, maybe knowing that he surely won’t do better than his brother (doing a pretty typical ,,prank’’ for a little, naughty kid) that is exemplary of his cunning later, it’s his validation and him getting away with it that eventually becomes it, just like how he ends up getting away with stuff in the next season. Selim definetly isn’t the instigator of all the fights, especially because Bayezid, thanks to his more impulsive nature, is much more likely to start a fight in the first place and contrasts to Selim’s overall better composure. Provokations among them were mutual and both were consistently throwing darts at each other, one after another. Their conflict is a very nuanced issue: while people try to play right and wrong, both sides were at fault one way or another. The conflict between them is mostly caused by insensitivity, favoritism and ignorance and the desperation of both to try to prove themselves to their parents and win their support, at the end of the day. Why did they always calm down in front of their mother? Not only because of their joint respect for her, but also because of these same attempts to earn her support. Even Bayezid, who obviously had to be sure of her support, wasn’t completely certain of it after Hurrem turned it on Selim for a while. Selim, on the other hand, obviously never felt her support, it’s like something was missing right from the start. Combine that with their completely opposing personalities and the whole system encouraging competition for the throne and there you have the inevitable ultimate conclusion. That’s why I also love the set-up, the pay-off and the aftermath of Bayezid’s execution. It may be historically inaccurate that Selim, not Süleiman, executed Bayezid, but when you think about it, it was the most logical thing that could’ve happened, ending their conflict with a heart-wrenching bow. I love the scene of the execution itself, too - the action, the dialogue, the direction, the character moments, the themes... I don’t know whether Selim loved Bayezid by that point, per say, after all they went through, but it was clear that he knew that he had to do it, that it couldn’t have ended any other way, but he was broken over it. He was aware that it was, ultimately, a sin, which would continue haunting him. He couldn’t catch a break afterwards, he couldn’t stop. All was solved, but at what cost?}

I love his dynamic with Nurbanu - they balanced each other off so well, their chemistry was amazing, such a power couple. Nurbanu’s biggest contribution is hiding some of his flaws and mobilizing him to fight. Her cold pragmatism ,,grounds’’ Selim’s softer side, she’s there to always remind him of the stakes of the game and to shut off the last ounces of his vulnerabilities after Hurrem died. He sure is influenced by her, but that doesn’t mean that he blindly takes her word for everything - he is always ready to call her out when necessary and assure her that there are lines she shouldn’t cross. Despite of her pleas, he kept having affairs with other women (that is honestly a trend with all the men of the show, but still..), he got mad at her after what happened to Huricihan and most notably, after he found out that she possibly stole his mother’s ring. A part of why their dynamic works so well is precisely this strenght of character and their awesome compatibility.

I have heard affirmations that Selim doesn’t care about Mustafa, which... simply isn’t true? While they have the least scenes together and Selim is the one that considers him most as a rival and his most dangerous competitor for the throne (which would explain his startled reaction after Musti saved him from the janissary), it’s precisely Mustafa’s death that is the turning point of his character arc. He was upping his game slowly but surely and before then, but he didn’t do much in terms of attacks. Neither Selim, nor Nurbanu once considered attacking Mustafa, the supposed biggest danger to them, which I find respectable and admirable. The bomb with the death drops and then every hope about a fair game is abandoned. Selim gets the realization that being honorable won’t work. The only way to win is bend the system and play dirty. There’s no time for sitting around or looking nice. And even though Nurbanu realized this, too, as well as Selim, Nurbanu was always more inclined to act this way than him and now the righteousness of her methods were only getting confirmed. It was Selim that had to reach this end. Discovering that he is no longer allowed to show any kind of weakness. Every chance that appears on the horizon, he’ll take it. That brings him to his first true dirty plan - the trap he set through the fake Mustafa rebellion.

Speaking of which, the worst deed of Selim’s for me is connected to that rebellion. I know I may be very biased in this regard, since it affects my personal favorite character and isn’t as recalled as others, but I hated when, in Selim and Sokollu’s attempts to wash their hands from the pulled off stunt, Sokollu, his man, told SS that Mahidevran was giving money to the rebellion. Okay, it’s not said outright whether is this directly tied to Selim or it was something Sokollu himself came up with out of desperation or something (though it was hinted that both thought something through in a scene where both were saying that they should come clean out of this all somehow) and it’s not outrightly confirmed whether Mahidevran gave the money or not (I highly doubt she did it; not only because it would destroy her whole S04 arc and she would become, well... MCK Gulbahar, but also because after the messenger told her of her alleged blame in E129, her eyes widened in surprise.), but all it does is be the only explicit case where Selim indeed looks bad, for his proposal to return Mahidevran in the castle doesn’t seem to stem from genuine guilt and remorse, but rather a late and empty attempt to placate his own conscience. Oh, not to mention (for the upteenth time, sorry in advance) how the scene back in E58 where Hurrem tells Mahidevran that her kids will be there taking care for her when she’s alone, which was treated as some big foreshadowing in the show, as well, by both the voice of the S02B narrative and the fandom alike, loses its value even more with that framing, because Selim and Sokollu themselves brought her to this state in the first place!!! Despite it making sense anyway, it’s still such a disservice to Selim as a person both inside and outside of the writing.

One aspect of Selim’s pragmatism I find most interesting is his ability to turn his enemies into allies, knowing exactly how to amass them and get them on his side, be it through giving them more money and promising them the world. These alliances are all opportunistic in nature and may not be as loyal as those of Mustafa’s or of Mustafa’s people (like Atmaca) with Bayezid, but I think Selim knows this and wants to keep them steady enough for the common goal. As for what kind of a padisah he’ll be.... I believe that state matters would be the least of his concerns, since he was shown to not care so much about them, compared to his other brothers (but then again, the show itself doesn’t put the political capability of the princes at center stage - their personal virtues are always the determining factor of what makes a good padisah and what doesn’t, more of a psychological outlook, if you will.) and he perhaps won’t plan as many campaigns or conquer as many territories, maybe he won’t be that successful at all, but his cunning would bring him advantage in front of his people, he will be at least a bit careful of who he’s choosing and won’t simply lose it in front of everyone, compared to Bayezid’s impulsive temper.

[I love Bayezid as a character, but the shadier aspects of his personality sure tend to be overlooked. While his anger is directed mainly at Selim and Suleiman, it often reaches such extremes to the point it becomes destructive and affects everyone. He doesn’t deserve his execution at all and most of his actions stem from a very sympathetic place, given how SS never truly gave him a chance and he went on the inevitable path, because he, just like Selim, realized that honor won’t work in this war, but took the opposite approach from Mustafa, direct rebellion. And predictably, both approaches didn’t work since Bayezid, too, was taken advantage of. While he didn’t get justice, the lead-up to his execution is a character arc of his and there are many reasons and events linking it all together and showing us why it took place the way it did.]

Selim’s dynamic with Suleiman is proof of how you can be presumably favored, but you have to work to get there. The reasons Suleiman favored him are very telling and sad and we see that he also doesn’t favor him because of any and all capabilities he may have, but because of his self-imposed distorted view of loyalty Selim has to do a lot to preserve, actually. He constantly has to make it so it looks like he’s loyal and obedient and doesn’t work behind his back. He doesn’t get the fullest appreciation from his father, as well, and I certainly feel it impacts him, in a way.

I agree that Mihrimah could be unfair to Selim. They weren’t that close and she had this open preference to Bayezid. Most annoyingly is when, in their confrontation in E139, which highlights even more their parallel sins, Mihrimah doesn’t seem to face that sin of hers when Selim calls her out on it. She has a reason to deeply resent him after what he did to Bayezid, but was offended when he reminded her of the crime she also committed. More solidarity on that front would be a bit better, at least a hint of like recognizing like even for a moment. (but maybe then her scene with Mahidevran later wouldn’t be as impactful? Huh.)

And lastly, about his drinking - Nurbanu tried to restrict him, but it’s true that such habits aren’t easy to give up on, especially knowing how his drinking is a coping mechanism as much as it is something he enjoys. He knows he shouldn’t do it, he’s told he shouldn’t do it, but he can’t help it. He doesn’t drink when he’s planning or scheming, but he keeps on doing it more and more with every problematic action of his. It’s an attempt to supress his otherwise strong conscience to the max, seeing how after his brother’s execution he apparently always took a drink when he was alone at night, fighting an inner conflict with himself. I don’t think there was a way he could stop doing it permanently in the show. It was a part of who he was, unfortunately or not.

#magnificent century #muhteşem yüzyıl #muhtesem yuzyil #sehzade selim #ask #mihrimah-sultan-can-rail-me

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kittyprincessofcats · 4 years ago

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I finished RWBY Volume 5!!

Loved it!! After volume 4 was (understandably) a bit slower-paced, I didn’t expect things to get intense and serious this quickly, but I’m glad they did! I have so many thoughts I wanted to write down, so here we go:

[There will be spoilers for RWBY up to Volume 5 in this post (duh). Please don’t leave spoilers for anything after Volume 5 on this post, otherwise I will block you.]

- I have to say, I definitely liked Cinder more when she wasn’t talking. During Volume 4, I kind of started feeling bad for her on some level, but then she got better and started being her old condescending, power-hungry self and I was like… nevermind, I hate you again.

- Qrow being super drunk when he first brings Oscar home was absolutely hilarious.

- Yang is SO COOL. Have I mentioned that she’s so cool? Like wow, I wish I was that cool! The bike, the new (amazing) outfit, the way she just punched that creepy guy and walked right up to her mom’s bandit camp making demands of her – she’s so cool and I’m here for it.

- Yang and Weiss’ reunion was so sweet! 😭 I was waiting for literally any of Team RWBY’s members to reunite and that got me right in the feels! (Also, I loved the whole “Wait, your mom kidnapped me?” “Wait, you kidnapped her?” exchange - brilliant 😂.)

- Ruby’s reunion with Yang and Weiss was so sweet, too! 😭 Tears were definitely shed over reunions in this volume! And it was so nice to finally have most of Team RWBY and what’s left of Team JNPR back together and see them bond and catch up with each other 😭. Found family back together! It’s what they deserve!

- Yang being so angry at Blake for leaving makes perfect sense, imo, especially considering her own abandonment issues. And even more so considering that she lost that arm while protecting Blake. Also, I don’t think it’s reading too much into it to say that Yang and Blake’s interactions and their storyline together have had romantic undertones since volume 2. (And no, I’m not just saying that because I ship Bumbleby; it’s the other way around – I ship Bumbleby because those romantic undertones were there in the first place.) So yeah, Yang always tried to help and support Blake, lost an arm protecting her from her abusive ex, and then Blake just left – I get why Yang’s hurt and angry. And that moment where she goes from complaining about how she just wants to be there for Blake, before finally admitting “What if I needed her there for me?” - that’s a really good moment for Yang, even beyond the romantic subtext. It’s nice to see Yang admit that she also wants someone else to be there for her, that she wants to receive that same love and care in return.

- I also want to point out that it’s nice to see how far Weiss has come since volume one. She really took a level in kindness and became a lot more mature, to the point where she’s now giving Yang relationship advice. It’s really nice to see.

- Ruby’s talk with Oscar about Penny and Pyrrha really got me teary eyed.

- I wasn’t that fond of Sun at first, but he had some really great moments in this volume, so he’s starting to grow on me now. I still don’t ship him with Blake, but their friendship is sweet.

- And now, let’s talk about THE standout character of the whole volume for me: ILIA!! Holy hell, I love everything about her! You know how some characters grow on you over time, and then there are those characters that you see one episode with and they just become instant favourites? That second one was Ilia for me. I watched Blake’s character short before Volume 5 and the moment I heard her backstory she jumped right to the top of my favourite character list without question AND I started shipping her and Blake right away. (Yes, I love Bumbleby and all, but I’m a multishipper. I’m perfectly capable of equally loving two ships that contradict each other.)

- It’s just – Ilia and Blake’s dynamic got me hooked! Not to compare everything to my OTP (Catra and Adora from She-Ra and the Princesses of Power), but let me quickly make this comparison: Two girls who grew up together, were both members of a certain evil organization until one of them left it and the other didn’t, now they’re on opposing sides and have to fight each other, but they still clearly care about each other. Plus, there are confirmed romantic feelings from at least one side there. I know many people (including myself) have compared Bumbleby to Catradora before – because you’ve got one blonde jock and one catgirl – but when it comes to the dynamic and the backstory, Blake and Ilia (what’s that ship called? Catmeleon, I think?) resemble Catradora even more. And it’s just the kind of dynamic I’m weak for.

(Honestly, it’s kind of funny how predictable I am both when it comes to favourite characters and favourite ships. My sister, who got me into both She-Ra and RWBY, took one look at Catra years ago and immediately predicted that I would love her. And when she first saw Ilia, she also immediately knew she’d be one of my favourites. Basically, my sister once described my “type” of favourite characters as “troubled, cute and gay” and that pretty much sums it up.)

- Speaking of troubled, cute, and gay: I’m glad RWBY finally has some CANON LGBT representation! Hell yes for that! Honestly, I interpreted Ilia’s feelings for Blake as romantic right away, but I wondered if it was just bait or my usual tendency to see romantic undertones in any interaction between two girls. But then that “I wanted you to look at me that way” line happened and… WOW. Yes. Amazing, talented, brilliant, never been done before, showstopping, incredible. I’m 100% sold on both the ship and Ilia as a character.

(One more thing before I change topics: I try to keep these posts positive and not get into discourse too much (since I’ve heard there was (is?) a lot of discourse in the RWBY fandom – but I took just one look into the tag for Volume 5 and immediately saw people arguing that Ilia’s not good representation because she’s a villain. And I just want to quickly address why that’s nonsense, in my opinion (and before you ask, yes I am a lesbian myself): First of all, she’s not even a full-blown villain. She’s clearly shown as confused and misguided from the beginning. And her feelings for Blake are never portrayed as a negative thing. She also has a redemption literally two episodes after being revealed to be queer. And in general, I don’t think queer villains are necessarily a bad thing and I’m tired of queer characters not being allowed to be flawed. How come straight characters get to just exist, but any queer character better be a shining beacon of morality or else they’re bad representation? I agree that RWBY should introduce more queer characters to balance things out a bit, but I wouldn’t say Ilia was bad representation by herself, since she’s a character I think we’re meant to have sympathy for.

- Now I just hope that future volumes of RWBY don’t pull a Bury Your Gays and kill Ilia off... I’d really hate that. (No spoilers on this post, please!)

- The entire fight at the Belladonnas’ house had me so on edge the whole time. I thought someone (most likely one or both of Blake’s parents) was going to die any second. Basically, the ending of volume 3 burned me and now I constantly expect characters to die. I’m glad it all (mostly) turned out well!

- Blake’s speech to the Faunus might have made me a bit emotional. That was a really great moment for her.

- And then there were those final episodes… WOW. Like I said, I really didn’t expect everything to go down so quickly (or for the ending to be that happy – like I said, volume 3 burned me.)

- Jaune unlocking his semblance was nice! And I’m proud of myself for having correctly predicted that he’d have some sort of healing powers. (I was waiting for him to unlock some healing semblance back when Qrow got injured in Volume 4 – I’m glad it finally happened!)

- I was worried about Weiss for a second, then I realized there’s no way she can die since I’ve already seen pictures of her outfit in later volumes. (Plus, I’m pretty sure if a main character had died, I’d have been unable to completely avoid spoilers about it. So those 4 are pretty much the only ones I’m not that worried about.)

- Raven is a really cool and interesting character, but an awful person. (I got so angry at her when she blasted Ruby after Ruby was just so nice to her*. How dare you, lady?) I love her design, though!

[*EDIT: I just rewatched it and realized that it was Cinder who blasted Ruby, Raven just created the portal. Point still stands, tough.]

- The plot twist of who the Spring Maiden really is was EPIC. Really loved that reveal! (And I honestly didn’t see it coming.) Though I have to say, I feel really bad for Vernal, and for the previous Spring Maiden.

- The Cinder VS Raven fight was absolutely epic and just stunning to watch visually. I was wondering if we’d ever get a maiden vs maiden battle, and that scene more than delivered! And while I don’t particularly like either of them, I was definitely rooting for Raven in that fight.

- I’m not sure if Cinder really died there. If so, I’m honestly not too sad about it, but I would be disappointed because I kind of expected her to become a more interesting character later on. After Volume 4, I expected at least a bit of growth there or something that would make her more interesting. And I’m not talking about a redemption, just to be clear! I just think the potential to make her more interesting as a villain was there, and if they just killed her off it’s kind of wasted now and she stayed a very flat character until the end. But I guess we’ll see.

- Raven and Yang’s confrontation was pretty intense. I liked that Raven finally had to admit that she’s afraid and doing all of this just to protect herself, and the contrast to Yang, who is also scared but still does what she thinks is right. And the fact that Raven was willing to let Yang have the relic despite the danger that would put her in – mom of the year indeed 🙄.

- Blake and the other Faunus are the real MVPs of the battle, tbh. The fact that they just completely stopped Adam and the White Fang by sheer numbers and didn’t even give them the chance to attack anyone? God tier stuff. And when Blake’s mom came in with the police? 10/10, we stan.

- Also, Blake telling Adam she’s not there for him? Hell yes, girl! I love how she’s taking power away from her abuser by showing she isn’t doing any of this for him. Really nice.

- Yang and Blake’s reunion in the last episode was super nice. I like how there was so much attention on that reunion in particular. And while I’m glad Yang wasn’t too angry at Blake and it makes for a nice happy ending, I still hope there’s a scene next volume where Blake properly apologizes to Yang for leaving and explains her side of things. And then, they should get together and live happily ever after and have lots of kittens. I mean, what?

- And finally, all of Team RWBY is back together! And they’ll have a lot to catch each other up on. Blake doesn’t even know about the maidens, the relics and Salem yet, while the rest didn’t even know about the White Fang attack. Also, I want Blake to introduce the others to Ilia and to her parents.

I really loved this volume. Lots of action, lots of really sweet moments, lots of epic fights and cool plot twists. I find it hard to rank them, but this might have been my favourite volume yet (volume 3 was also really good, though).

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fermented-writers-block · 4 years ago

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Who and what is Kikimora?

Although she has only made a single appearance in the show with just barely three lines to her name, Kikimora is an interesting character to me in what her apparent position and possible inspirations could mean in terms of the overall plot and history of the Boiling Isles going forward.

Starting off, it is interesting to note how, so far, Kikimora is THE most respected character we’ve actually seen in the show - as Belos has yet to make an official appearance - as well as having one of the biggest yet understated impacts on the plot. Of course, the former can be inferred by how Lilith - THE leader of the best of the best witches outside of Emperor Belos himself - defers to her in a subservient manner, but for someone with such little screentime, Kikimora’s appearance set into motion an impending deadline that Lilith now has to fulfill soon if she wants Belos’ end of their promise.

Additionally, it’s a subtle detail, but Kikimora’s use of just Lilith’s first name implies a ton of familiarity between the two and or that Kikimora is much, MUCH higher ranking than Kikimora in the hierarchy. As for figuring out what position she fills, well:

She is most likely Belos’ right hand woman after all, and quite literally at that.

However, besides the literal wordplay of her design, I’ve been looking into the origins of her name and found that "kikimora" refers to a kind of spirit within Slavic mythology of which there are two kinds: one from the forest married to the spirit Domovoi,and the other from the swamp married to the spirit Leshy.

There's conflicting accounts on whether kikimora are evil or simply a difficult spirit to appease between the sources I could find, but a common thread seems to be a close association with spinning and being a symbol of impending misfortune with her psychic abilities.

However, what I find most interesting and what I’d like to focus on here is the way she is most commonly depicted in terms of appearance. Between the unclear translated details of her exact stance and attitude towards humans, all of the sources I’ve seen more or less agree that she is a kind of powerful house spirit that is small enough to pass through keyholes, and that she is either a goddess of or are highly associated with chickens - sometimes bearing chicken feet like the ones in the drawn rendition below:

As to why I find this detail interesting, for those of you who haven’t been following my discussions with my friend @sepublic, we have been working on plotting out the various possible narrative parallels between the characters of The Owl House and the in-universe characters of the Good Witch Azura series for a while now, with Luz and Amity being Azura and each other’s Hecate, Eda and Lilith as the old lady/mentor figure, and King and Emperor Belos as the likely small animal companions/proclaimed group leader.

With these parallels established, I have come to the conclusion that there is a FOURTH set of characters - one whose correlation in the Azura books we’ve yet to see or hear about, but will play an important role in both the overall Owl House plot and the in-universe Azura series - of which Kikimora makes up one half on Amity’s side.

Assuming that Kikimora takes a decent amount of inspiration from her namesake in a number of ways, the most likely candidate for her parallel that I can see is - as surprising as it may seem - none other than Hooty, aka this goofball:

TLDR: Why I think both Hooty and Kikimora might turn out to be/have been bird-themed deity-like entities supporting their respective rulers, or how the epic kaiju fights were in our houses all along

To explain what I mean, with the major fan theory that King used to be the Titan/an actual king of demons and some of the recent character interactions these last few episodes, I believe that Hooty and Kikimora might be even more similar than just the mythological connotations behind Kikimora’s namesake.

For a long while now, I have been theorizing that Hooty will turn out to be a powerful owl-like spirit or being with a very severe case of power and memory loss, but to be more specific here, I think that Hooty - or the Owl Deity as I’ve taken to calling the being in the owl mural - used to be King’s second in command.

Here, I think such a revelation would fit well with the kind of misdirection present within The Owl House’s storytelling. After all, for as much as Gus picking Hooty in UW was played as a joke, one must remember that Gus had been looking for THE most interesting, accomplished, and noteworthy person he could get, and it would be just like this show for Hooty to turn out to actually fit that criteria, much like Luz’s “bad girl chosen one” description in WBW being extremely applicable to Amity the next episode.

In a similar vein, while King immediately shutting down Hooty’s declaration to become his recruit in AitE was a quick and funny joke in the moment, Hooty calling himself King’s “faithful pal” and the bonding moment the two shared after the carnage when King found himself ultimately relying on Hooty’s strength in the end feels to me much like the Owl House writers setting up hints for what kind of dynamics the two might have had in the distant past.

Now, I know you must be wondering how exactly this would further tie into Kikimora being parallels with Hooty. Well, the thing about that is that I suspect that both of them played a major role in helping their respective rulers come to power a long, long time ago.

Specifically, as two bird-based deities - not necessarily gods or chicken-based ones per se, but incredibly powerful beings that might have been seen as akin to such - that King and Belos turned to for help in different ways.

I admit that this sounds like a pretty major stretch - especially in regards to Kikimora and her three lines of dialogue - but given the multiple posts of evidence-adjacent details I’ve made for Hooty being the Owl Deity, I think this would make the correlations between the two all the more cleaner.

With King and Hooty, I could see the latter potentially being the former’s first loyal follower and or main enforcer of his will, a reliable friend and powerhouse that King depended on until both of them were overthrown and reduced to the sad state we see them in now.

And with Belos and Kikimora, I could see the former having been a fresh new recruit in King’s army back then, one who became fed up with his arbitrary demands and impulsive abuses of power - much like Private New Guy in AitE - and called upon Kikimora for her help in staging a mutiny against Hooty and King. Meanwhile, I could also see the latter being themed after a different bird within the world of The Owl House than chickens, potentially even being the basis behind Lilith’s corvid iconography and maybe the wings on Belos’ symbol.

That said, to contrast Hooty and King’s relationship, perhaps Kikimora and Belos’ is more transactional in nature befitting how in some folklore, kikimora - when pleased with the family of the house she resides in - apparently serve as their guardians and can warn her family of impending disaster with her powerful psychic talents, whereas only when she is displeased does her mischief to act up for the residents within. As such, Belos may or may not be doing something to make sure he keeps her favor as an asset to use and keep control over her/to enhance her powers, something which possibly could even be connected to the apparent search for items of eternal youth.

Though just to get this clear, I am NOT saying that Kikimora is the real mastermind behind everything while Belos is a mere figurehead. Rather, I’m suggesting that Belos and Kikimora might be more like business partners in crime compared to the possible past friendship Hooty and King might have had.

Furthermore, to develop Hooty and Kikimora even more as foils of each other, I think it would be rather fitting if the latter was revealed to have been in this picture the whole time as Belos’ castle itself:

After all, I’ve made note before of how the majority of the Owl House looks like it used to be a portion of a large “Owl Temple,” so considering how Hooty is the house itself and how Amity and Luz’s groups are positioned on opposing extremes, it would make sense if Kikimora leaned into the “house spirit” aspect of her inspiration by being Belos’ castle itself - or at least, being able to animate it, that is.

I mean, there IS always the possibility that she will stay closer to her inspirations and be a separate entity from Belos’ castle - aka where she’s still capable of traveling through keyholes and that’s how Kikimora was involved with Belos’ mutiny by sneaking through Hooty’s mouth entranceway - but personally, I think it’d be rather fitting if in a reversal of folklore kikimoras, she was the keyhole of Belos’ castle instead.

After all, if she IS the castle like Hooty is the Owl House and both of them turn out to be deity/bird-like beings, then I predict that we might get to see a clash of the titans somewhere down the line after Hooty regains his former form and memories - potentially even having gotten back the rest of the Owl Temple to more evenly match Kikimora in scale for a battle of epic proportions.

Overall, to summarize, I think Kikimora and Hooty will turn out to be parallels in terms of being powerful bird-themed deity-like entities, being capable of becoming and or already being giant “castle/temple demons,” and being/having been the respective second-in-command of Belos and King.

As for how they would contrast with the other, it’s too early to tell with how little we know of Kikimora at the moment, but judging from how the other characters between Amity and Luz’s groups parallel each other, it will be rather interesting to see how her personality and motives might serve as a reflection to that of the Owl Deity across the extremes of individualism vs conformity.

#the owl house #owl house #the owl house theory #owl house theory #the owl house hooty #emperor belos #kikimora #theory #speculation #amnesiac owl deity hooty theory #long post #VERY long post #you would not believe how long I've been sitting on this post #man do I hate it when my blog's tagline kicks me in the butt for months on end #anyways I hope you'll enjoy these thoughts and ramblings of mine

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sepublic · 4 years ago

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You know, I've seen plenty of great ideas for Amphibia x TOH swaps, but there's one thing I haven't seen anyone point out yet. If Luz takes Anne's place and goes to Amphibia, then she gets something she's always wanted at the start of TOH: Being part of a prophecy.

…That is, a VERY interesting concept, not gonna lie!

The thing about Luz’s fundamental issues prior to meeting Eda was… She really had a problem with distinguishing fantasy from reality, learning to set the boundaries between the two, and fully respect said boundaries. She wasn’t malicious of course, but regardless…

This is an interesting ask because we don’t know yet how the prophecy will unfold and be revealed within the show, or even its exact nature! But regardless, this is making me imagine Luz meeting the Plantars, and… Really, I can see Hop Pop’s more down-to-earth nature helping Luz learn to distinguish fantasy from reality, to an extent. Especially since Hop Pop himself is lowkey like Luz in that they’re very unorthodox heroes who don’t quite save the day the way they expected to; But their methods are –usually- valid. Such as Hop Pop accidentally inspiring a revolution among the Frogs, or that time he served as a martyr for those tiny frogs, with his mistreatment by the Hasslebacks being the final injustice that pushes them to fight back and defend themselves, without having to rely on any outsiders to do the work for them. Then there’s him projecting a Noir Film onto his search for Sal, to the point where he straight-up kills an innocent man…

And, that’s making me imagine Luz and Hop Pop kind of bonding over this (not the murder though), especially with Hop Pop’s failed dreams of becoming an actor. I can see Luz being pretty sympathetic and a lot more involved in Hop Pop’s stint with Renee Frodgers, a lot more than Anne did- And considering we see her try out for Romeo and Juliet at one point, maybe she also has a taste for theater herself! Not to mention, all of this discussion of confusing fantasy with reality is just reminding me of Marcy… Specifically, the speculation of Marcy low-key seeing her time in Amphibia as more like a videogame with its tropes, to a potentially harmful extent as she might not treat this situation as a very real one with actual stakes and living, breathing people.

Of course, the thing to remember is- Luz takes a lot of initiative in her own character development, too! She’s a receptive person and self-reflects. I feel like even if she never met Eda, it wouldn’t have been out of the question for Luz to still resolve her own issues… It’d have just been a much more difficult and tedious journey, especially if Luz had to go through that Reality Camp. But regardless, when you remember that Hop Pop also goes through similar character development, albeit more around the Season 2 timeframe… With Hop Pop making the conscious decision on his own to call out Renee on her thievery, without Anne nor any circumstances goading him into it, because he’s a very moral character at heart…

Maybe Luz could have issues like Marcy. It’s worth considering if Andrias is manipulating and feeding into Marcy’s dreams. But regardless, I see Luz and Hop Pop working together, mutually, to get past their own issues, well before the prophecy is revealed- And we still don’t know when that’s going to happen! Maybe Luz and Hop Pop could be a duo reminiscent to Luz and King during Sense and Insensitivity. I can’t say for sure if Luz’s character development will be as potent by the prophecy’s reveal, as she is as of the Season Finale in HER show… I think Eda is ultimately a wiser character than Hop Pop, and characters like Willow and Amity serve as neat narrative contrasts/foils to Luz’s own antics. Though, I can imagine Luz getting caught up in shipping Sprig and Ivy, and possibly the fallout of this leading to a lesson or two…

But in the end, as I said- Luz has a good heart, and she goes around to do the right thing, in the end. She’s like Hop Pop in that regard, and of course there’s also the existence of Sprig and Polly, not to mention what a fellow weirdo like One-Eyed Wally might have to say, here or there. I guess a lot of it depends on the exact context of how this prophecy is revealed, and how it even works… But I see Luz as being grounded by the more down-to-earth Wartwood, well before she gets to Newtopia. This does raise the interesting idea of her possibly backtracking on her character development, especially with Marcy’s influence and Andrias’ potential manipulations…

And yet, I can see Luz still turning around to do the right in the end, just as Hop Pop did; Even when his dreams DID come true, and he became a renowned actor! I think Luz would come to the conclusion that even being ‘chosen’ by some divine force doesn’t really make her any better than anyone else… Not to mention that the people and world she’s saving is still very much its own thing, not beholden to her. So I see Luz accepting the mantle of being a hero, if only because she’s a good person and of course she’s not going to let something bad happen… And I can imagine the Plantars helping to gently nudge and remind Luz of her past lessons, to not get confused with fantasy and reality again. The prophecy would definitely be a twist antithetical and contradictory to Luz’s character development, given how she’s being transplanted into a different show with different themes, originally intended for a different protagonist…

But, if Marcy is going to learn her lesson and get past her own issues –assuming those specific issues ARE a thing of course- then I can see Luz being a guiding light and force for her… Maybe the two mutually navigate past potential delusions together, who knows? I’ve speculated in the past how Luz would handle the revelation of having powerful magical heritage... How Luz would truly show off her character development by rejecting even this seemingly objective, tangible cosmic reason for her being special, and still asserting her equal standing with everyone else. Even when placed on top of the hierarchy, Luz rejects it, showing how much her lessons mean to her. I can see Andrias trying to set Luz up to agree with his hierarchy under that concept of divinely-ordained ‘specialness’, and how it’d all just tie into Luz working to abolish the caste system with Hop Pop.

I can see it being a contrast to Sasha and Grime, who want to topple the current Newt Hierarchy… More than likely, so they can switch it around with Toads on the top. Not exactly the most helpful change, in the end… Luz decides that instead of reversing the roles, it’s best to just get rid of the roles entirely. It could play into a discussion of privilege, and it’d be interesting to see how Luz, Marcy, and Sasha would all bounce off of one another- Sasha low-key has her issues with dismissing the people of Amphibia, and once talked about ‘having fun’ there. Obviously her respect for Grime has changed this a lot… But there’s still that willingness to conquer what she fully recognizes now as an actual civilization of people. She would certainly take the revelation of a prophecy as full justification that she was never wrong about anything, and that Sasha is of course entitled to taking over Amphibia- Especially if Grime feeds into this both out of genuine support and his own desires.

Then there’s that idea of Sasha and Grime enabling one another to be worse, even if they also still go through a little bit of positive character development… And as for Marcy and Andrias, I can’t quite say because the latter is still quite the enigma. Either way, Luz has to serve as a grounding force for the other girls with Hop Pop’s help… And really, it sounds like the set-up for total chaos, a battle royal, a complete free-for-all with every Amphibian and Human for themselves as they navigate one another amidst the backdrop of this prophecy. If we want to apply Luz’s motif and themes of being a guiding light for other characters in her own show, I can see her forcing Sasha and Marcy to confront the reality of what they’re doing… And I think interactions between her and Grime would be fascinating, as she’d be VERY much in favor of toppling the monarchy- But specifically to undo the hierarchy entirely, instead of switching it around to the Toads’ favor. If Sasha and Grime enable one another, perhaps Luz will have to act as a voice of reason and buffer between the two- And again, it depends on how Sasha and Grime’s character development goes.

Overall, this sounds like QUITE the debacle, and I’m kind of fascinated, imagining how these different characters with different motifs, meant to be compatible with narrative parallels and contrasts, amidst the themes of their particular show; And how they’d adapt and fit into another show’s cast and themes! Anne taking Luz’s place in the Boiling Isles would be interesting, given how Anne has clearly internalized Sasha’s idea of ‘knowing what’s best for someone you care about’, and how this seems to be a recurring trend amongst people like Emira and Edric toward Amity, Lilith with Eda, etc. And, I guess I could go into a whole ‘nother discussion of how Eda has to help Anne recover from this low-key abuse and toxicity, and Anne having a similar moment of standing up to Sasha with those characters, possibly citing her own experiences… But, that’s probably a discussion for another time, I think. I guess it depends if I have the time and energy for it, and my cyclical focus aligns just right…

#the owl house #owl house #amphibia #the owl house luz #luz noceda #amphibia hop pop #hopediah plantar #speculation #meta #ask

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cynicalclassicist · 4 years ago

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The Atheists Tragedy and The Lion King

So The Lion King is often termed as Hamlet with lions. Yet while looking around at Renaissance Tragedies I came across a piece called The Atheists Tragedy or The Honest Mans Revenge, which I feel resembles it more.

The play was written by Cyril Tourneur in 1611. He is also supposed to have written The Revenger’s Tragedy, published in 1607, now more generally thought to have been written by Thomas Middleton.

The play may be read here. https://www.gutenberg.org/files/55625/55625-h/55625-h.htm

A summary and further details may be read here. https://cord.ung.edu/athiests.html

So in The Atheists Tragedy we have the French Baron Montferrers, who has a son Charlemont and a brother D’amville (possibly a pun considering where he will end up), the titular Atheist. As this is the Renaissance the portrayal of atheists is... not exactly pleasant, the usual official perception then was that atheists were inherently immoral.

Like Scar D’amville plots to seize power over his nephew, while pretending to be a kindly uncle. When his nephew Charlemont wants to go off to war D’amville loans him the money to do so, despite Montferrers wishing his only son to stay.

Scar also manipulates Simba into going, firstly to the Elephant Graveyard, which Mufasa has told Simba not to go to, by telling him only the bravest lions go there. Then later outright telling him to run away.

D’amville murders his brother by throwing him into a pit, like Scar murders his brother by throwing him off a cliff.

Well it isn’t really the fall that kills the Baron, D’amville’s henchman Borachio smashes his skull with a stone.

Scar seizes power on the pretext that with his brother and nephew dead he is heir. D’amville fakes his nephew’s death, having his henchman Borachio bring a false message that Charlemont was killed in war, the war which he encouraged his nephew to leave for.

Scar seized power believing his nephew was dead, having sent his hyenas to kill his nephew after telling Simba to run away and never come back. However Simba escaped them and flees into exile.

D’amville also has a trouble with incompetent henchmen, sending Borachio to shoot Charlemont when he visits his father’s tomb. But the pistol misfires and Charlemont kills Borachio.

Both heroes encounter their father’s ghost, Charlemont sees his father’s ghost just after their death, telling him to return to France.

Simba meets his father’s spirit when he is grown, by the prompting of the Baboon Rafiki.

This is often compared to the ghost of Hamlet’s father but is very different. Hamlet’s father tells his son to avenge their murder. Mufasa and Montferrers tell their sons to return home, reminding them of their duties. Montferrers even says to leave vengeance to God.

Now this refers to a scene cut from the film but retained for stage version, possibly for the content. Scar holds power but is paranoid, then decides to produce an heir.

Scar in The Madness of King Scar comments: Without a queen, what am I? A dead end, no line, no descendants, no future. With a queen, I'll have cubs... Immortality will be mine! Immortality will be mine!

Nala enters, the eventual wife of his nephew. He then tries to seduce her, telling her:

We'll create a host of little Scars.

But she rejects this and flees the Pridelands.

As D’amville says at the end of the first scene when his sons Rousard and Sebastian enter:

Here are my sons.— There's my eternity. My life in them And their succession shall for ever live. And in my reason dwells the providence To add to life as much of happiness. Let all men lose, so I increase my gain, I have no feeling of another's pain.

To enhance this power D’amville has his elder son Rousard marry Castabella, the betrothed of Charlemont. However Rousard is sickly and thus unable to produce children. D’amville decides that in order to continue his line he will have children with his daughter-in-law.

D'Am. 'By my persuasion thou wert forced To marry one unable to perform The office of a husband. I was the author Of the wrong. My conscience suffers under't, and I would Disburthen it by satisfaction. Cast. How? D'Am. I will supply that pleasure to thee which he cannot.

Likewise Castabella is horrified, calling it incest due to her being his daughter-in-law. Charlemont then frightens his uncle away disguised as the ghost of his father.

In The Lion King Scar, when attacking Simba’s mother Sarabi sees Simba, initially mistaking them for Mufasa. Interestingly enough the live-action version has Scar having designs on Sarabi... as if pushing the Hamlet link more.

Incidentally D’amville’s schemes come to naught. Rousard dies of sickness, Sebastian, who objected to his brother’s marriage and is on bad terms with his father, has been having an affair with Castabella’s stepmother Levidulcia and performs a mutual kill duelling her husband Belforest to give time for her to escape. Which proves pointless as on finding both dead she kills herself.

Both D’amville and Scar start to lose their sanity. D’amville after counting the money from his brother’s revenues sees them in a dream. With his sons dead D’amville observes there may be a power above him. Before that he talks to the skulls in the graveyard, thinking his brother’s ghost is after him.

Scar in his madness still obsesses over his brother and plays with skulls.

Both have a meet-up between the love interests after escaping the villain. Charlemont forgives Castabella on finding out she was forced into the marriage and they lie down to sleep on skulls... of course fitting with the moralistic approach no further.

The Lion King, not being quite so conservative, has Simba and Nala meet in Can you feel the Love tonight and implies their union.

The Lion King clearly has the superior ending though. The Atheists Tragedy has Charlemont and Castabella sentenced to death for alleged fornication and Charlemont killing and D’amville agreeing to carry out the sentence.

In The Lion King Simba is accused of killing his father, with Scar forcing him back off a cliff in a similar way to how he killed Mufasa. Then when he tells Simba he killed Mufasa they are inspired to defeat them and force his confession.

D’amville himself tried to accuse his nephew of a crime when they first returned, having them arrested for not paying back the loan. Though his son Sebastian pays the money so their cousin can be released.

In The Atheists Tragedy...

D'Am. I ha' the trick on't, nephew. You shall see How easily I can put you out of pain.—Oh! [As he raises up the axe he strikes out his own brains, and staggers off the scaffold. Exe. In lifting up the axe I think he's knocked his brains out.

I would imagine that performing that on stage would get a laugh, especially with the Executioner’s comment.

But he’s still able to confess he was the villain before expiring.

Scar’s downfall works better, with him trying to throw the hyenas under the bus, surviving his battle with his nephew, but his hyenas, starved under his rule, turning on him.

Unlike Hamlet these works do not have the wronged party, the murdered figure’s son, take direct revenge. Frequently of course in Revenge Tragedies the Revenger will not survive the play, the implication being seeking personal revenge is a bad thing and will destroy you.

Simba does not actively seek revenge, refraining from killing his uncle when backing them into a corner and instead threatening them with exile. It is only when his uncle attacks that he fights, defending himself. Unlike Hamlet who plots revenge and in the process kills the innocent Polonius. Likewise Charlemont only fights for defence, killing Borachio when they try to kill him.

Hamlet is a much more questioning and complex character, questioning the natural order and natural rules. Charlemont is more of a good boy, doing what he should. This is contrasted with his uncle who completely opposed to natural rules, thinking of pleasure and the strength of his line, fitting the Renaissance stereotype of an atheist, even down to incest. His crimes are visited upon his sons, the elder with sickness, the younger, even though decent and honourable, also dies.

Charlemont says after his uncle’s death...

Charl. Only to Heaven I attribute the work, Whose gracious motives made me still forbear To be mine own revenger. Now I see That patience is the honest man's revenge.

The message is simple. Don’t take revenge yourself. Leave it to God. A quite conservative and pious approach. It is not overall a tragedy for Charlemont, who survives. Even the way the villain seems to lose through strokes of bad luck despite his cunning, one son falling ill after the forced marriage, another dying in a duel, a pistol misfiring, then D’amville himself dying in a contrived manner, seem to imply the agency of God.

The Revenger’s Tragedy is thought to act as a contrast, with the Revenger ending up dead.

Charlemont can now marry Castabella (still virgin due to her husband’s sickness) can wed.

The play ends with Charlemont saying

Charl. Thus, by the work of heaven, the men that thought To follow our dead bodies without tears Are dead themselves, and now we follow theirs.

Anyway with the villain dead Simba becomes King, and with Nala has a child, completing the circle of life.

All is good.

Of course The Lion King is quite by the basics in its Renaissance Play structure, I doubt the writers sought consciously to base it on this play. It’s just interesting food for thought. Perhaps because The Atheists Tragedy is so by the basics and standard moralistic and this is trying to tell a family friendly version of these plays.

Some good essays I found on this.

https://extra.shu.ac.uk/emls/journal/index.php/emls/article/view/446/325?fbclid=IwAR2ewO9GXlYLzL8Rqz2EqzR_ZpXdJMmFmoC2HxamR1p3m9fh6RcVsa9mmz0

https://ttu-ir.tdl.org/bitstream/handle/2346/19767/31295004630041.pdf?sequence=1&fbclid=IwAR19yKmgpvOVxEsO4fv65PtScBYVYxVxg3lYwZHJNANzXLMCSVEMi2raaqw

@blackcur-rants @epic-summaries @ylvisruinedmylife

#renaissance #the atheists tragedy #the lion king

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msindrad · 4 years ago

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an insanely long crazy-ass post about the dollars trilogy, I’m so sorry y’all

I FOUND THIS POST. I DID IT. I FOUND IT. JESUS. I spent the entirety of my yesterday searching for it.

I’m going to tag everybody who participated in this discussion and whose posts I‘ve found while searching for this discussion on the off-chance that they still might be interested in, yeah, discussing these films.

@clinteastwood-blog @geekboots-blog @istadris @sybilius @bleak-nomads @thenotsobad-thebad-andtheugly @bloncos @mcicioni-blog @unrealthings @stephantom @colonelmortimer

Also, please feel free to ignore me and my analytical outburst if you don’t feel like talking about the films or talking about them with my crazy hyperfixated ass specifically, lol. I didn’t mean to be rude by calling you out of nowhere, it’s just that sometimes people get excited when there is an enthusiastic newbie in the fandom and gladly return to their beloved canons.

Anyway. The dollars trilogy.

I’ll start with The Good, the Band and the Ugly (and will probably make myself instantly unlikable by nitpicking things, (sigh)).

As stupid as it might sound – the film being an absolute masterpiece, a cultural milestone that is timeless, epic, work of genius, love it, will write and draw about it with pleasure etc. – I’m kind of inclined to find the GBU the weakest film in the trilogy storywise. Don’t get me wrong: the plot is interesting and strong, every scene is entertaining, smart, and instantly quotable… But.

There are a few things that make the story, taken holistically, weak to a degree, especially in contrast to the other two films. Now, let me explain my bold-ass claim.

The first reason I couldn’t even pinpoint for myself until my best friend asked me: yeah, it’s all cool and fun, but what has really changed at the end of the film? They stopped the battle/blew up the bridge (kudos for the pacifist message), they killed a few folks on the way including Angel Eyes, but what did the story amount to in the end? Was their relationship changed? Have they themselves learned something about life, universe and everything? Tuco is still on the rope, Blondie still shoots the rope. They both got their money, split it 50/50. Sure, now it’s an insane amount of money but will it make them reconsider their ways of life? I don’t know, and I don’t necessarily think so. They’re really back to square one. If you consider the graphic novel The Man With No Name canon, then (spoiler) Blondie gives his money away to help rebuild the monastery of Tuco’s brother, and Tuco himself doesn’t really invest his share in anything other than booze, and sex, and troubles, so. Then, Angel Eyes got killed off, but he had even less backstory/character arc than, for instance, Captain Clinton, not to mention that his image, as memorable as it was, kind of lacked certain complexity, so, does it really matter storywise (although he is a great, stylish character, but I hope that you get what I mean)? (Note: Angel Eyes should have been the film’s ultimate personification of the war (inhumanely ruthless, only interested in money, extremely goal-oriented etc.), which, the war, kind of is the main antagonist of the film if you think about it; but the way he was used in the plot, the way he acted, and was generally presented, communicated it only in a limited way, imo).

Everything about the adventure was fun, smart, entertaining, one of the best films ever made, I agree 100%, and I rewatched it with pleasure many times. But I believe that stories have to bring about some palpable change in their world in order for them to be successful and finished. The GBU, in my opinion, doesn’t do it because it doesn’t want to be a story-story, and it’s fine with just letting its characters exist in a magic Western/a cowboy fantasy/a fairy tale. And I guess it’s also one of the reasons why the story didn’t go anywhere from the GBU – there is nothing to add to a basis like that. And I can’t help noting that it’s super ironic that the only film in the trilogy that truly seems to be all about money-money-money has no “dollars” in its title.

Another thing that I think is super important: there is almost no female energy or presence in the film. And it’s not even a matter of representation that bugs me, although I think it’s very important. It just feels like there is a deficit of something vital that renders everything even sort of unrealistic. In AFOD we have Marisol and we have Consuelo Baxter, and they’re relevant for the plot, and they have goals, motivations… lines. In FAFDM we have Mary, who has only a few brief moments, but she’s memorable, endearing, and she has a small story/motivation of her own, and we also have Mortimer’s sister, who is EXTREMELY important, and who also isn’t just symbolic, she herself makes a plot-relevant decision on screen, although a really horrible one from my personal moral standpoint. In the GBU we have what? A prostitute that’s beaten up by Angel Eyes (I never watch this scene), another woman at the hotel where Blondie stays in that is shut up and called an old hag or something like it, and another woman that makes a comment about Tuco’s hanging. None of them are memorable or have motivations on their own, and to me it makes the film lacking some really important counterpoint in terms of dynamics etc.

And nobody needs me to describe all the things that the film is awesome at because everybody knows that the film is one of the best films ever made, so painfully gorgeous that it’s difficult to praise it. So, I’ll move on to the other two films but will briefly talk about Tuco and Eli Wallach.

Eli Wallach is considered one of the best actors ever to appear on film for reason, so, I’ll just say about my personal impressions from his performance: he really made me emphasize with Tuco. His acting is incredibly rich, nuanced, concentrated, and, imo, just leaves you no choice but to think of Tuco as a real complex human being, not a film character. And Tuco is a superb character. Over the course of the story he gets to be loathsome, humane, funny, silly, terrifying, and cunning, - often all those at the same time. That’s one hell of a captivating character who’s just very, very interesting to watch and to analyze, regardless whether you like him or not.

Then, we have A Fistful of Dollars. I’m a huge fan of classic adventure stories that are gen, plot-driven, and have smart main characters figuring out a way to get what they want without being destroyed by other characters for wanting or trying to get it in the first place. I think it’s very difficult and very rewarding to write a good story in this genre. AFOD is exactly this kind of story, and this kind of stories is only as good as their protagonists’ maneuvers are. And Joe is, like, a tactical genius (the barrel! the fire!). And it’s much better to rewatch the film to remind yourself of how smart he is than have me talking about it, so.

But apart from that he is also humanized by his deeply personal motivations that appear completely irrational especially in contrast to his clever manipulations of the Baxters and the Rojos. And he doesn’t do it egotistically, to “get the girl,” which wouldn’t make him particularly sympathetic one way or another. Sure, he makes a good buck at the end, but his primary motivation still is justice for Marisol and her family (and then protection of his friend). Additionally, Joe gets his fair share of punishment for providing said justice, which further humanizes him and kind of makes you worry about him. And Silvanito with his scolding, humor, and skepticism helps with it a lot, too.

And then, there is the fact that the film wants the audience to either want to be Joe or want to be with him, sometimes both at the same time. Everybody on screen is a single Joe’s wink away from swooning because how he practically oozes charisma (only Silvanito is immune to his charms). I can’t blame them, though.

And I also want to point out the last lines of the film: Joe says that he doesn’t want to get involved into politics because that would be too much for him, and I think that it’s very fitting. The film just showed how cool he is, but he knows his limits, and he knows that he operates on a different plane.

So, all in all, it’s a masterfully done story.

Finally, we have For a Few Dollars more. I love all three films, but FAFDM is my favorite, there’s no doubt about that. I’ll start with the fact that it’s perfectly structured and perfectly balanced. We have three big players, Mortimer, Manco, and Indio, and the film shows how dangerous and how smart each of them is, so that the conflict between them ends up being very, very suspenseful. Not to mention the fact that it takes Manco and Mortimer almost 40 minutes, I think, to finally properly meet – by that time we are already speculating who will be the winner in the end, how will they react to each other, how will they interact, how will they work together etc. We get to know them quite well first, and then their relationship allows us to explore their characters even deeper through their interactions, their differences, and their similarities. For some time, storywise they become a single unit. While the story of Indio’s assault on Mortimer’s sister is revealed parallel to the plot.

Indio himself is terrifying as hell without being cartoonish. He is a really dangerous, broken man that is also methodical, smart, and ruthless. He is so bad that he kills the opponent’s family just to make him bitter enough to draw on him. And he is so bad that he is okay with killing off his own gang.

Speaking of which, Indio’s gang is colorful. He has interesting interactions with them at the beginning, in that church. And Klaus Kinski made his Wild stand out to me. I swear, the moment he almost cries in that saloon when Mortimer takes away his cigar, I feel bad for him every single time. And when he recognized Mortimer, it was tense. He even had a cool witty one-liner after Mortimer said that he should come to him in ten minutes to help him light that match and smoke: “In ten minutes, you’ll be smoking in hell!”

By the way, Indio’s tendency to get unnecessarily physical with his gang looks even more unnerving when he touches Manco to check his wound/shares a smoke him with some clearly visible eroticized subtext, which gets even creepier when you realize that he is a rapist. I swear, I was worried about Mortimer when I saw the film for the second time – that is even though I knew the plot – because Manco brought up that family resemblance between Mortimer and his sister, and we all know what Indio did to her.

What else? I could bring up all sorts of things, the action, the final duel, the small smart details that allow the plot to happen the way it happens (e.g. how Manco manages to hide the bag with all the money on that tree before Indio’s gang capture him and Mortimer – only to re-collect that bag at the end of the film), the humor, the street kids and all the other cool-cool secondary characters (Joseph Egger’s informer probably is my favorite), the opening sequence and the title card (oops, already rambled about this one) really, anything and everything including the perfect chemistry between Manco and Mortimer.

But I’ll just say that the music in this film is special to me. Every single composition by Ennio Morricone is special, unique, memorable, and intriguing, it’s true, and so it feels redundant and banal to say something like this. The Ecstasy of Gold is almost extraterrestrial, the main theme of Two Mules For Sister Sara imitates actual mule sounds, how genius is that, etc., and you must be dead to not be enticed and mesmerized beyond words by the main theme of the GBU, which is a hymn of all spaghetti Westerns now, a universal call for adventure (I feel like a bad person saying this, but I’ve always wanted to joke that Ennio put sexy back into the “waah-waah”… no, I regret nothing).

BUT. To me personally, the music in FAFDM is as personal as the film itself, and dare I say even more important to the story than in the GBU, despite the theme of the GBU being a kind of Greek choir throughout the film. The personalized sounds for Manco and Mortimer accentuate their personalities to the point where they almost create a reflex in you. The pocket watch chime is literally part of the story and plays a huge, crucial role in the plot! And it’s decidedly one of the saddest musical scores I’ve ever heard. It’s minimalist, mournful, and yet also nostalgically bittersweet. It feels like a reminder that there’s no going back whatever that might mean in the actuality. And the famous moment where Manco asks Mortimer whether his question was indiscreet and Mortimer says that the answer could be… I feel personally touched whenever I watch the scene. For me, it doesn’t feel like just an amazing scene, it triggers some deep emotion that is hard to express and almost gives me the urge to cry. Something along the lines of respectful and compassionate “I’m sorry that it happened to you,” “I’m sorry that I can’t help you.” The feeling of personal tragedy is conveyed infinitely better than a three-volume backstory ever could.

And then, there is this huge potential for all the stories about Manco, and Mortimer, and Blondie, and Tuco, and Angel Eyes, and even Joe to explore... Well, I better stop here.

So, yeah. It turned out to be a crazy long post, and I‘m grateful to anybody who reads it till the end. And if you haven’t watched these movies please do. Cheers.

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shizekarnstein · 4 years ago

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SNK

<3. Maybe this could help me remember why I dedicated so much time and tears and words onto this story lmao.

My favorite female character:

Mikasa Ackerman. Listen Mikasa was love at first sight. I remember watching ep 1 for the first time and as soon as Mikasa appeared I was like INSTANT FAV. I adore so much about Mikasa: her bravery, the intensity of her emotions, how pragmatic she tries to be, her emotional strenght, her dedication towards her loved ones and duties, how kind she is. What's there not to love about this girl? Every time I see people shitting or making fun of her in the fandom my blood literally boils :)

My favorite male character:

I'm an Eren stan first and a person second. Unlike Mikasa, with Eren I fell in love without realising. Thinking back, I always felt intrigued by him. His anger and dedication to his beliefs managed to keep me interested, and by the time I jumped from s2 to the middle of Uprising I had the epiphany: aftee chapters and chapters of Eren missing I was like but where's Eren???? Is he ok??? When am I gonna see him again???? It was at that time I realised he had become my indisputable number one character. I just love everything about him. His strenght and vulnerabilty. The contrast between the sweetness of his dreams and the blood he willingly sheds to reach them. The current tragedy of his life, the unfairness of the weight he's carrying over his shoulders, the horror of all of it has me constantly in tears. I'd argue Eren's fate is one of the only things keeping me still tied to this manga, even if I grew to dislike almost everything else about it.

My favorite book/season/etc:

In terms of arcs, Trost and Return to Shiganshina remain my favorites. Trost because it was the turning point; i divide my experience as before and after trost. Before Trost I was a casual watcher without any kind of serious commitment to the story. After Trost tho, I was hooked.

As for RTS well... for being an action packed arc it had everything: the dread of the unknown attacks from the enemies, the bitterness of all the soldiers who laid out their lives for their beliefs. The pain of seeing people so young, on both sides, trapped in such a circle of bloodshed and death, unable to communicate with each other. Seeing people give their everything, their lives and futures and dreams, all of it, and the tragedy of those same lives cut short. The coolest battles (at that time at least): Levi vs Beast Titan; Mikasa, Sasha, Connie and Jean vs Reiner; Eren and Armin vs Bert. Remembering RTS is a bittersweet experience, because all of it was so utterly unfair. Grrr.

My favorite episode:

For this I'll go with the manga:

The clash of the titans (35-50) because I love Sasha, Ymir, the confirmation of my theory about the identities of the armoured and colossal titans, the first glimpses into the world outside the walls, Erwin's charge, my beloved Hannes noble and so very brave sacrifice, and finally Eren activating the coordinate for the first time. I love those chapters.

The Reiss chapel chapters because Eren and all the staggering revelations those chapters bring to the table.

Chapter 90 aka one of my most beloved chapters ever. Also one the most tragic ones. A part of me (and Eren) died at that sea.

Chapters 97-105 because ANGST ANGST ANGST.

Chapter 114 because I think Isayama considering the time constrictions did an amazing job unraveling Zeke as a character, his motivations and what exactly moved him.

And finally my most resent favorite trio: 119-121. The unbearable pain of 119, the mind boggling discoverings of the path dimension, Grisha's journey and the mystery of the Attack Titan. All I can say is that I was a very sad woman when the story moved away from paths.

My favorite cast member:

The only reason I'm bothering to eventually watch season 4 is bc Yuki Kaji.

My favorite ship:

SNK is the only manga/anime/story where I never shipped anything. I'm still trying to understand why that is. You see, I'm an avid shipper. A very commited shiper. I have tons of otps and multiple ships in almost every piece of media I've ever seen. But there's something in snk that just... never activated the shipper switch in my brain. And honestly, thank god for that.

A character I'd die defending:

I'm an Eren stan first and a person second. Let me enjoy my tragic son in peace ok.

A character I just can't sympathize with:

I'm a very empathic person. It costs me nothing to put myself in the shoes of almost any character and in a manga as snk that is a valuable skill, because the story itself demands that you try to do that. So even if I don't like a character (Magath for example), I can more or less understand where they are coming from. The sole exceptions are the first King Fritz (because he's trash and horrible and a slaver and a rapist and all the bad things to ever exist) and Darius Zackly (because I hate the military and especially hate gross old men who get off on torturing people. I was very glad when I finally could say bye bye to his horrid self 💅).

A character I grew to love:

FREAKING ZEKE. I love monkey man. Honestly my fondness for him was a weird trip: one moment I was cursing him for not dying under Levi's blades, and as soon as he said he cared about Eren I was like oh shit no I can see myself liking him. Then Marley happened and Zeke was one the few characters who managed to make that lecture bearable until Eren and the rest of the gang arrived (in case you are curious, the other one is best boi Falco). Finally I read 114 and my love was cemented. I really hope Isamaya hurries up and explains what happened to him.

My anti otp:

Oh dear. Usually if the shippers are more or less polite I don't have problems with any of the ships bc I don't really ship anything. But there are three ships I just... can't see. The ships I blacklisted bc they are popular ones and my dash was filled with rb of them. Ereri. Rivamika. And ReinerHistoria. Sorry fans but I just CAN'T with those three.

#ask replies #snk #snk spoilers #thanks for asking!!!!!#lmao i wonder how many ereri followers im going to lose for this

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itsclydebitches · 4 years ago

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YYH Recaps: Koenma Appears

Welcome to episode two, everyone! Before we get to the recap proper, I want to continue down Nostalgia Lane for a moment. Remember how last time I mentioned a Hiei bookmark I used daily back in middle school? Well, I tore through an old "treasure box" I created as a kid (a collection containing everything from a shark tooth to a small book on witchcraft. You know, the important things every child needs) hoping to find it... but I didn't. It's a hard life we lead.

However, I did find some other YYH relics that I thought you all might enjoy seeing. Behold — and, if you'd like, laugh at — my collection:

First up is a picture of young Toguro and Genkai that I wanted to use as my bookmark, but found that it was too wide. For the record, I didn't (and still don't) care about Toguro much, he was just the byproduct of finding a cool Genkai picture. Not shown is the back of the image with the names of my classmates because I made them all sign this along with our yearbook.

God bless my friends for putting up with me.

Second is a collection of very pretty trading cards that I ordered from god only knows where. I have vague memories of not finding any at my local comics shop and convincing my mom to let me order on The Olde Internet. Did I want the trading cards to trade them? Absolutely not. They exist to sparkle and make my heart happy.

Finally, I've saved what is perhaps the best for last. Now, you have to understand that grade to middle school age Clyde did not have the education that she would receive later on, which includes a knowledge of the ephemeral nature of fanworks and the importance of accurate record keeping. What this means is that I have absolutely no context for this. No author, no explanation... just the image itself.

Was this a standalone fanart? A part of a fic? Some specific request or just the will of the artist? I cannot answer these questions. I tried a reverse image search (which is, admittedly, the extent of my tech skills) and you know what the single hit I got was? "Fiction." Thanks, google. So yeah, I can only assume that my child self considered Kurama giving a de-aged Hiei a bubble bath adorable enough to save, but the artist wasn't important enough to jot down for future viewing. Sorry about that, mystery artist. And, as should go without saying, if anyone does know where this came from please let me know! Though I suspect that this is a case of a YYH-specific site closing down and the fanworks getting lost along with it. That happened a great deal before the age of AO3 when volunteers decided to put their time and talent towards saving fanworks of all sorts...

But enough of all that. Let's get to recapping!

As we established last episode, Yusuke and Botan are on their way to the spirit world to kickstart Yusuke's ordeal. Watching this after over a decade of consuming other media, I really appreciate that Yusuke acts like a human person and asks lots of questions about this. When Botan is cryptic for the sake of the audience — we're going to see "the person" who can explain everything — Yusuke is justifiably like, and what person would that be?? I mean, this is also a way to establish basic facts for the viewer and it simultaneously feeds into Yusuke being someone who is difficult for the sake of being difficult — "If someone wants to say something, they should come to me!" — but it's just nice to see a character who doesn't accept cryptic BS because the story needs them to. If Botan gives an unclear, but ~dramatic~ explanation, Yusuke is going to call her out on that.

So she explains that they're going to see King Yama and Yusuke is all whoa whoa whoa, there's royalty involved? Suddenly, he's not so adamant that they come to him.

Botan tries to reinforce this rare spark of humility and demands that Yusuke be on his best behavior from here on out.

Pff. Yeah right.

But “he can send you to oblivion forever if he wants to!” is a suitable enough threat to cow Yusuke for now. Which is interesting considering that a few hours ago he was happy to accept hell as his rightful ending. Granted, we could argue that there's a big difference between hell and oblivion — a character may not be afraid of punishment in the same way they are a lack of existence — but I'd say this ties more into Yusuke's development at the wake. Now that he's accepted that people care for him and that he should strive to return to them, the threat of having it snatched away actually means something. Even if that line is otherwise positioned as a comedic moment.

Botan flies them through a portal where we see the River Styx below and Yusuke comments on how big everything is. At first I was like, "What are you talking about? You were just flying over some major city in fictional Japan, wasn't that big too?" but this line makes more sense when they reach the palace and you realize that yeah, it's big. As in, the camera blurs while tilting down its length to show how insanely tall it is. Yusuke and Botan are tiny gnats at the gate's entrance.

"Oh man, what a pad!" Yusuke says and sure, that's one way to look at it lol.

Botan announces that she has a "new arrival" and the gates open for them, but so far there's no one else around. One part of me wants to question the time and budget put into this scene because shouldn't there be, like, thousands of people? Even just waiting outside? The idea that this is the hub of the underworld and that Botan is responsible for ferrying all the souls, yet she is guiding just this one (1) dude for a solid day is, from a world building perspective, kind of nuts. But beyond the need to develop Botan as a character (she can't be a part of the story if her job is treated realistically, with all the endless work that entails), I think this choice functions rather well from an atmospheric perspective too. Meaning, this moment is supposed to be rather tense for Yusuke. He just died, just found out the afterlife exists, just discovered a desire to get his life back, and is now about to meet a King who can toss him into oblivion if he's rude — which Yusuke always is. So this is a Very Dangerous Moment and their relative isolation feeds into that. As does the setting. Yusuke flinches back from the hallway, saying that it looks like a giant throat, so he is now literally walking into the belly of the beast.

Suddenly, the size of the palace isn't an indicator of awesome wealth, just general intimidation. Also, check out the spikey purple mountains in the background and the harsh reds of the scene, especially compared to the soft yellow of the river. All of it is designed to create an, "Oh shit" reaction in both Yusuke and the audience.

Yusuke's image of King Yama matches these surroundings:

Oh wait! Wrong character ;)

He's massive, red, shadowed, and poses a formidable threat. And how does Yusuke deal with threats? By fighting them! Even those he can't hope to beat. Remember, this isn't a situation where Yusuke has any power here, but he still desperately holds onto the possibility that he might. What if he gets off a punch on King Yama's nose? Then goes for his eyes? Yeah, that'll work!

Overlooking the fact that it absolutely would not — Yusuke's fantasy conveniently skips how he escapes Yama's clutches — what exactly is Yusuke hoping to accomplish here? Somehow take over the entire underworld? Escape as a ghost and live out his afterlife in hiding? We don't know and that's because Yusuke doesn't know. He doesn't think ahead, he just obeys this instinct to fight. An instinct that, crucially, overrides everything else. Botan has already told him that all Yusuke needs to do is be polite and everything will be fine, but it's not even that Yusuke believes that he can't achieve that; that he knows himself too well and, fearing a slip, starts planning for a potentially inevitable confrontation. There are simply no plans outside of battle plans. Yusuke just hears about someone vaguely intimidating and his brain jumps straight to, "How do I beat him in a fight?" no matter the odds, or that other options are readily available to him. Again, much of YYH's characterization occurs though its comedy, so outside of the general humor of witnessing this fantasy, it actually does a stellar job of reinforcing precisely who Yusuke is. In life the only thing he had going for him was his ability to fight. It was his one joy, his one skill, arguably the one good thing he did if we frame those reflexes as "saving" the kid... so is it any wonder that fighting dominates his every thought? It's all he knows.

And, as we'll see down the line, that single-minded obsession is very useful to the spirit world.

For now though, Yusuke finishes his absurd plans to take down King Yama and Botan asks what in the world he's muttering about back there. Which is an unintentionally hilarious line because by the end Yusuke is not muttering, but full on shouting. Botan. How did you not hear him?

Not important. They reach the next door and we get our first inkling that all is not as Yusuke (and we) expect when Botan leans into an intercom to say that they've arrived. Tech in a fantasy spirit world? This feels not only out of place, but rather... mundane? That's the point. When the doors open Yusuke expects his super scary monster, but gets... a whole lot of monsters that aren't scary at all!

The underworld is run by various demons (or ogres), though their looks are contrasted with the harried office worker personalities they've got going on. Someone is running by with a comically tall stack of papers. Someone else is shouting into a cell phone. The first two demons we see cross paths, looking like they're about to punch one another, just as Yusuke expects... except they're just dramatically getting out of the other's way, worried not about the hierarchy of this realm, but the fact that someone is behind schedule. The nerve!

"This place is a madhouse!" we hear somehow shout and yeah, that's the joke. The afterlife is just as chaotic, overworked, and — ultimately — boring as any human office. For all the strangeness of seeing hundreds of demons, this is familiar.

Which, alongside Botan's bubbly nature contrasting assumptions about the Grim Reaper, is one of the first instances of YYH undercutting the viewer's expectations in terms of looks. No one entirely looks the part they play in this tale and if you're trying to teach people to look past surface characteristics... there are worse ways to do it. Horrifying creatures with horns and sharp teeth? Nah, they're just chill dudes trying to do their job. Cutesy girl who looks like she belongs in a mall reading magazines? Nah, she's the Grim Reaper. Terrifying delinquent with a spine-chilling reputation? Nah, he makes faces at kids and saves them from cars.

Of course, the "nah" isn't accurate either. These are monsters with horns, Botan is a cutesy girl, and Yusuke is a delinquent with that reputation. The message isn't so much that people look like Thing A, but get to know them and you'll discover they're actually Thing B, it's the idea that you can be A and B (and C, D, E...) simultaneously. People — or rather, seemingly simple archetypes — can, in fact, embody multiple characteristics at once.

We'll get our third example in just a second.

Yusuke makes a comment about this being the "dead people stock exchange" — accurate — and Botan leads him to a more ornate door past all the desks. It's clear they've arrived at King Yama's office, since she's bowing and formally presenting him to... someone. Yusuke looks around for the giant beast he's imagined, only for a tiny voice to hail him from the ground.

Looks are deceiving!

“This is Yusuke Urameshi and he’s honored to meet you." Botan knows what's up. She knows Yusuke isn't going to express anything of the sort without some prompting. Too bad he's busy cracking up at this apparent child running the show. Side note: Yusuke has a fantastic laugh.

He even goes so far as to accuse Botan of lying to him.

“Why would I lie about such a thing?!”

“Why would the spirit world be run by a toddler?”

It's true! That’s a legitimate question! I love that Yusuke asks questions. The "toddler" goes on to explain that he's actually the "mighty Koenma," son of King Yama, though he's lived fifty times as long as Yusuke, "so watch your mouth." Assuming Koenma knows and/or remembers how old Yusuke is — fourteen — and is good at math, that puts him at seven hundred years old. He looks good for his age!

"And in addition to knowing the secrets of the universe," he says, "I am quite potty trained."

You've gotta love Koenma.

Yusuke's attitude changes drastically once they get down to business. Koenma produces an egg, saying that Yusuke's ordeal is to hatch it and face what comes out. The hatching part isn't difficult, all he needs to do is keep it on his person. The challenge is in the fact that this egg will feed off his spirit energy and that energy in turn will change what kind of creature develops. If his spirit is wicked and cruel, so will be the beast and it will devour Yusuke upon hatching.

However, if his spirit is good and kind, the beast will become a sort of guardian, guiding him back to his living body.

Note though that throughout this conversation the egg is always a "beast." It's a "monster." It's not necessarily intentional, but there's a strong bend towards the negative here in the description that really emphasizes the whole "ordeal" aspect. Koenma briefly reassures Yusuke that he can remain a ghost if he prefers, but he's already made up his mind. Despite another threat of being lost to a void — this time through spiritual digestion — Yusuke takes the egg almost without hesitation.

He regrets it later though.

"I can't believe I did that."

Can we blame him? I'd be nervous about some egg feeding off the energy of my soul too and I'm a former, almost straight A student (damn you, math) with no life-altering regrets and a general desire to put as much good into this world as I'm able. I’m boring. But what if those occasional, mean little thoughts you have add up? What if the prejudices you're still unlearning stack against you? Does the egg care about what you do, or only how you feel about the act? This sort of test would eat me alive!

Maybe literally.

Good thing Yusuke doesn't have time for an existential crisis!

Just as he's beginning to regret this decision, Botan points out that it won't matter if he passes if he doesn't have a body to return to. Now, why wouldn't he have a body? Maybe because his mom is set to cremate him tomorrow.

Whoopsie.

Yusuke is, understandably, distraught. We get another excellent exchange:

“Botan, is there any way for ghosts to communicate with living people?”

“Yes.”

“SO ARE YOU GONNA TELL ME?”

I swear, Yusuke is the only smart protagonist. I mean, he's dumb as a sack of bricks at times, but that's neither here nor there. Bless this fictional boy for reacting like an actual person.

Botan explains that people are more attuned to the spirit world when they're asleep, so Yusuke can deliver a message to someone in their dreams. Seems easy enough. They first head to Atsuko, but find that she's raging drunk and nowhere near sleep.

"You fool!" she yells. "No one gave you permission to die!" Atsuko continues to yell about how plenty of people survive car accidents, so why couldn't you? "Were you mad at me, Yusuke? Didn't I raise you right?"

Botan comments on how sad the display is. Yusuke's response?

“The only thing that’s sad is now she’s got one more excuse to act that way."

Y'all, that's some mature shit for a goofy shonen anime. Yeah, Yusuke recognizes that, while she's obviously heartbroken, his death has just given her another reason to do what she's been doing for years: drinking herself into a stupor. Toss in Atsuko putting the blame on Yusuke — "No one gave you permission to die!" — plus the belief that she did do a good job — "Didn't I raise you right?" — and it paints a rather bleak picture. This is by no means an uncommon theme. Negligent parents, whether they're framed that way or not, are pretty common in shonen series, but it's still rather jarring to re-watch this as an adult and go, "Oh. The situation’s like that." It's honestly a lot when you remove it from YYH's otherwise humorous, casual context.

Yusuke heads to Keiko's next and finds her sound asleep, commenting on how her room looks more "girly" than when they were kids. Check out that smile!

He's about to try and deliver his message, but Keiko is in the midst of a nightmare. “She’s crying… what’s wrong?”

Oh my god. Remember how I just said Yusuke is also the densest protagonist around? Example A right here. You just died, you fool! You just saw Keiko collapse at your funeral. What do you think is wrong??

We get a peek at Keiko's dream where she is — shockingly! — thinking of Yusuke. He's far out of reach, walking away and unresponsive to her calls. Keiko soon trips and Yusuke disappears completely.

Luckily, she has the real thing at her bedside. Yusuke tries talking to her and at first it's unclear if this supernatural stuff is really working. That is, until Keiko murmurs about how heavy he is.

Reassured, Yusuke delivers his message that Keiko needs to help Atsuko pull herself together and, most importantly, call off burning his body. We get this very soft and pretty background to establish their yet unspoken feelings for one another, though Yusuke gets close with, “I’m coming back. I don’t want to see you cry anymore" as he brushes her tears away. Aww.

Keiko wakes, thinking at first it was just a dream, but no, "I'm sure I felt it."

The next morning she heads to Atsuko's to explain the dream, only to first hear that Atsuko had a dream too, this one about Yusuke "living in some other world full of ogres and he kept knocking them down until he became their leader." It sounds absurd, of course, but it brings Atsuko some comfort to think of her boy in a place like that and Keiko backs down. Right, she'd only had a comforting dream too.

Now, there are two important parts to this exchange. The first is that this is an excellent example of how you let the characters drive the story, rather than forcing the characters adhere to the plot you've come up with. Meaning, in the latter situation, our cast would have needed to have their personalities twisted and the viewer's suspicion of disbelief tested to give Yusuke what he needs: a sleeping family member willing to believe his message. But it absolutely makes sense for Atsuko to be drunk rather than sound asleep, so Yusuke can't rely on her. Likewise, it absolutely makes sense for Keiko to be asleep, but not believe the dream once she's woken up. After all, how many times have we been persuaded by something in the dead of night only for things to look more logical and less likely in the morning? The characters act both like themselves and like people who do normal, people-ish things, which means that Yusuke runs into more conflicts. That's good! It not only raises the tension and stakes — now he has less than a day to convince someone — but makes his inevitable success feel that much sweeter. A less well written show (cough-RWBY-cough) would have had the characters change their personalities, behave in unlikely ways, or just come up with a sudden, contradictory solution because Yusuke needs to keep his body. Instead, Yusuke actually has to work for that within the bounds of the rules established and the likeliness of each plan succeeding. The first one fails? Move onto plan #2.

Second, this dream of Atsuko's has some cool implications within YYH's world. Meaning, we're about to learn in just a moment that some people are naturally more aware of the supernatural than others, even when they're not asleep. We'll also see down the line that spiritual awareness tends to run in families... so perhaps Atsuko possesses more than the average mother? I'm not saying it's necessarily intentional on the author(s) part, but we can choose to read this dream as evidence of spiritual awareness — true insight into the world Yusuke was just in and the fantasies he'd had about conquering it — rather than just a coincidental joke for the viewer. After all, Yusuke gets his own spiritual awareness from somewhere...

(Okay, so there's totally another, canonical reason for that, but we can have both!)

So, as Yusuke puts it, “This dream business isn’t gonna cut it.”

“There’s always the final method," Botan says.

“You always this vague?”

I am literally living for these interactions.

Botan explains that the more extreme form of communication is possessing a living person, but there are two rules attached: it has to be someone you know and the vessel has to be someone who is quite spiritually aware, as discussed above. Atsuko isn't a contender because the story hasn't acknowledged that she might be sensitive, that's just my own headcanon now. Yusuke outright says, “In that case I’m screwed. There’s no one like that!"

Cut to good old Kuwabara.

At first it looks as if he's just oh so conveniently sensing a spirit right when the audience has learned he has this power, but in reality it's Yusuke and Botan flying behind him that sets it off. Again: this show is pretty good about keeping things internally consistent, rather than making choices because That's Just How Stories Work, I Guess. Kuwabara's friends note that he's acting strangely and I love this detail that apparently one of the guys is new to their group because the other two need to explain that this is the "tickle feeling." Ever since Kuwabara was a boy he's been able to sense the dead around him. Some nice, some... not so nice.

He looks directly at Yusuke — even though he's not able to see him — and declares that what's following them is “A puny low-level ghost, like a haunted racoon or something.”

I'd support Yusuke's anger more if he hadn't just exclaimed his surprise that Kuwabara serves a purpose 😂

Yusuke is pissed enough though to proclaim that he won't do it, nuh-uh, no way is he possessing this guy's body. Botan's response is one of my FAVORITES in the WHOLE SERIES:

"Here's my impression of Yusuke: look at me, I’m burning!”

Literally 75% of this series is just about a found family sassing one another and I love it.

Obviously this helps Yusuke remember his priorities and he grudgingly agrees to the plan. Botan prepares Kuwabara's body somehow — idk, spiritual magic or whatever — and warns Yusuke that he only has an hour to find someone and warn them because a human body can't handle possession any longer than that. Sure. I buy it.

So Yusuke takes control and please ignore the incredible ethical issues here. The show will never acknowledge them again.

He blurts out, “Hey, check it out! I’m inside Kuwabara, feeling smooth!"

Istg I don't remember the series being this unintentionally gay. I don't even ship Yusuke/Kuwabara and I'm digging the possibilities here lol.

Back on track, his friends drag him with, “Looks like he’s back to normal” because again, 75%. What's not normal though is Kuwabara (Yusuke) suddenly charging down the street to leave them behind. He heads straight to the restaurant where Keiko's parents work, demanding to see her. They're rightly concerned about this stranger barging in and screaming for their daughter.

Upon asking who he is/why they should tell him, Yusuke makes his biggest mistake: “Because it’s me, you guys, I’m Yusuke!”

Obviously the time limit and raw emotion of knowing who he is has outweighed the knowledge that, you know, no one would believe that. Yusuke has spent the last two days bopping around as a ghost and familiarizing himself with some of the afterlife's insanity. The knowledge of what's normal for everyone else — AKA, not dead boys appearing in strangers' bodies — is not at the forefront of Yusuke's mind.

So, Keiko's parents react accordingly! The father in particular is disgusted by this claim, going so far as to threaten Yusuke with his knife and outright insult Kuwabara's looks: “Yusuke was never ugly like you… we were close family friends with that boy!" His wife chimes in that this kind of joke is particularly heinous on the day of his funeral. Between Atsuko drunkenly blaming Yusuke for his death and Mr. Takenaka grieving for what he might have been, this is one of the few times we see someone just sad for Yusuke's passing, exactly as he was and without regrets or criticism. "We were close family friends with that boy" paints a nice contrast to the delinquent persona Yusuke was cultivating.

As he's thrown out of the restaurant he says, “We should have special passwords for times like this!” Fun fact, my family does! Well, not this exact situation lol. I was given a password as a child to memorize in case my parents ever needed to send someone else to pick me up or interact with me in any way. If the stranger didn't know the password, I was to kick up a fuss. I rest easy with the knowledge that this password would not doubt assist me if I was ever in Yusuke's position!

With Keiko's parents a bust, Yusuke starts sprinting to everywhere she frequents with the hope of running into her. Or at least he tries.

Yusuke is suddenly waylaid by a group of nameless teens with a bone to pick with Kuwabara. And you know what? I like it. I wonder how much of my praise stems from coming off of RWBY Volume 8, but it's just so nice to watch a story where the plot — simple as it is — hangs together. We've established that Kuwabara is a street fighter. Last episode we watched him start a fight with Yusuke. Yusuke is on a time limit. Now Kuwabara's tendencies have created a new hurdle for Yusuke!

Needless to say, Yusuke kicks butt, even in Kuwabara’s body.

As one guy is passing out he says, “Man that hurt! I didn’t think anyone could throw punches that hardcore except Yusuke Urameshi."

Yusuke: “Darn, giving Kuwabara a good name." LOL

You think this challenge is finished though? Nah. Over the course of about half an hour Yusuke encounters a comical number of people trying to get even with Kuwabara.

As always, I like the nods towards this writing decision to help justify it, with Yusuke wondering how Kuwabara has pissed this many people off. If you want to pull off something that has a low chance of happening, it can help to give the characters a "Seriously?" moment. If both they and the audience are on the same page over how ridiculous this situation is, the audience is more likely to accept it once the character does.

By the time Yusuke escapes his hour is nearly up. However, thanks to some coincidental plotting, he spots Keiko's friends just across the street!

YYH does a decent job of making its characters feel like they have their own lives outside of what's immediately happening on screen and we get a good example of that here. We pick up the girls' conversation partway through, both of them worried about Keiko's state of mind and, given that we'll see in a second that Keiko was in the store with them, it implies that something happened to reignite this worry. They're off enjoying their day, doing their own thing, there was an event we're not privy to, and now we catch the response to that. It just helps make the characters feel more well-rounded even though they are, at their core, one-dimensional background characters who don’t even have names yet.

Case in point: the one girl is still concerned with their image. "People are starting to say things!"

Yeah, your friend's childhood friend just died. Hopefully they're saying, "Poor thing."

Anyway, Yusuke runs up to ask where Keiko is only for both girls to run away screaming. Turns out his face is messed up from the numerous fights and Keiko's friends are easily scared.

Luckily, Keiko comes out just a second later and Yusuke is faced with the challenge of how to convince her in, oh, about five minutes. Remember, we've already established through Keiko's parents that just saying, "I'm Yusuke" doesn't work. That's why he hesitates. It's not just drama for the sake of drama, he's stuck.

“I’ve known her my whole life, there must be something between us that only I would do!”

Yeeeeaah. About that 😬

Suddenly inspired (I suppose that's one way to put it...) Yusuke runs up behind Keiko and grabs her breasts. “Keiko, nice uniform! They’re so squishy!”

It goes without saying that, like flipping her skirt up, this isn't okay. More specifically, the problem lies in the story framing this as a joke for the audience, something to laugh at despite Keiko's discomfort, rather than the concept of two childhood friends actually be that comfortable with one another. But, as already established, this is one of the more ehhhh aspects of Yusuke's characterization that, luckily, will mostly disappear as the story goes on.

Note though that the show clearly wants us to think highly of this. Not just as a "joke," but as a smart solution to his problem and more evidence of their inevitable relationship — the background becomes the same soft, bubbly background we saw during their dream conversation. And, admittedly, it does work. Keiko instinctively slaps Yusuke hard enough to knock him to the ground and he starts laughing, saying that he doesn't care what anyone on the street says, she hits the hardest.

What I do like about this is that the assault isn't the only thing Keiko bases her faith on. Not only has she already had the dream, we get to see Yusuke from her perspective, showing all the mannerisms she picks up on by superimposing Yusuke's real body over Kuwabara's. Indeed, she says as much: “I knew it was you from the first time you spoke…and it’s not just your stupid gags, or how you laugh. There are ways you move and speak that in a hundred years I wouldn’t forget."

Catch me crying in this club!

Knowing she believes him and that he's almost out of time, Yusuke reiterates his message: please don't burn my body and also keep Mom on track. Only, you know, it's phrased far better than that lol. As he speaks, both Yusuke's and Kuwabara's voices overlap until the latter grows fainter and only Yusuke's voice remains. His body too. It's a nice touch, avoiding the awkwardness of Keiko having this moment with a stranger, even if that is what's happening on some level.

“I know I’ve been a bum to you at times, but please wait for me."

His hour up, now we can get the awkwardness! Kuwabara comes out of his weird trance thing to find Keiko crying against his chest. Wow, he thinks, this girl must be really into me!

God, to have the confidence of Kuwabara.

Of course, Keiko quickly realizes it's not Yusuke anymore and slaps him too for cuddling her closer. My favorite thing is that when she does this a crowd INSTANTLY appears. I mean they TELEPORT in. We needed an audience for Kuwabara's shame and YYH delivered, all logic be damned.

“Um, sorry about that!” Keiko yells as she runs away, because she's a good person who recognizes that weird spirit things just went on and Kuwabara isn't actually to blame.

“No, that’s okay. I probably deserved it," Kuwabara responds because he's also a good person and I didn't appreciate him nearly as much as I should have as a kid.

Keiko runs all the way to Atsuko's place where she finds her dressed for Yusuke's funeral. She blurts that Yusuke might still be coming back and Atsuko goes, "He already has." Turns out she opened his coffin to "smack him one more time for leaving me" — yikes — and found that his heart had started beating again, just as Koenma said it would.

Being in a shonen anime, they apparently decide to just trust Keiko's message rather than, idk, taking him to a hospital or something.

The camera tilts up to show that Yusuke has been watching all this, including that both women break down again and comfort one another. Aww. How heartwarming.

What's less fuzzy though is this mysterious egg. Yusuke takes another look and finds that it has developed a heartbeat too, presumably in time with his body's. He theorizes that he did decent things today, right? But Botan (teasingly) points out that he did beat up a lot of other kids. Rather than getting angry, Yusuke remains uncharacteristically pensive, emphasizing the magnitude of what this means for him. He's got to get it right.

No pressure or anything! We'll have to see how Yusuke balances his karmic scales in the next episode. Until then, I'll try not to put all my TV time into Star Trek: Voyager :D

See you then! 💜

#YYH #Yu Yu Hakusho #YYH recaps #mymetas

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pikachu78109 · 5 years ago

Note

Could you give me some angst with Milo, Piers and Gordie? I live and die for Milo angst aaah;;;

((I feel sorry for these gentlemen))

Milo

“Is that all you got to show for yourself?”

“You’d think he would give a challenge. Has he grown soft lately?”

“Nessa kicks more ass than he does. Not surprised though,”

The comments were relentless. You’d think that after a few years of being a Gym Leader, the comments that fans made wouldn’t mean as much. However, there are some weeds that just don’t disappear that easily. Milo knew that being a Gym Leader had its sore moments, especially considering the fact that he’s the first Gym Leader that challengers face during the tournament. And as the first Gym Leader, it’s prohibited that Milo doesn’t use any of his strongest Grass type Pokémon, due to him being the supposedly easy stepping stone challengers can defeat. There are times when the losses did not affect Milo much, because he is okay with losing. After all, isn’t being a Gym Leader suppose to be an opponent that can offer a challenger a chance to beat and earn a badge? Every Gym Leader knows this and some take their losses with humility, such as with Opal and Kabu, while other Gym Leaders can get frustrated, as for Nessa and Raihan. Milo took his defeats with humility and didn’t mind at all if he lost. Battling can be a good time, but for others, battling is seen as competitive.

Milo knew about the ugliness of battling and what it can do to die hard fans who have certain levels of expectations. They can look at Nessa and comment on how her battling technique shines far brighter in contrast to Milo’s, whose more subdued and prefers to show little. With Nessa, her fan base revels in how much she improves and strives forward, thus making her popular among many people. Though Milo does get praise from his fans, there are plenty who lurk in the shadows and are typing away on their phones, commenting on how Milo’s battling performance has gotten weaker. Due to that kind of attention, it has caused Milo to become very self-conscious on him being a Gym Leader. A few comments that get underneath his skin, they manage to rip a chunk of esteem, spatting it out with such ferocity and judgment that it has gotten to be....sickening.

“Why can’t Milo be better?”

This question has been tossed around a lot and, frankly, this question plagued Milo’s mind. He wished he could tell his fans why, but due to being in a circle of professionals, the answers are concealed in confidentiality. The Pokémon League has been aware of the activity that has been going on, which Milo wonders if they happen to monitor any of the activity going on with the other Gym Leaders. Still, this was Milo’s business, with which he tries to conduct himself as the gentle, friendly giant. It wasn’t a facade; that’s just who he is as a person, because being overly competitive like Raihan or Nessa just didn’t suit him. He couldn’t bring himself to look in a mirror and stare at his reflection, trying to mimic that confident, almost superior attitude that his friends have. Despite being able to put on a smile and walk out onto the pitch with ease, that nagging insecurity of being a pathetic excuse for a Gym Leader latches on to Milo, like a weed poisoning the flowers beauty.

Piers

Music has always been a part of Piers and who he is as an individual. Growing up, his father was a musician who used to go around the Galar region, putting on shows here and there during halftime during the Gym Challenge. Over time, his father retired from that profession and settled down with his life long sweetheart, which eventually leads to the here and now. Piers sticks to music like glue. Separating the singer from the microphone is a no go, which is why Piers insists on taking his portable mic everywhere with him. Hey, you never know if someone wants a concert. But, lately over time, the relationship between Piers and his music has been put on hold ever since he became Gym Leader. This was not his choice. When Piers first told his parents that he wanted to follow in his father’s footsteps, his mother told him that by doing so, he wasn’t going to get anywhere in life. His father got lucky because he was able to get sponsored by people who saw musical talent in him, which is rare to come by in Galar since the region focuses more on battling than anything else. By announcing his dream in front of his parents at the tender age of ten, Piers felt himself being sucked down into a pit of roadblocks and detours. Taking part of the Gym Challenge was also not a choice that Piers made. Instead, his father knew someone who he was good friends with and had him sponsor Piers to take part. Regardless of his negative feelings of the entire thing, the Gym Challenge proved to be somewhat worthwhile and it even inspired Piers to use Dark types since he has a fascination with them.

However, over the course of his Gym Challenge and beyond, Piers began to feel burned out from the whole Gym Leader gig. The idea of repeating battles over and over and being forced to Dynamax your Pokémon at the tail end of a match started to lose its rhythm with Piers. Especially the Dynamaxing. As a kid, Piers took zero interest in the whole Dynamaxing appeal. He thought it looked cheap and something that made battling quite unbalanced given the extra power up. Given that Spikemuth was nowhere near a Power Spot, which was a mandatory requirement for every Gym in Galar, Piers was put into Circhester’s Gym for battling matches much to his dismay. After a few more matches that involved pointless Dynamaxing, Piers outright refused to Dynamax due to the disrespect of being able to battle in his own city because of a minor issue. Because of his announcement, it left Piers facing both criticism from the fans and some media outlets, who took Piers’ words as disrespectful to the Pokémon League as well as to the culture of the Galar region. Still, there were some Gym Leaders who were understanding towards this, such as Milo, Kabu, and Raihan.

After a few years of battling in his home city, Piers became a lot more cynical to battling and he found time to jot his feelings down into lyrics as upcoming songs for his concerts. This entire journey for Piers has been a back and forth ride where Piers wants to show how great Spikemuth is without Dynamaxing and him wanting to pursue his own passions of being a singer, the latter of which he wants to achieve. There are many factors that keep holding him back though, such as being a disappointment to his family if he decides to quit, being portrayed as selfish when all he wants to do is pursue his passions by the media and his fans, or just...fearing everything altogether. Luckily, Marnie helps console him and, to some extent, the grunts of Team Yell. Not a large music fan base, but they keep Piers from getting too discouraged.

If Piers can manage to break away from the battling environment altogether, then that would be a song worth singing.

Gordie

Gordie loves his mother, let’s just make that clear. Despite the arguments, there’s no bad blood between them. As the eldest child in the family, Gordie has a lot on his plate. For one thing, his siblings. Although they give him so much strife, he loves them. Gordie wouldn’t trade them for the world. Secondly, his relationship with Melony, his mother, has always been a positive one. I mean, this woman is part of his fan club for goodness sake! Still, with the positives, there are some negatives that have nearly tempted Gordie to cut ties with his family. Being a person who specializes in Rock types, Gordie never became interested in Ice type Pokémon. Sure, Snom looks adorable but Gordie finds Rolycoly to be even cuter! Melony has always known that Gordie likes Rock types, something of which she doesn’t understand but tries to. However, even when she tries to be a good mentor to Gordie, she doesn’t know a single thing about Rock types which causes her some frustration.

Gordie has dealt with his mother’s tough love before, especially considering he has faced her as a Gym Challenger before during his time in the Gym Challenge. Their match was something like a spectacle, but it proved difficult when Gordie tries to convince Melony that he can be a good Gym Leader without using Ice type Pokémon. Over the years, once Gordie became a certified Gym Leader, he would run the Circhester Gym alongside with his mother, which proved even more difficult. Both the mother and her son would not see eye to eye as much and everyone around the city took notice of this and would try to steer clear. One argument in particular has caused some emotional harm to both parties, more with Gordie whom once said that Ice types are useless in the heat of battle. This set off Melony, who returned his remark by saying if he didn’t spend so much time with his Rock type Pokémon, he would’ve saw something differently and be a better Gym Leader.

That argument set off a week long tension filled silence, with Gordie not speaking to his mother at all. At home, it got worse with Gordie moving out and staying at his apartment until things settled down. If until things settled down. At some point during the prolonged silent treatment did Gordie decide to call his mom to apologize. Even with the apology and the two making some progress to mend their relationship, Gordie knew that there would be no common ground between them aside from being related. The strain settled in and it frightens both of them that one day they might never see eye to eye again. It’s a fear that no parent and child should ever have to face.

#galar #gen 8 #pokemon milo #pokemon piers #pokemon gordie #pokemon sword and shield #long read requests #long reads

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masterbeta29 · 5 years ago

Text

My review of Pokemon SwSh!!!! (or just Shield, cuz it was the version I play, LOL)

Finally, after finishing the game (including the Post game) and fully exploring the region, I think it’s time for me to say what I think of this 8 gen…

I know it’s obvious, but I mention it just in case: This is MY OPINION!!!, if someone disagrees with me its totally valid, I just ask for respect.

ALSO, English is not my first language so I might have certain lack/erros of spelling out there, or I repeat many words, hehe.

It is important to clarify that this review is based on SwSh base, everything that refers to DLC will NOT be included here, my opinion of the game is already done, the rest is extra content.

I wanted to give this review a more ‘’silly’’ tone, since giving negative opinions on the internet can be quite delicate and I wanted to relax the mood. Do not take this seriously, I still have my CONS with the game, but it is still genuinely enjoyable, which for me is the most important thing in a game. I will talk about everything in general, so I will try to summarize certain points.

LET’S GO!!!

NEW FEATURES

Poke Camp, Curry Dex, Boxes and more

It’s like a dream come true for me, visiting other camps, seeing my whole party next to each other in the screen playing, discussing, running, is something really magical helps, me connect with them and know their personalities better, although I admit that I miss petting them lol and the minigames like in Gen 6. I also really liked the concept of curry as an alternative way to cure your Pokémon maybe I just wish there was a simpler way to know how to create new recipes (ALSO TMs).

Access to boxes anywhere is wonderful especially when you are breeding, just like, changing the name of trade Pokémon and the move reminder.

Rotomphone

It is not used as much as a phone, more than in the post Game (I can be wrong tho) but it serves as Dex and that’s what’s important really, the new feature is that now it includes the bicycle, that can ride both on land and water and in my opinion it is a degradation of what the concept of “Poke Ride” was, but as I said before, it fulfill the function it should.

Trainer Cards

The concept of being able to share and customize them with other players is super entertaining, although it is a bit annoying that you always have to make a new code for each small modification. As for the cards of the main characters of the game, I will talk with a little more detail later.

Dynamax

At the beginning it was fun and exciting, but in the end it just became a gimmick that sometimes I had to use by obligation in raids. It is not as epic as the Megas and does not have the weight of the lore and cultural/regional connection like the Z-moves.

The Giga forms, although some are great, and I am happy that they gave Pokémon like Garbodor love, I also think that there were many missed opportunities, starting with the starters of the region or in giving forms to Pokémon that in previous generations already had like Gengar and Charizard.

Raids

They are incredibly fun, it is an activity that you can spend hours and hours enjoying, especially with friends but if we talk about NPCs… OOF, I understand that the purpose of Pokemon is that we all make friends and work as a team, but DAMN, if it is stressful when you lose a raid with 3 friends and an NPC, because the Pokémon only killed the NPC, it is almost impossible to defeat a 5 star raid with only NPCs, and as I said before I understand why they do them weaker, but there are some that are completely useless, I see you Martin Solrock lol.

Poke Jobs and Rotom Rally

I will be honest, I have not used these features enough to have a solid judgment on these lol.

CHARACTERS

Magnolia

OK, I need to get this off my chest: I am incredibly disappointed and sad with this character, especially since she is/was our first old female professor, to be simply pulled into forgettable land.

It started pretty well, but then it just disappeared until almost the end of the game to give the role of professor to Sonia … REALLY ?! I hate to say this, but she felt more like a device to give character development to Sonia, when she could have been used in scenes with Rose or repeatedly going into further detail about Dynamax for the MC (you know because she’s an expert about that topic…), before give the paper to Sonia. At least I am grateful that I had a little more screen time in the post game, although not even as a professor.

Sonia

Thank you Sonia, for allowing us to discover and know the story with you, honestly she was the one who saved mostly my interest in the story.

But speaking of the character, I like her, I like her dedication to get out of the shadow of Leon’s achievement and to show her grandmother that she is capable, which she finally manages to fulfill, she still has certain insecurities, but that makes her more human, she’s the real professor (I’m still salty for Magnolia tho)

Leon

Everyone knows from the posts on my PT on Twitter that I constantly bullying the character, but I really like him a lot, he is an excellent guide/brother through the game, charismatic, EXTRA, but very involved in his role as champion, in the sense that he is always aware of what is going on and helping in the process, in addition to being strong (one of the most difficult battles in the game). Definitely among my fav champions with Cynthia, Steven and Kukui (I count him as champion, SU!)

Gym Leaders

I love them, their designs, personalities, the animations, they are all incredibly memorable, my favorites are Opal, Kabu and Piers.

But even so, I wish I had more to go on besides the lore on the back of their cards and their battle animations, I would have liked to see them more integrated in the story, and I feel that it lack a little more interaction with some of them, especially Allister and Melony in my case, but at least the trainer cards were a good addition to know them a little more, outside of being a Gym Leader.

RIVALS

OK, I’m prepared for everyone to hate me, *sigh*:

I… I DONT LIKE BEDE AND MARNIE THAT MUCH?… I mean, I don’t hate them, and they are both far from being the worst rivals, but I did expect a little more from both…

Bede

I am one of the few of the fandom that does not like rivals flat jerks, because for me, that is not a character but rather a trait.

But I wanted to give it a try, and when I was just beginning to gain interest in him, they force his backstory in my face… And as I said, I like trainer cards…but more in characters, like G.leaders because these are characters that we don’t see much around the trip, but in the case of rivals, that appear several times and develop in the story, I personally like to get to know them little by little, discover their story and understand them in the course, here I felt it more as an excuse for me, to feel bad for him, especially at the moment he gives you his card.

His relationship with Rose is not explored enough imo.

And a complete turn-around that happens offscreen, like no joke, the MC literally didn’t see any of it, he just disappears after the Opal scene (but to give him credit, that scene is one of my favorites in the game).

But you know, I understood that he was just a lost boy, and I’m happy that he found a better place, and I admire his effort to want to change, so in the end I ended up liking him a little more.

Marnie

Marnie is interesting, because although I agree with many people that she would have benefited from having more screen time, I consider that a good character does not need all the screen time in the world, is about what but what they do with it, and the problem I have with her is that her time was not well spent.

I like her dream and I really like her relationship with her brother, however there was no moment when I really connected with her. I feel partly, that I don’t know her character, like her various personality facets.

Untapped opportunities: fight with her more times or with her…would have helped the character a lot imo.

Hop

Hop is the best rival of the three hands down, his trainer card contains the right and necessary information to make us have an interest in the character, but also the story lets us know him more: a competitive boy, but who has insecurities, fears of failure, that is reflected not only by the dialogue but also in his Pokemon team (no really, it broke my heart when I realized that he didn’t have his Wooloo in his team), that he is frustrated and suffers, but he gets up, discovers other tastes and with these finds a new path, ugh perfect, I adore him.

Forcing the player to defeat him is torture, it is like defeating Hau in USUM and Wally in ORAS breaks my heart.

Rose

In short: ok character, decent /meh antagonist, and a horrible villain.

Like the climax of the story, Rose is forced in the end to be the villain, when he worked best as an antagonist, his plan makes no sense, his battle is disappointing, although his battle theme is awesome, but it just does not fit the character, the plan, nor the situation at all.

But the character has a certain charisma, especially in his ‘’suit especially in his incognito suit.”

Oleana

Interesting character, with a potential backstory, with motives and characterization, who is underused in the story * sigh *… I LIKE HER THO

Overall, I would have liked to see much more of the relationship between Rose, Oleana and Bede, I think it would have benefited the 3 characters…

Team Yell

They are … ok, it is cool to have a team that is not villain, that bother the player from time to time even for good reasons, I admire his dedication and loyalty.

THE REGION

The region is aesthetically beautiful, the details, the structure, the contrast for example between Hammerlocke and Ballonlea, and despite not living in the UK or having had the opportunity to travel to the destination, according to my friends the region in which the games are based is very well related, which I think is excellent. However, despite the visual beauty, when it comes to routes and exploration it feels a bit limited, there are really some towns, where the most interesting thing to do is complete the Gym, there are almost no reasons to return to the previous town after having passed them…

But, what I missed the most was the lack of exploration, discovery, the charm of the NPCs…

Many have told me: what about the Wild Area? Because of the ability to explore in an open area, it is probably the best in the franchise! and yes, the Wild Area is a very attractive part of these games (I will talk a little bit about this, later), but as I said, everything that is considered part of the capacity of the new console, I will not take it into account, it is unfair, because a portable console can NOT stand a concept such as the Wild Area although the developers had the idea before, not at least at SwSh scale.

And as I said before and again, the T.Cards are an incredible idea, but for me NOTHING compares to getting to know the characters through the world, dialogue, interaction… I’m going to use pokemon Moon as an example to make me understand better: (because it was the last main pokemon game I played before SwSh and that’s why I have it more fresh lol) Where you can enter Olivia’s shop, buy jewelry and visit her room and discover that she is a desperate single woman, or enter Gladion’s room and talk to the receptionist and that she tells you part of his story, that kind of things…

Let’s see for example Melony, we know she has more children besides Gordie, but only for concept art, and yes, probably do unique models would take a while, but I honestly wouldn’t have be bothered if they use generic NPCS, they did it with Lana’s sisters, then the anime can dedicated to giving them unique designs.

Speaking of NPCs (mainly of those inside the houses), many lost the charm and authenticity they had… I mean, where is the lady who told us the story of her husband’s accident or the men of the coffee shop, who every time he prepares us a drink told us the story of where such a drink came from, ect… the NPCS on that side are boring…

EXCEPT BALL GUY, he / she is awesome!

I know this look like extra or unimportant things, but these little details really give life to the region, personality to characters that are secondary, it makes everything feel more united and also makes the main characters feel more inside the world, and honestly that is why on this hand, some cities felt empty for me…

But the other hand, I really liked what they did with the NPCs fans, see how the number increasing every time the MC wins a gym battle, makes the trip to become a champion feel more rewarding, It really helps you feel like a true champion when you got it.

Other examples like the girl NPC who is going to support you in the Gyms while their pokemon is evolving, or how the NPCS react and change their dialogue corresponding to what is happening… beautiful, for this part the worldbulding is 10/10.

The wild Area

Probably the closest we have for now of an open space area in a Pokemon game, I have to admit that I get lost at least 1 half an hour trying to find the next destination (I understand you Leon), it was hilarious lol, at the beginning of the game it turns out to be a fairly limited area, and you really can enjoy it in its entirety when you finish the main story, but I don’t see so much trouble with that, since it’s partly the point, for balance. In general, it is a fantastic idea although I feel that it is necessary to polish it in certain parts, and NO, I don’t mean THE TREE, but I don’t want to be so hard on GF at this moment, because is the first time they experiment with such concept…

Pokemon and Music

I put these two together because they both share a very curious characteristic: EXPERIMENTAL.

The pokedex is super solid, I love how these last generations, GF is doing its homework and is striving to make the pokemon belong to the region, as for animals, myths, culture…muah I LOVE IT, BRAVO.

For me a good OST movie or video game not only has to be for the piece n yes, but how it is composed to accompany the events that occur on the screen, how it adapts and fits a certain scene of the story or character, and although I admit that in general it is not my favorite compared to other gens, there are tracks that have become part of my favorites:

The crowd, the screams, the build up as you gradually approach the last pokemon, ugh. Dynamax is cool and everything, but THIS is the basis for me, of why these battles feel so energetic and exciting.

That mystical atmosphere that catches you, is beautiful but at the same time mysterious, and perhaps many disagree with me, but the addition of the howls of the legendaries… I love it.

STORY

I think the game started extremely well, the introduction to the characters, the exploration, the introduction to the starters, the mystery of the legendary, everything is on track to me to enjoy this adventure to the fullest, but later I felt like it began to fall.

I understand that this is Pokémon and sometimes Pokémon does not need a complex story to make it enjoyable, as long as it makes sense and is entertaining, the problem I have mainly with the story is how they constantly get you out of it. I understand the concept they wanted to do: to take a more realistic point of view, in which adults take responsibility or in this case the champion and that later when you become champion you now can do what the champion did, and I like this concept, but the phrase of “you focus on the gym, we take care of the problems ” they say and they repeat it several times in the game like, I understood the first time!!!

Indirectly I felt like they were trying to took me out, and in consequence I lost interest in the story of the game, if it hadn’t been because Sonia bothered to explain to me the lore and a little of what was happening.

It’s more like “tell us” and not “show us”

and that’s the risk of this concept: you play as a main character, because you want to be a main character or share the role.

The climax feels incredibly forced and confusing, I felt that there was no build out, almost no foreshadowing for what was happening at the moment, everything comes out of nowhere, and thats why, I started making Okami jokes with Eternatus, because I don’t felt that emotion of the ‘’Climax’’.

Definitely in the part where the game shine was in the gym Challenge, as I said before, the gyms, the leaders, the atmosphere within them, the scale, the music that changing every time, until reaching the final pokémon, the challenges that we have to do before, the fans, becoming the champion, all this really is the identity of the game.

Pokémon returned to its roots, where this story is the story of us again, and becoming the champion here is everything, it is one of the most exciting and most satisfying Gym challenge in all generations with gyms.

ADDITIONAL

Here I want to give opinions according to the experiences I had with certain things within the game, which I think are quite PERSONAL, because each person plays different Pokémon, by the team of Pokémon, because he decided to level up more or stay at a lower level or how you decided to follow the story of the game.

Difficulty

Decent, by the standards of Pokemon of course, I try not to leveling to much, and if I do, there are maximum 3 levels and only one pokemon… So, gyms were easy in general, perhaps a pair that were difficult (Allister and Melony), but I never did black screen as in other games, but definitely the most difficult battle in the game is Leon, which I think is appropriate.

Online

Its horrible lol, There were not only once but several times in which I lasted like 1 hour trying to connect with a person, it is ridiculous.The signal falling every so often. But in general the biggest problem I have is connecting with very specific people, not even with the infamous Festival Plaza had so many problems.

Gameplay / Pacing

It is normal the same as always which is fine, some drop of frames out there in certain scenes but nothing serious, some cuts and lack of scenarios / designs that if you should in when they took me a little at the time, but absolutely nothing compared as the haters make it look, the game is still incredibly enjoyable, and it can be played perfectly.

The pacing started pretty well/decently, but from the fourth gym onwards, everything became very very fast, and not to mention the climax and the Pokemon League, honestly all this last arc felt super stuck….

So my opinion in general is: I enjoy the game like any other Pokémon game, it has its entity, it has new and interesting things that I would like it to expand more in future generations and it has personality. Is it my favorite game or my favorite generation? No, I definitely enjoyed other generations more, there were many missed opportunities that they could take more advantage, and I feel bad for GF for making them release this game for this year and these dates, because unfortunately some cuts are very noticeable. But the generation just starting ,so we will have to wait and see what we have for the future. For now, Thanks Pokémon SwSh, for another adventure…

#pokemon #pokemon sword and shield #pokemon swsh #swsh spoilers #my op #my post #review #I probably forgot something and I also have a lot of types cuz im trash lol

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