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qqueenofhades · 1 year

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Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

#good omens #good omens meta #good omens s2 #good omens spoilers #ineffable husbands #look this probably could have been twice as long #but i had to stop somewhere #I JUST HAVE A LOT OF FEELINGS

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bibliophileiz · 4 years

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A (not really) Ode to bucklemming

Last bucklemming episode, and you guys, it was just such a classic example of their stale mediocrity. And yet, at the end of this post, I found myself bizarrely happy with how the episode turned out.

This is the second time I’ve watched it, and while I was planning to just liveblog my thoughts, I realized quickly that would not work, because most of the episode is boring and miserable, (especially the first third or so) and that makes for boring and miserable note-taking. I think I said in a tag of a different post that Dabb assigning this one to bucklemming is just further proof that he hasn’t cared about plot at all this season, and honestly, I don’t know there’s much they COULD have done to make this plot entertaining. Chuck even says at one point that it ... isn’t entertaining.*

The first third or so is basically Sam, Dean, and Jack being miserable with nothing around them break that misery up (except, briefly, a dog). And that makes for a miserable viewing experience. Here are a handful of notes I took that give you the gist:

- Chuck standing there talking about how loneliness and no-people is “deep” and a “page-turner” is such a gratifying little critique of shitty writers who like their gritty stories about permanently miserable protagonists. Like dude, you know there’s a reason nobody rereads “The Road,” right? - Dean slurring his words because he’s hungover is the first time anything interesting has happened with the dialogue in this whole episode. - Rob Benedict is the only one who gets to inflect his dialogue this episode. I do think his acting in that last scene is great, where he’s screaming, “Guys, wait!” as they drive off. It’s not a terrible ending scene.

So there’s that. Now here are my notes not-related to how stale and boring everything is:

Beginning: -The shots of Kyoto and New York City remind me of all the shots in NYT and other major newspapers after COVID shut everything down last spring (except in this case all the traffic would still be in New York, just no people). - “I couldn’t save anybody.” Poor Sam. (must push down feelings about Sam’s leadership arc and how it always seems to end with people dying, ugh, repress, repress!) - Also, I wanted to see a shot of a sink running and one of them turning it off. Just a random thing.

Archangel stuff: - I guess it makes sense to lose Adam if you’re going to kill Michael at the end, but goddamn if Michael isn’t a way more boring character without him. - Ah, Lucifer, a.k.a bucklemming’s attempt at comic relief. I’m starting to miss the boring dialogue. - Ooh, awesome, the only female character in the episode shows up bound and gagged and immediately murdered so she can be used and then murdered again. (Also, the first time I watched this scene, I was sure she wouldn’t wake up and was gearing up to laugh at Lucifer for sucking.) - Jensen stays as far away from her as he can when he unties her, I’m sure that actress appreciates him trying not to give her COVID. Course then she immediately ruins it by head-butting him, which is NOT practicing social distancing. - Many have commented on whether Lucifer can actually kill Death by snapping his fingers. We don’t know, but the Scythe WAS right there, and if Dean can kill Death with it (twice), I’m sure Lucifer can. - On the other hand, it IS established lore that God doesn’t have power in the Empty. Presumably he could negotiate with it like Death, and possibly he just took advantage of the loud chaos of Jack exploding, Death dying, the Empty apparently being super pissed, etc. to sneak in and make off with Lucifer. - Also WHY DO ALL THE ARCHANGEL FIGHTS IN THIS SHOW SUCK ASS???? - “I haven’t been in a battle like that in several centuries,” Michael says, as if he just fought the Battle of the Blackwater in Game of Thrones, and not what appeared to be the archangel equivalent of Mario Kart.

And climax/last scene: - But the best moment of the episode is when they GET BACK UP BLOODY AND HOLDING ONTO EACH OTHER AND ABSOLUTELY BEAMING BECAUSE THEIR LITTLE BOY IS ABOUT TO BECOME GOD. - Also, I like the music in this scene. And it seems like it’s the same place they used to film the end of Season 12/beginning of Season 13, which was probably peak Dabb era, ngl. (Jensen as Michael was also great.) - I also like that Jack and Chuck are both wearing light jackets, but Jack’s is a leeeeeetle whiter. - Chuck looking at the blank book is that moment in every writer’s life, when they’re like, “NOOOOOO, the computer DELETED EVERYTHING I WROTE.” - “Dean Winchester, the ultimate killer” You guys, 10 is Chuck’s favorite season. - Of course it is sweet that Cas’s last words seem to have had an effect on Dean, how he goes from “That’s (killing) all I know how to do” to “That’s not who I am.” I’m far from the first person to point that out though. - What happened to Amara is THE WORST. - Also, I am annoyed that Jack isn’t going home with them, because I really wanted him to be God, and a hands-off one, but I also wanted him to drive the Impala and solve crimes, ya know? - Jared at least seems to understand that this ending is upsetting, because Sam has tears in his eyes, whereas Dean is just kind of like, “ah, he’s leaving.” Which is fine because DEAN AND JACK ARE NOT AS CLOSE AS SAM AND JACK, fight me. - Him disappearing into light is stupid, though. - At least Dean and Sam get to sit close to each other at the end. I wonder if that was the first scene shot after they got out of quarantine. - WHERE ARE THEY DRIVING? - Maybe to go see Jody. - WE GOT BELA AND CROWLEY AND ANNA IN THE MONTAGE HELLZ YEAH, ALSO ABBADON AND ELLEN AND RUFUS, but we also got fucking Asmodeus and Ketch and no Benny, what the fuck, Showalter?

So I have questions.

Some of them are unimportant, like how did people in restaurants at the end react when they found themselves looking at food that seems to have undergone days’ worth of rot in the blink of an eye? Also, you got a shot of a full airport at the end, but that begs the question: were there airplanes in the sky at the time Chuck snapped everyone away, and did they crash, and did the people on them get snapped back into crashed airplanes and was that not super confusing for them and did the airlines lose billions of dollars because all their planes crashed right before COVID shut them down anyway and if all that’s the case is it really any wonder they needed a bailout from the federal government?

But some of them are plot-relevant and could have helped an episode in desperate need of it.

For example, I want to know what’s going on with the Empty, and if Mark Pellegrino had talked about it for more than two seconds, I might not have hated every second he was on screen. Also, there are other things happening this episode. Like Jack walking around sucking life and “power” out of plants catches Dean and Sam’s attention immediately. We know that, because we see them noticing it and exchanging confused glances in the flashback at the end of the episode.

Here’s the thing though: Why not have that in the beginning? It’s not a Huge Reveal, and it would have given Jensen and Jared something to do in that stale boring beginning other than Make Sad Face. As pretty as Jensen and Jared are, and as good as they are at making sad faces, you cannot build an entire episode around that.

Related, there isn’t actually much of a beat in the plot where it makes sense for them to figure out Michael will betray them for God. It seems like it will happen in that conversation between Dean and Michael when Michael expresses his hurt that Chuck let Lucifer out of the Empty before even asking for help. But at that point, it seems Sam and Dean have already come up with their plan. The flashback makes it seem as if they began to suspect Michael would betray them when Lucifer called him a cuck, something I think they made a plot point purely to have the word “cuck” in the episode for the third time.**

There are a few hopeful beats that show that bucklemming understand on some level that there needed to be some flow to this episode, such as the dog and Dean thinking he may have gotten Cas back. But I don’t think those are substitutes for showing Sam and Dean come up with their plan to defeat God. Even if you don’t want to reveal that they know Michael will betray them, you can still get one scene in there of them saying something like, “You think this’ll work?” if you just cut two minutes of Michael’s boring monologue in the church and/or Lucifer’s bullshit.

It follows this weird pattern of bucklemming once again seeming to not find Sam and Dean particularly interesting, so they don’t spend any time writing them DOING anything, or at least succeeding at anything, because they’d rather write Lucifer killing women and generally being an asshole.

So ... who cares, right? It’s bucklemming, they were bound to be mediocre-to-bad anyway, it kind of makes sense for Dabb to give them this episode because nepotism definitely makes it a best case scenario. And while I take issue with Dabb as a showrunner, I do think he’s great at standalone episodes and character stuff, so I’m not too terribly worried about next episode. I just think there were things about this episode that could have sucked less.

There ARE things about it that were fine, dare I say even good. It was in my notes, but I just want to emphasize that I LOVED the shot of Sam and Dean getting up bloody and broken, holding onto each other and grinning their asses off knowing that Chuck’s about to lose to Jack, and they get to see it! They may very well have gone into that fight expecting to die -- Chuck nearly just zapped them from existence, which would have still unleashed God-power for Jack to soak up.

The ending scene is pretty good, with Sam and Dean seeming like they’re still pretty beaten down, but trying to get it together. That’s more Jensen and Jared’s acting than anything bucklemming wrote, but it’s still good. The montage is good (although I will say for like the third time, where. the fuck. was Benny?)

Jensen’s acting over the dog was SO SOFT (doesn’t he have a dog?). I half-expected the dog to run to him at the end, which would have been cute.

There are also things that were ... potentially good, if they’d been brought up correctly? I actually really like that Jack is going to be “hands-off” (although I like less that he and Sam will never see each other again, but Dabb did say it was going to be a bittersweet ending, so ....).

I also -- and God, I’m going to get hate mail for saying this -- don’t mind that he didn’t bring Cas back. That highlights the difference between him and Chuck. Chuck brings back Sam and Dean (and, in Season 5 at least, Cas) over and over again, not out of love, but just to throw them back into their exhausting existence. In contrast, Jack NOT bringing anyone back (except the people who’d been snapped out of existence, which I would argue is more about putting the world on its proper course again, as opposed to “violating the natural order,” as Billie would put it). He knows he has to let people go. You could argue that’s always been his arc -- he and Cas even talk about how hard it will be for them to one day lose Sam and Dean back in Season 14 when they think Dean is dying.

But I wish there had been dialogue exploring THAT instead of the weird vague stuff about how he would always be a part of them. It doesn’t have to be anything super analytical like what I just wrote, it just has to be him saying, “I understand that in order to be a just god, I have to let things go and be at peace.”

(However, if the reason they DIDN’T go that direction is they didn’t want Dean to be like, “You know, he’s right,” next episode and not rescue Cas from the Empty, then I’m fine with them leaving that out. Screw the natural order, Dean -- go rescue Cas from the Empty!)

I also really really really want to get some sense that Sam’s faith has been rewarded. We got a tiny glimmer of that this episode in the hushed, awed way Jared delivers the line, “Are you really ... him?” Sam has always been the one with faith in a just and loving God, and one of the things that aggravated me about the end of Season 14 was his faith being so blatantly not rewarded, in favor of promoting Dean’s more cynical take on God.

The show has always, since the very first season, raised questions about where God is, whether his will is just, and how we know we’re following it, and the main characters all have different answers to that -- Sam’s being the more faithful, optimistic view of “God is good”, Dean’s being the more critical “If God is good then why do bad things happen?”, and, most interestingly, Cas’ viewpoint largely fluctuating with his own sense of identity and self-worth. The point is, we had all three of these opinions on God, without the show ever explicitly saying which one was right.

Until very recently, I thought it should have stayed that way. But now I love the idea that Sam’s faith in God was rewarded not by Chuck, but by Jack -- the very boy he took under his wing and raised as his own son, the boy who understands that he is good and that people are good largely because SAM TAUGHT HIM THEY CAN BE. It’s just so beautiful, and I’m getting more and more happy about this ending as I write about it, actually, so maybe I don’t entirely hate Jack’s ending after all.

That was a happier note than I planned on ending this on. I guess that is how you stop worrying and tolerate bucklemming.

Goodbye, bucklemming. I hated many of your episodes, but I will miss you and your weird, inconsistent writing that was so entertaining to pick apart and analyze and make fun of. I hope you find some cop shows where you can churn out more mediocrity and make some money. And in the meantime, stop killing off women.

*Yet another example from this season of the writers intentionally writing a bad episode to highlight the fact that Chuck is a bad writer. NEWSFLASH DABB: Bad writing is still bad writing, I don’t care if the villain of the story is the writer, I still don’t want to watch it if it’s bad.

**Which is such a bizarre insult to use. Isn’t it slang for a guy who’s wife cheats on him? I swear I’m not innocent or sheltered, I have just literally never heard anyone use that insult in a real context in my entire life.

#how i learned to stop worrying and tolerate bucklemming #this is the last time i get to review one of their episodes i'm getting a little choked up #not really #supernatural spoilers #supernatural #supernatural home stretch #this episode was boring and miserable but the end was decent

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winchesternova-k · 4 years

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Why/how do you support "Dean" when he has nearly every major trait in which people dislike "John" for? And I genuinely have no aggression towards this question! I just want to get your take on this character.

tbh i rlly hate comparisons between dean and john fvgfvf bc i don’t think it’s fair when their dynamic is one of a victim and abuser but i’ll do my best to answer this fvgfvg idk how articulate i’ll be this bc i do have adhd. ik what i mean and i understand what my point is but whether anyone else will is anyone’s guess fvgfvg

largely in the early seasons dean’s picked up john’s toxic traits as a way of coping w his abusive/neglectful behaviour. in later seasons, dean doesn’t exhibit many of these traits in an unhealthy way, and when he does (which is rare) i usually put it down to the unhealthy coping mechanisms he has (more on that below) or bad writing bc there have been several times when i feel he’s been ooc (his early treatment of jack for example). there’s multiple posts abt these instances in my liveblog tag (“emily liveblogs spn”)

a lot of the issues i have w john stem from the way he puts his vengeance in front of his kids. dean never does that. in the recent seasons, there’s multiple occasions where he actually puts jack in front of his mission. john continually puts his kids in danger, on purpose. the episode w the strega comes to mind. he used his kids as bait and takes his anger out on dean when sam nearly gets killed. he doesn’t even tell them they’re bait. dean is absolutely terrified of sam getting hurt and of disappointing his father. i can’t remember dean ever doing anything like that to anyone let alone jack or ben.

john treats his kids like soldiers and possessions instead of y’know kids. he gives them “orders”. like parents obviously tell their kids what to do but this is whole different level tbh. they blame themselves when things go wrong bc “they didn’t follow orders”. there’s “wow maybe dad knew better and i should listen next time” and then there’s “dad gave me an order and things went wrong bc i ‘disobeyed’. i’m a bad person”. dean and sam experience the latter. on top of that when they disobey john gets rlly angry bc they’re not under his control. this is a classic abuser move and one that my abusers have used on me. dean doesn’t do this w anyone let alone any of the kids he’s been in charge of, including sam.

i mean dean straight up blames himself when they’re used as bait by demons to get to john in one episode. that’s not a reaction that comes from a healthy relationship. jack’s scared sometimes of disappointing his dads (and i think on one occasion of making dean angry), but dean’s v quick to reassure him that even if he’s done smth wrong they still care abt him. john never does that. and like i said, any negative thing resembling john w dean & jack’s dynamic i usually chalk up to bad writing bc parts of it are v inconsistent between eps and dean never acted this way before w ben. and that aside dean has no history of acting like john in those respects any other time.

when sam and dean need help, john doesn’t give it. he just lets them handle it alone, even when they think it could get them hurt, unless it could help w his overall vengeance. whenever someone needs dean’s help, he’s there. i’m rewatching s1 atm (coming straight off the back of not watching any spn for abt idk 3ish yrs, and then starting from last 2 eps of s12 to the most recent ep), and a major difference between dean and john is how they r towards sam. when sam wants to leave, john shouts at him and guilts him into staying and even disowns him. dean is clearly upset and short w him but he tries to be supportive. he doesn’t know what to say and ultimately he’s honest abt how he feels but he doesn’t want to make things hard for sam or hurt him or drive him away like john. he doesn’t want to control sam like john does. he just wants his brother around, but accepts that sam wants things to be different. ultimately i think if sam had gone back to college he would’ve accepted it and gotten used to a more functional relationship. that’s not to say that the winchester brothers relationship is healthy in early seasons bc it’s not. their relationship formed when they were being abused/neglected and dean literally raised sam, and he doesn’t rlly know how to get along w/o sam which is rlly rlly toxic. but it improves over the yrs bc neither of them want to keep living in that unhealthy cycle

w ben, his parenting model w him is completely different to john’s. he tries to keep him out of danger to the point of trying to keep him from knowing the truth until he absolutely has to. when he does the wrong thing by ben (which i’ll admit like john, is usually out of fear) he apologises and tries to make sure he doesn’t do it again. john never does either of these things.

idk if ur talking abt his drinking, etc.? if that’s (partly) what this is abt, they’re unhealthy coping mechanisms that dean has developed bc he doesn’t know how else to deal. he doesn’t do therapy and the influential figures in his life coped this way (bobby, john, etc.) and he would’ve copied it.

mostly i think john doesn’t want to improve. dean does. dean doesn’t want to hurt the ppl he loves and when he does he apologises, even tho it takes a while. that last part is smth i relate to as an abuse survivor, bc abuse makes it hard to admit when ur wrong bc it will be used against u, smth we know for a fact john did w both sam and dean. john is shown to care less abt hurting ppl he cares abt than whatever he’s chasing and i think he apologises like once? in the entire show. i mean dean even knows when he’s being possessed by a demon bc john’s nice to him and tells him he’s proud. sam even says he feels like nothing he ever does is good enough bc of john (smth i also experience due to abuse and neglect). dean’s never afraid to tell jack or ben when he’s proud of them.

john’s happy to hurt whoever he has to to achieve his mission and his revenge, even hurt or kill his kids. he doesn’t WANT to hurt them, but again the strega ep shows that the mission comes first. dean shows how different he is when he refuses to kill jack in the s14 finale. he’s angry and he wants revenge but he knows hurting jack is wrong. dean often goes headfirst into danger to protect others w little thought for his own safety. that’s partially a reaction to john’s treatment of him, but john used to drag his kids into that danger w him. ik sometimes when theyre older john tries to keep them away from it, but that’s when they’re old enough to choose (and he’s still not letting them). but when they were dependent on him, he straight up did not care whether they were in danger or not. not when his mission was at stake. when they’re older and can keep themselves out of danger, that’s when and only when he tries to keep them out of danger. it’s a control thing. john wants them under his thumb and to only do what he wants. jack is usually kept out of the situation unless it’s necessary, and ben was entirely except for one instance where it would’ve been more dangerous to keep him out of it. dean parents jack and ben but he doesn’t try to control them.

ig my main thoughts r that dean’s actions r that of an abuse survivor and developed to survive the situation whereas john’s r that of an abuser. dean’s negative actions usually r only intended to hurt himself whereas john’s r intended to hurt everyone. all up i think their traits seem similar on the surface, but deeper down dean’s v different to john. his negative traits tend to be self destructive rather than just destructive. it’s more ig that dean’s actions r different to john’s? idk if that makes sense fvgfvg but i think that dean treats ppl v differently to john. he tries not to hurt ppl but john doesn’t rlly seem to give a shit if he hurts ppl or not.

tldr; i don’t rlly think dean’s toxic traits are similar to john any further than on a superficial level. any time i’ve seen that (esp in recent seasons) has been a result of bad or inconsistent writing. dean’s also a better dad than john. john shows signs found in abusers and ones i saw in my own abusers; dean doesn’t.

#anti john winchester #dean winchester #sam winchester #spn #supernatural #alex talks #i mean this w zero aggression to but i rlly dk how anyone could compare dean to john in this way but anyway #also if this comes across as agressive i dont mean it to! so long as u dont spew ‘john did nothing wrong’ at me we’re good fvgfvg #im sure theres stuff im forgetting to but #this is so fucking long fvgfvg sorry #john stans dni or get blocked #winc*st shippers dni or get blocked #abuse tw #meta #i think it officially counts now fvgfvg #long post #anonymous #asks #my meta

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thehollowprince · 5 years

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So... anyone who's followed me through this season of The Magicians, or if you happened to catch my liveblogs in the tags, know that I wasn't super impressed with this season. This comes from more than just the finale, but from the season overall. To me, it felt disconnected and rushed, while at the same time dragging on forever with no end in sight. I even had someone block me because they didn't like the fact that I thought this season wasn't living up to its predecessors.

Every season of this show has gotten better. Season One was great, and then Season Two was better and then Season Three was the best. But even then, with that cliffhanger at the end of the Third Season, I knew this one wasn't going to do well.

This season lacked that spark of Hope that every season preceding it had in abundance. It also shifted away from the style that was so well done with the first three seasons, where we go in thinking we know who the villain is, but then the Big Bad turns out to be completely different.

Season one: we thought the Beast was the worst thing, and then we met Reynard.

Season two: Reynard is the villain, until its revealed that Ember was the big bad the whole time

Season three: we think it's going to be the Fairy Queen, but then the Library is shown to be the true villain of the season

That's the format they followed for three seasons, and it worked so so well. But the moment they showed Eliot possessed by the Monster at the end of the third season, ending on that cliffhanger, I knew season four wasn't going to be as good.

I've talked at length about the horrible pattern shows like this fall into, if not on here, than certainly on Discord. Shows like this, particularly those that deal with the paranormal and supernatural, tend to try and go bigger and bigger each season. Every show I can't think of falls into this horrible rut: Supernatural, Buffy the Vampire Slayer, The Vampire Diaries, Teen Wolf, etc. They all try to up the stakes with each passing season and it just becomes an game of trying to one-up what they did before. I had a moment of worry back in season two, wondering what they were going to do after having Gods be the main villains, because it's hard to top a God on the power scale. But then the show turned off magic, which I thought was a brilliant move.

By turning off magic, the narrative forced our heroes to have to just be regular people, to have them go back to the very basics and start from scratch. And by ending the third season with them turning magic back on only to have the Library hijack it and erase their memories, I thought they were setting us up for a brilliant showdown against the Library's rather extreme standpoint on hoarding knowledge rather than sharing it.

But then they pulled that crap with the Monster.

This whole season, by having the Monster present from the very beginning, it took away the sense of urgency that such a being was supposed to invoke for the viewers. There was no reprieve, it was just a constant MOMENT with the Monster than never really panned out into anything except to devote screentime away from the other characters. It felt, to me, like they were just trying to remind us that Hale was still there, even though we had almost no Eliot.

But just take a second to look back on this season and observe the dropping of so many plotlines for the sake of this very rushed finale.

Kady and her Hedge Witch revolution

The McAllister family

Alice's journey of self-discovery

High King Margo

High King Fen

Julia being powerless

The Library's authoritarianism

The Monster's Sister supposedly being the scarier of the two

Penny and Fogg and Josh were kind of just... there

Setting up a Queliot reunion and a Qualice reconciliation only to not deliver on either

The Monster's "supposed" love of humanity

They tried really hard to give us a major plot for every main character but never actually delivered on them, just using them as a smokescreen until they could shock us with that finale, which was so rushed and obviously tacked together at the last minute to try and wrap everything together. If that was their (the writers) intended purpose, they failed spectacularly.

This season could have been amazing, but the writers were trying to juggle too many balls at once, only to toss almost all of them aside at the last second and only catch two.

One way to fix this whole mess would have just been to introduce the Monster much later, or even in the finale, having the possession of Eliot happen in the finale and set us up for that plot next season. They could have even worked in the fact that magic is now back on fullstop and actually explain how the possession happened, by having them have to go back to Blackspire to remove the Siphon, which would have led to a direct confrontation with the Monster. This season could have been about figuring out how to stop the Library with a B Plot of Julia figuring out her new status and actually letting her make the decision, rather than taking her agency from her again after revealing the decision at the last possible second.

So much if this season could have been fixed just by simply adjusting their pacing and using their time correctly.

#long post #sorry not sorry #josh talks shit #the magicians #why this season sucked #the magicians spoilers #i don't even know if any of this makes sense #i'm tired and it's late #here's hoping y'all can understand my thought process

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incomprehensiblelentils · 5 years

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Fanfic Ask Game

@swiftjolras tagged me, thanks so much buddy! <3

At what age did you start writing fanfiction?

I literally have stories that I dictated to my mother between the ages of 2-6 about Winnie the Pooh and his friends, some of which I also “illustrated” and some of which my mother illustrated. One of these involves Tigger (my favorite) getting kidnapped and tied up, so uh. I’m not going to say that I was always destined to end up writing the kinky shit I write on a regular basis now but if someone else were to say it I wouldn’t argue lmao

Who is your favorite author?

I’m not sure if this is asking for my favorite published author or fanfic author, so let’s do a few of each! My favorite published authors are J.R.R. Tolkien, Justine Larbalestier, Scott Westerfeld, Malinda Lo, and Celeste Ng. My favorite fanfic authors are my wife (whose AO3 name is easily guessable if you look at my AO3 lmao), my pal @swashbucklery and also there was this author that went by the name JackEPearce and used to write really neat Skimmons AUs, idk if they’ve written any of those lately but I loved a lot of their stuff.

Favorite type of scene to write?

Dialogue lol. I have (not to brag) a really acute sense of what characters’ voices sound like probably 80% of the time, and I love writing them bouncing off each other.

What is your favorite fanfic?

Ooh I answered this awhile back in an ask meme actually! So there’s like, five recs. And I have a page on my blog for fanfic recs but it hasn’t been updated since the days when I still regularly reblogged Buffy and Firefly stuff so who knows if any of those links work, lmao. (I still am extremely fond of Small Fry and Son of Small Fry and I know those are on AO3.)

What tags do you avoid like the plague?

I’m very wary of Major Character Death, it really depends on the circumstances. And I almost never read soulmate AUs because I find them generally irritating. (The Matt/Foggy fic from the last answer is the best exception I’ve seen so far.)

What AU do you wish to write but feel like you won’t manage?

Someday I’m going to write the SHIELD s5 AU where Ruby doesn’t chop Elena’s arms off and also doesn’t die, and and then she becomes the Zuko of the group and becomes Daisy’s weird protege, because she should have been Ward’s narrative opposite goddammit. But that would require me to rewatch season 5. Someday!

Oh, and someday I’ll also finish the AU where dark!Sif and Lorelei fall in love and conquer the realms together. You may notice a pattern and it is that I am generally dissatisfied with SHIELD’s handling of female antagonists.

What has been your favorite story to write so far?

Who among us is surprised that I’m going to say my werewolf AU, the fic which most represents my soul. But also popstars AU is I think B’s and my most underrated fic, probably because who reads Kara/Melinda lmao but goddammit it’s CUTE. I also surprisingly really enjoyed writing the Stucky high school AU, which was a wild departure from my usual but seemed to go over pretty well all things considered. (It’s not that I don’t love the Skimmons stuff because I do!!! But a lot of it is um, porny so I don’t want to link it lmao)

Do you prefer to write one-shots or multi-chapters? Why?

If I’m writing a one-shot, it’s either going to balloon out into an absurd length or be a smut fic. And even then I end up making them into series so I’m not sure if that counts!

What is your favorite kind of comment?

I love getting literally any comments but I especially like it when people shoutout their favorite part/line. I don’t think I’ve ever gotten a comment where someone liveblogged all the bits they like but that would make me so so so happy.

Why did you start writing fanfiction? Why are you still writing it?

I mean, apparently because I was a kinky little kid who liked it when my faves got tied up lmao. But also, I didn’t have a lot of friends as a kid and I think I just wanted more stories about my fictional “friends,” so I told them to myself at recess and while I was going to sleep. Then when I started posting it online, it was a way to get involved in a movie that I loved (The Incredibles) and a way to force my extremely patient middle school friends into my fandom. Bless them, they faithfully read every terrible chapter I printed out for them and brought to class to share.

I am still writing it because the Marvel Universe is determined to not give me girls kissing (with the exception of Runaways) so I will just have to fix that my goddamn self apparently.

And I’m tagging @swashbucklery @toriasimmons @allofthefeelings @bluediamond421 and uhhhhh honestly I know I’m forgetting people bc my brain is a sieve so if you see this and want to play pretend I tagged you! <3

#sometimes i write things

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octannibal-blake · 5 years

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Find your fandom kru and help them find you. Answer the following and include the tag #the100blog in your answer, then tag some of the blogs you follow.

tagged by some of my faves: @easilydistractedbyfanfic @pendragaryen @viviansternwood @carrieeve @peterstarkss @kinetic-elaboration @thelittlefanpire

1. What are your primary topics?

This is mainly a The 100 blog and I am a blarke hoe for life.

But when I’m not blogging about all things the 100, i also dabble in other fandoms which includes, but is not limited to: Game of Thrones, Misfits, Titans, Cloak and Dagger, MCU, Timeless, The Gifted, The Rain.

2. What tags should a visitor check?

#the 100 - all related content goes under this tag, so it’s the best place to start, though not very specific lmao

All characters have their own tags as well

#bellarke - all bellarke content, including gifsets, text posts, edits, etc. goes under this tag

#the 100 crack - all crack posts, if you ever need a laugh

#my writing - all my fics, fanfiction and ofic are under this tag (99.9% is bellarke fanfic tbh)

#fic recs - any fic recommendations i have are under here if you’re looking for something to read!

#GoT - all game of thrones content can be found under this tag and i do blog about it quite frequently (while it is airing), so i felt like i should include it

#liz answers - all my inbox replies go under this tag, which is mostly helpful if you ever ask an anon question and are trying to see if it was answered.

#humor - memes

I also use #the 100 spoilers,#GoT spoilers for all liveblogging, recent episode discussion in case you need to blacklist for spoilers

3. What I love about the 100?

There are a lot of things, believe it or not. I’m not great at articulating myself sometimes, so you get more bullet points:

post-apocalyptic setting

teens being left to survive on their own, meaning they have to grow up too quickly which mirrors the reality of many teens in the real world?

bellamy blake

clarke griffin

bellamy blake and clarke griffin enemies to friends to co-leaders to transcending romance god tier development

john murphy character development

everyone living in the morally gray -- meaning that everyone has a different perspective and different idea of what is right and what is wrong and this often times gets blurry and you never know who’s side to choose because sometimes, the choices they have to make all suck

the theme of “who we are and who we need to be to survive are very different things”

the cast

everyone has done phenomenal acting, but bob, eliza, and marie never fail to take my breath away.

all the characters, honestly. sometimes the plot can be silly or not make any sense, but if there is one things this show has nailed, it’s making the audience LOVE the characters.

4. What do you hate/what frustrates you about the 100?

jason’s obsession with being ‘different’ and caring more about shocking plots than making things make sense.

the fandom culture that in order to be pro-character you have to be anti-another character

stan twitter

when the plot drives the characters instead of characters driving the plot

e/cho’s entire character arc being wasted when there was so much potential

the loss of roan, luna, anya and lincon.

jason killing of the black men of this show consistently (side eye emoji)

basically, a lot of what jason does lmao

5. Is this exclusively a the 100 blog?

pretty much. though i blog about other things on occasion, it’s most of what you’ll see.

6. What else should people know?

I don’t engage in ship wars because i, personally, think they’re dumb. ship and let ship. i believe that everyone is entitled to interpret what they watch in their own way, and just because it might be different than what i or the majority think, doesn’t mean it’s wrong. i believe in practicing kindness, keeping an open mind, and having discussion.

criticism is okay! you’re allowed to not like something. sometimes i don’t like things in the show, choices made, etc. but i don’t put up with hate. and by hate, i mean people who actively post negativity, send negativity, and bash anyone who thinks differently about characters, fics, the show, etc.

sometimes i randomly disappear for mental health purposes. i’m super inconsistent with posting fic updates. sometimes i’m in ‘fight me’ mode, which is typically where you’ll see me at my most petty lmao.

the big one, the one thing that has gotten me into a ton of trouble in the last few months, is my belief that all fiction has a right to exist, that fanfiction writers should not be held to a lower standard than published writers. basically, i am an advocate for the attitude of ‘don’t like, don’t read’. and maybe don’t assume to worst of people, along the way.

tagging some other faves who might want to do this: @youleftme-clarke @bettsfic @asroarke @starboybellamy @selflessbellamy @sly2o

#tag games #personal #about me #*loses 100 followers*#the100blog

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chromsai · 6 years

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GX Review

I’ve finished my long, grueling trek through GX and so now it’s time for a quick review. I don’t want to make this too long because I don’t wanna continue rambling on the same points I made throughout my liveblog, so let’s get this goin’ already...

Season 1 (Episodes 1 - 52)

This beginning fourth of the show introduces us rather gently to GX’s trend of “filler” episodes, or, rather, episodes that introduce us to villains-of-the-week that serve as fodder for our protagonist (and sometimes for GX’s side cast characters). Yes, GX is that kind of show. While I’d say it’s worthy to note that not every episode or characters is exactly boring, what is boring is GX’s complete refusal to build up its own world beyond just the span of the perspective of a few characters. It’s such a shame, really, because the concept of a world which takes dueling to a whole new, professional and academic level is quite interesting but it’s not explored much this season. That being said, certain characters are fun and have interesting enough beginning development brewing up slowly, however the group of main villains introduced in the second half are almost all incompetent and lacking in any appeal to the main cast, and even less so to the audience. They’re overall forgettable, as are most of the episodes this season. It certainly doesn’t help the side cast’s appeal that the majority of the duels are dependent on Judai, the protagonist’s, victory, leading us to quickly (and appropriately) assume that even they are easily expendable. Still, there are fun moments here and there, especially when the show doesn’t take itself too seriously, which is something that GX later tries to “fix”.

Production value-wise, it’s passable in terms of animation and sound design (which admittedly gets repetitive), but not anything to write home about.

Overall rating for this arc: 2.7/5

Season 2 (Episodes 53 - 104)

Season 2 introduces a bit more of a proper overarching conflict throughout the next 50 or so episodes. We’re introduced to a cynical villain and a new rival for Judai that leads him to develop... or so we would figure. While it does indeed seem so at first that Judai is about to undergo a bit of growth, mainly Judai’s defeat to this new “rival”, Edo Phoenix, leads him to the discovery of a new archetype that he tacks onto his deck as easily as that. While this season has a bit less of the villain-of-the-week -esque episodes, it still drags along its cast to near helpless states, which Judai is expected to eventually save them from. The overall plot focuses on the main villain Saiou and his relationship with Edo, however the spotlight is stubbornly set on Judai and of course all other characters are as expendable as Judai is the protagonist, and oh boy is he ever the protagonist.

We get a bit more world building but nothing is ever expanded upon too thoroughly as all the world building we get is mostly through side-character agency, which, as you may have already noted, doesn’t ever last too long. Production value-wise, it’s about the same as Season 1. For me, the most enjoyable moments included expansion on Edo’s backstory and Hell Kaiser Ryo’s fall into the corrupted underground duels scene, but again... those moments aren’t too often. I’ll give this season a bit more points for at least keeping a consistent plot line running, even if it was marred with nonsense and irrational interactions between some of the more, in my opinion, potentially interesting characters of GX’s cast.

Overall rating for this arc: 2.9/5

Season 3 (Episodes 105 - 156)

Ho boy.

Not sure how many people read my review of DM, but this arc suffers from a lot of the similar issues found in the Doma arc of that show.

I want to emphasize that up until now, the show’s central themes (about... having fun with dueling... and.... believing in your cards (?), as well as... growing up (???), destiny(?!??!???)) have not only been vague and jumbled, they’ve also been laughably weak, so when GX decided to use this season to finally “get serious” about addressing it’s “maturer” tones, you can probably guess how that played out. Hint: it plays out as well as any fanfic tagged under the “#angst #war au #self-insert” tags you’d find on the 13th page of AO3 at 3am after your 8th shot of vodka because you’ve lost control of your life, just as this show has lost control of all sense of its identity.

It’s illogical, melodramatic, dreary, predictable, and just a drag to get through. When Judai’s “friends” aren’t sucking on his poor, abused teet, then you can bet the show is doing its damnedest to appeal for you to take your turn too. It envelops him in this over-glorifying aura that just screams “look at me, I can do the development too” but then falls flat, settling on an anticlimactic plot twist that makes you question why you didn’t just skip to the last episode.

It has a few quirks here and there, I’ll give it that. A few sassy lines from a character here or there makes it a clever show, right?

Overall rating for this arc: 1.5/5

P.S. Yes, this is the season every ardent GX fan wants you to see. This is the one that makes it “worth it”. Right.

Season 4 (Episodes 157 - 180)

Just when you thought the worst is past you, your beloved GX characters have made it back to their regular daily lives, more or less, but then, suddenly, you’re enshrouded by endless DAAARRRKNESSS.

DAAAAAARRRKKKNEEESSSSS.

DAAAAAAAAAAARRRRRKKNEEESSSSSS.

*Ahem*

Judai returns as well, having developed into a much less sociable young man. He’s oh so very pleasant to be around now that he actively ignores his friends, but, of course, this is due to the traumatic experiences he went through in Season 3. He’s now a grown up. A fully fledged adult. And mature. And the show will make sure you know this. If you don’t like it, that’s your problem.

Judai withstanding, which is now extremely difficult to do for this show apparently, I can promise you that none of your favorite characters will receive proper treatment throughout this arc and only a very limited number of them will receive a proper send off. And the plot for this arc? Well. It’s pretty DARK. As in there is not a single shining fleck of light emanating from this rushed story line of a final arc.

Overall rating for this arc: 0.6/5 (I stand by my belief that 4Kids’ decision to end their dub of this show at the end of Season 3 was the correct narrative choice to make for this show).

Final Overall Rating for this show: 1.9/5.

Final thoughts: My final calculated score may seem rough but I agree with it. GX is not well written and, to be fair, that may have been due to the fact that, as the first spin-off of this anime franchise, the show’s producers seemed to have had an air of skepticism when approaching it. While I enjoyed watching it as a kid, a fresher perspective on GX didn’t bode me as well as I initially believed it would. I did enjoy some of the cast of characters, but I found their written development overall disappointing. And Judai for me could have been a likable protagonist but he ends up coming off as pretty insufferable and egotistical by the end of the show. Despite this, I think the rating I gave it reflects that there is something salvageable from it: character concepts and alternative theories of its under-developed and underutilized ideas. Nevertheless, it almost hurts me to say this because I do still see it as having been a part of my childhood, but I see now that it is no longer a show for me and I think it’s best I’ll keep it in my past.

Bonus note: Having revisited some clips of the dub, I believe it to be the more enjoyable of the two versions due to the fact that it doesn’t tend to take itself as overly serious so its themes don’t come off as disingenuous as the original version definitely does.

#sai watches gx #ygo hell challenge #i don’t wanna say much more...#yes i know the seasons have names but i don't care

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sinesalvatorem · 6 years

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Long Term Acid Plans

So it seems some people interpreted the blog posts I made while I was on acid - when I was trying to immediately get down some novel information while being bad at communication - more seriously than I intended. So I should specify what has happened so far and what I plan to do:

All doses I took until last week were below the threshold for actually psychadelic effects. I just took moderate doses where the main effect is stimulating learning and improving creative thinking.

(Dose zero was a test I did about two months ago of an extremely tiny amount so I could be sure I wouldn’t have an unusual adverse reaction to it. Even then I had benzos on hand to bring me down. It mostly just made me slightly loopy and made everything around me nicer.)

The first time I did a large enough dose to noticably impact thinking was the afternoon after my abuser had kind of pushed me to a ‘last straw’ sort of moment, but I didn’t have the confidence to actually upend my life to escape. Then I had a change of perspective, realised how stupid I’d been being for months, and entirely noped out of that bullshit. Since then I’ve been living somewhat precariously (until now, when I’m actually decently stable and safe), but I’m vastly happier, and I think that indicates that I made the right choice. Had I not made that choice, I wouldn’t have a life worth living today, and I have little confidence I’d have had one later either.

The second time I took acid I ended up having conversations with some friends and acquaintances that helped me realise the shape of the holes in my social presentation style. And, as such, why I was so bad at enforcing my boundaries (or having them in the first place). I also was able to make plans with some helpful people that will probably make it easier for me to unfuck my life in the long term.

The third time I took acid was in an actually controlled environment, at which point I took a full dose with psychadelic effects. This was the experience during which I tagged @aellagirl because I wanted to know more about fixing the effects in place. During this trip, I realised the extent to which being around other human beings causes their mental states to bleed into mine just in general, which allowed me to recognise the value of introvert time. I also learned to actually directly value maintaining my boundaries, which is admittedly not the stereotypical acid outcome, and expect to be a lot better at enforcing boundaries in the future.

I also ended up experiencing pain as pleasure, because I started interpreting all intense experience as euphoria. I was very good at sinking into specific experiences if I chose to, except that if my trip partner was in the room I would necessarily devote at least part of my mind to simulating theirs, which prevented total immersion (except that I could still do total-immersion in empathy). Furthermore, I saw entire worlds composed of beautiful shifting geometric patterns. I’m not under any illusions that this world exists, but it was one of the most beautiful things I’ve ever seen and I’d love to make art of it at some point.

But taking a full dose led me to be more confident of some of the things I’d noticed at lower doses but assumed would stop being true of me at higher doses. For one thing, I was entirely lucid and had no trouble switching between short/medium/long term planning. I was directly enjoying and paying attention to each experience, but also curating the music for my trip partner and I and thinking of songs to switch to based on apparent fluctuations in my partner’s mood. Plus I never lost track of what my post-trip plans were.

The other thing was maintaining enough internal emotional control to make bad trips in general exceedingly unlikely. Generally, any time I might be tempted to feel anxious, I just notice that getting anxious would be dumb and... Don’t do that. This is also what I do when I’m sober, which is why I didn’t see a lot of risk to taking pre-psychadelic doses of acid. I’m just more confident that my sober mental skills transfer to (at least one tab of) acid than I was before. The only time I got anxious throughout the whole trip was when I purposefully induced anxiety so I could enjoy it masochistically, and it ended the moment it was no longer the thing I wanted to explore.

I also had no trouble managing the emotions of my trip partner throughout (which I later realised might be its own issue) and, when she went nonverbal near the end, I started liveblogging aloud her thoughts and emotional state since it felt unfair that she could no longer do this for herself. (I was mostly right throughout this, which I could confirm because she reinforcement-learning!trained me by nodding and shaking her head.)

Having now experienced acid three times, with the most recent one having major (and mostly positive) effects, I want to figure out how to fix some of these effects in place. And my first step is... Not taking acid. In fact, I plan to avoid intoxicants in general for about a month.

My goal is to see how much of the temporary mental shifts due to acid I can fix in place into my sober life using just mindset-regulation. As is evidenced from the “Just don’t get anxious” thing, I’m reasonably good at altering mental states with just conscious attention. I’ve currently been working to keep the masochism on fulltime, which seems to be partially working. I’m hoping other aspects of sensory perception while tripping are also things I can bake in long term.

I think I’m unusually well poised to do this because, well, my baseline is actually unusually acid-like. I have near-unlimited patience in a lot of situations, like waiting for the train, because I have little difficulty immersing myself in my current sensory environment and appreciating each tiny fluctuation. I have a generally rose-tinted perception of, well, everything, because I mentally filter my attention to focus on the good over the bad, and to feel the good components of any experience more strongly than the bad ones. By default, I have whatever the reverse of depression is. Plus I have enough conscious control over this that I can hear the same piece of music five different ways sequentially just by adjusting my filter of what components of the piece are most salient. (It’s really fun to point out different elements of a piece to someone in real time and have their face light up as they notice it and their experience shifts :D)

I’m already a universal love kind of person and find it easy to fall into other people’s experiences through empathy. Plus, given time to zone out and self-focus, I can drastically alter my mental state at will using meditation-adjacent things I developed for myself. Oh, and since I was 12 I’ve been able to move sensations of heat around through my body basically at will in ways that have led the more woo-y people around me to declare that I’m close to “Awakening” while I rolled my eyes.

It’s worth noting that, despite having always been a human composed entirely of ecstasy and acid, I’ve never really fallen into mysticism because of this. I’m just not easy to convince of wishy-washy stuff, even if the wishy-washy stuff attempts to flatter my biases. Especially if the wishy-washy stuff flatters my biases. Oh, so my weird successes with meditation prove that I’m more awakened than other people? What reason do I have outside of my ego to possibly believe that?

See also: Me not thinking my acid visions depict a real place, and the fact that at no point on my trip did I lose the feeling that there was an important sense in which my trip partner and I were distinct people. (She lost that sense, though. Admittedly, I sort of trolled her by mimicking her motions and body language at times to increase this effect, because I’m a terrible person.)

However, at the same time, I’m certainly not convinced enough of my own uniqueness not to think I could possibly experience ego death, loss of lucidity, and a sudden devotion to glowing racoons. But, well, those aren’t things I particularly want? I mean, maybe very temporary ego death, but temporary is the key. I want to use acid to steal techniques for improving my existence, but I don’t want to experience values drift on what my goals are or even whether to have goals.

This is part of why I’m trying to see how much progress I can make during a period of sobriety (which I’m having while in a much more comfortable/stable environment), and why I want to know what the effects of acid-drift are from @aellagirl in as much detail as possible. (Do you have notes or blog posts you were writing during the process, so I can do timeline analysis?)

#tragic backstory #life goals #we are a crowdsourced search engine #drugs cw

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bluerosesburnblue · 6 years

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Liz Liveblogs Bravely Second: Final Thoughts

Alright, as promised, let’s take a deep dive into my experience with Bravely Second. I’ve done the postgame, not really much to talk about. All it really is is unused dungeons that appeared in Default, but not Second, repurposed to hold missing enemies with a set encounter rate. Game’s been 100% completed besides some of the Ba’al bestiary entries, which I’m working on. (And by 100% I mean all Bestiary entries completed, all item/equipment journal entries completed, all character levels and job levels maxed out, all songs unlocked in Chompcraft, and all Titles collected.) So, now that there’s nothing left to do but hope for the best at Fort-Lune, I’ve taken some time to organize my thoughts and gone back through the liveblog to see if any of my opinions have changed

Speaking of the liveblog, I saved it in a word document when the Tumblr purge happened, just in case, and that thing ended up being 98 pages/53823 words long. So wow. That’s more than the entirety my college thesis paper. Kinda nuts how much I can write when I’m motivated. So now I’m gonna write EVEN MORE

Major spoilers for Bravely Default, Bravely Second, and also Undertale follow below

I suppose I should start this post by talking briefly about my history with the series, since I only liveblogged Bravely Second and don’t think I’ve said much about Default before

I beat Bravely Default about three years ago (shortly before November 8, 2015 if the email I sent to my best pal anheiressofasoldier, who I will not tag as she’s avoiding Bravely Second spoilers, is any indication). I binged the game while at college, because I wanted to be able to play Bravely Second when it came out (...whoops). Around the time I really started getting into the game, indie darling Undertale came out, and I spent a lot of my time bouncing between playing Bravely Default and having Undertale playthroughs going in the background while doing schoolwork/grinding in BD. I learned one thing about my tastes during that time: I really love meta plots in games and the way that they both utilize the system’s capabilities to mess with the player and integrate the player into the story, expanding the lore and fostering the sense that you, behind the screen, really are a part of this story and a member of the world of the game, just like all of the other characters. It is a fascinating story mechanism, and it’s a surefire way to get me invested in the narrative

Makes it kind of funny that the Undertale spiritual sequel/AU, Deltarune, came out just as I was finishing Bravely Second. I guess the two series will always be tied together for me

For those unaware and who also don’t care about spoilers, Bravely Default and Undertale are both RPGs with similar twists at the end. Namely that you, the Player, are a full-blown character and active participant in the world of the story. And also that saving the game is an in-universe thing. Bravely Default reveals during its final boss battle that another realm exists, the Celestial Realm, and when it’s depicted the game uses the 3DS camera to show the player’s face, creating the narrative that the villain, Ouroboros, is attempting to break out of the “game” into the “real world,” and the entire plot of the game has been revolving around this fact. It is also revealed that “The Celestial” has been keeping Tiz alive and guiding him, and when he severs the bond between himself and the Celestial, he collapses and the game ends. You, the player, lose control of the character because he breaks your bond, which means you can’t play anymore

The first hint that there may be more to Undertale’s story of a human falling into the Underground land of monsters is during the final boss of a Neutral run (necessary to get the Pacifist ending and the first ending most people see), where the main villain, Flowey, abruptly crashes the game. Booting it up again causes the intro to glitch out and the save file to show what appears to be Flowey’s own save file. When accessed, the player is loaded into a black void with nothing but a save point. Accessing that causes Flowey to delete your save file (not unlike what Providence tries in Bravely Second), which begins the final fight against him. During the fight, he makes use of Save States to reload you back into the way of his attacks. This messing around with the player’s save data is only the first part of the game’s meta twist. Another reveal happens at the end of its Genocide route, where the player actively guides their character into eradicating every last monster in the Underground. You have to actively stay in each area of the game and kill everything you see until every enemy encounter becomes a blank screen with the message “But nobody came...” There’s no way to just accidentally end up on this route. Like, I cannot stress that enough. Very few people actually see the Genocide route, but its reveal is integral to understanding the overarching story

The final boss of the Genocide route is designed to actively screw with the UI (which is what I referenced when fighting Providence). His attacks change the shape of your action box, where you’re intended to dodge attacks in bullet hell segments, around. Some of his attacks are in the menu, hitting your icon in the text box and the buttons to select your action for each turn, constantly damaging you. There’s no downtime in this fight. You have to always be moving, because now he’s attacking your safe zones, just like Providence’s Bravely Second attack. There is no safe place from damage against these bosses. The trick to beating Undertale’s Genocide boss is to wait him out and dodge his attacks until he’s tired, and then use the time he’s asleep to move the action box into the menu to access your commands. Then, at the very end, you’re taken to a void and speak to a child you’ve never seen before, who informs you that you’ve both been controlling the main character of the game, Frisk. In a Neutral or Pacifist run of the game, this child is content to let you take control, and in fact may not even awaken as an entity possessing Frisk at all. In a Genocide run, however, they get so gung-ho about killing that they take control from you at various points. Noticeably, in the Genocide route, “Frisk” seems to act on their own a lot in cutscenes, something that they only do occasionally in other routes. The Mysterious Child informs you that they are the Fallen Child that the player named in the beginning, and that they also believe that they are some manifestation of... I don’t know how to phrase this. Game addiction? Completionist tendencies? They call themself “the feeling you get when your stats go up” or something along those lines. They ask you to destroy the world of Undertale with them and move on to the next game, where you’ll do the process over again together, killing all enemies and the “beating the game,” over and over until there’s nothing left. Accept their offer and the games ends there, the game’s world is erased. Refuse, and the Fallen Human informs you that you were never in control and attacks the player directly, causing damage numbers to be displayed across the screen and the game to crash instantly after. Booting it up again in either situation leaves you with nothing but a black screen with wind noises. 10 minutes after booting up that screen, the Fallen Human will offer to reset things so long as you sell them your soul. Accept, and every time you play a Pacifist route again the happy ending will play, before showing Frisk abruptly becoming possessed by the Fallen Human

I’d hazard a guess that what takes Undertale from being a goofy, lighthearted game with fun jokes and a lot of emotional moments into a ridiculously fascinating game to analyze is that reveal. The realization that the Player is a character takes that game’s story from good to great in a very short amount of time. Everything changes. And that’s exactly what happened to me with Bravely Default, which suddenly went from a cute throwback game to nostalgic RPGs (of which I have played none so there really isn’t any nostalgia there for me) that I genuinely enjoyed both the story and gameplay of to a brilliant game that I couldn’t get enough of. In fact, I’d go so far as to say that seeing that plot thread in Undertale is what made me appreciate its appearance in Default and hope that the lore there would be taken up a notch in Second. And honestly, I’d say it did. Gameplay-wise, it doesn’t go nearly as hard into it as Undertale does, but I don’t think it really has to. It’s not the same game, it just draws on similar themes, and I think it does that really well with the 3DS hardware. And to the Bravely Series’s credit, its integration of the Player into the narrative is done very well

So with all that said, what do I think of Bravely Second as a product? I had expectations, obviously. I expected to get more lore about the Celestial and the Celestial realm and was not disappointed. I went in spoiled on quite a few things, namely:

Anne is Airy’s sister, and is evil and works for a purple-ish pyramid named Providence

Ringabel is in it. Or at the very least, Alternis takes his helmet off. But it was probably Ringabel

The Kaiser’s real name is Denys Geneolgia

Obviously I knew who the asterisk holders were, since I had a list, so that spoiled Yōko as an antagonist to an extent, as well as a few tricky methods to beat bosses, namely Rev

A general overview of some sidequests, mostly Profiteur vs. Holly, Barras vs. Einheria, and Khamer vs. Alternis. You know, the controversial ones

Tiz/Agnès, Ringabel/Edea, and Yew/Magnolia are endgame ships

There is one time loop in the game. Not a world change, but a genuine time loop

I didn’t even pay much attention to pre-release info for Bravely Second, but try as I might, I can’t ever seem to completely avoid spoilers 😓. Oh well. The good news is that none of them really ruined the experience for me

Bravely Second is something that I haven’t seen in a long time: a good sequel. Good GOD have I seen games ruined by their sequels. Maybe I’m just bitter about the sequel hook in TWEWY Final Remix, which makes it seem like the writers have no idea what to do with a sequel, despite having a rich world to set it in. SO MANY sequels just rehash the first game, contradict its ending to get rid of everyone’s happy endings, or else try to explain things that didn’t need explanation (and explain them poorly at that). Bravely Second completely destroyed any of those worries for me. Everything feels like an expansion of the world and characters, done tastefully and with nothing but love for the first game that it’s expanding the lore of. I really felt the heart that went into making it while playing the game, and I have so much respect for the people who made it

Now, it does hit some similar plot beats, like the betrayer fairy who turns out to be working for an extradimensional being looking to mess with both the Celestial Realm and Luxendarc, but I love the twists it made to the formula. Bravely Default was a deconstruction of nostalgic JRPGs, where the helpful guide turns out to be working for the villain and tricked you into doing their dirty work, and instead of saving the world you were dooming it. Bravely Second then takes that plot and flips the perspective on it. They make the person being led by the fairy to open the Holy Pillar the villain, and he believes that he’s saving the world just as vehemently as the party did last game. Which almost makes him the perfect sympathetic villain, since he serves as a counterpoint to the main party who can understand exactly how he got into that position once the full extent of it has been revealed

At no point did I feel that Bravely Second’s added lore hampered the game, or ruined what I knew from the first game (I can easily ignore how silly it is that “oh all of the asterisk holders you killed last game were actually alive!” because I understand how much extra effort it would have been to design all new holders for old asterisks just to justify their inclusion in the game. It also might backfire for fans of the original characters who’d want to see their old favorites included.) Bravely Second’s lore expansions are only ever beneficial to its narrative. The expansion of the Celestial lore and the Plague, largely footnotes in Default, are turned into driving parts of the narrative in ways that only seem to make the world feel larger and older. Lived in. I can only hope that Bravely Third, or whatever it end up being called, keeps up the trend

And Bravely Default didn’t have the happiest of endings, with Ringabel getting a second shot to save his version of the party, but at the cost of abandoning the friends he’s made on this journey. Tiz is comatose, Til and Olivia are still dead, Edea is alone, and Agnès is left to reform her entire religion while fully believing that one of her friends is gone forever and the love of her life may never wake up. I am extremely grateful for being able to take that bittersweet ending and make it a happy one

On top of the amazing graphical upgrades, which stay true to the feel of BD while making everything feel grander, and the tweaks to the battle system to allow for minor enemy variation and the Another Round feature, which gives some incentive to carefully managing BP consumption, and some really fun new jobs, and I’d say I like Bravely Second even more than Bravely Default! (And browsing the internet, it seems like that’s an unpopular opinion. Dunno why, might be the fact that Second is goofier in its first half than the overall tone of Default and relies less on nostalgia for old RPGs). Bravely Second is where I feel the series went from a neat homage with some interesting gameplay innovations to a real adventure with its own unique world and story to tell

So what about the main characters, then? I’m gonna consider the main characters Yew, Magnolia, Edea, Tiz, Altair, Denys, and Anne, as they’re the ones who arguably drive most of the plot

Yew Geneolgia is the character that I was most worried about when I started playing this game. I was really expecting him to just be “Tiz but Younger” and I was happily surprised by what I got. If the liveblog didn’t make it clear, I LOVE YEW. He is such a genuinely sweet boy, who’s chipper and nerdy and so dedicated to his loved ones and I can’t help but relate to him. He’s like the perfect little brother I always wanted (I love my actual younger brothers but they ain’t perfect). His growth is incredible. He goes from a scared kid singing off-key to himself in the woods to keep calm to staring down the god of the realm of people that act as gods to him and telling him to get lost, all without ever losing his kind and dorky nature. He learns the importance of taking your mistakes and growing with them. His sense of familial duty is so wonderful to see, and he serves as an excellent foil to last game’s lead character, Tiz. We went from a low-class farmer and dutiful older brother to a high-class noble and dutiful younger brother, and the flip in perspective with the lead characters only serves to highlight the flip in perspective on the story as a whole. Yew is a Good Boy™ and I couldn’t ask for a better lead character in the game, especially since he’s not even on the cover of any version of the game? Bravely Second is Yew’s story and it’s a damn good one

Magnolia Arch is... honestly kind of underwhelming? She was marketed as the big female lead of the game, she’s the star of the teaser at the end of the international version of Bravely Default, she’s on the cover of some versions of the game! And I... uh... I like her just fine, but I don’t feel like she really served much purpose. She’s got a nice design, I like how sweet she is and her sense of curiosity as a newcomer to Luxendarc, but I don’t feel like she had much... point? She really feels like she was just there to introduce the major plot point of the Ba’als and be a love interest for Yew. I just can’t think of anything she really contributed to the game besides that. I don’t hate her by any means, I just wish there was a bit more to her than minor worldbuilding, especially with all of the buildup she got

Edea Lee is the person I would call the actual female lead of the game, just a different part of the game than Yew is. She’s the protagonist of the sidequests (sans the Yōkai quest, where she gets slightly lesser billing than Yew, but is still a major focal character.) Also, like Yew, she had little marketing. I really respect what they did with Edea. She was one of the most developed characters last game, having her whole arc where she learned to see the shades of gray in morality. So where do you go from there? How do you keep the character interesting without contradicting or repeating their character development from the last game? And my god did they do it with Edea. I love how she legitimately seems to have grown up in Second. She’s learned to see the complexities of situations and acts as a mentor figure to Yew, while still retaining her spitfire qualities... in the main story at least. Her development is actually about taking what she learned in the last game and applying it to a leadership role (which is what the sidequests are supposed to do, but really fail at in execution. More below.) She gets a different arc that complements her arc from last game, where she takes what she learned and now has to figure out how to apply it to a new role. The focus is less on learning to be a decent leader and mediator. It’s a continuation of her character, and it works really well. Ultimately, I’m happy with what we got of Edea (in the main story not... not necessarily Sidequest Edea, who may as well be a different character impersonating the real Edea for how much they have in common)

Tiz Arrior has a similar dilemma to Edea, and a different solution. What do we do with a character who’s already had a full game to be developed? Edea got a new arc that extends off of her first one, taking it in a new and mature direction. With Tiz, however, they decided that he would remain flat in Second, since he got the development in Default and seems content with where he is, personality wise. Like Edea, he’s placed in a mentor role, which I do really enjoy, but Tiz’s real strength in this game is how they used him for worldbuilding. He’s the perfect avenue to explore more of the lore surrounding Celestials, being the closest character to them thanks to his bond with one in the last game. So what does Bravely Second do? What it does best. It takes plot beats from the original and flips the perspective to give the player a new and better understanding of its world and characters. In this case, they take Tiz’s Celestial bond from the first game and give him a new Celestial to bond with, who is more than happy to exposit on his world and the world of Luxendarc. Like Magnolia, I feel like Tiz is much more of a worldbuilding device than a character in Bravely Second, though unlike Magnolia I can excuse this since Tiz already had a whole game that he was the main character of to be developed. We already like Tiz, so he has nothing to prove to us, and it feels good to see him get his delayed happy ending. Weird, though, how the two characters shown on box art for this game have the least impact as characters, though I suppose you could argue that they’re both tied to the main plot though other means. Other means such as...

Altair. Oh, Altair. You weird vegetable-loving alien man. He really grew on me, actually. I find it really interesting that despite constantly stating that the player is a Celestial and implying that the real world is the Celestial Realm, Altair comes in and almost seems to contradict that. Through him, we learn more about the Celestial Realm and, by extension, who and what kind of entity the Player is in this story. Is he aware of who we are? Who knows! He’s a good avenue of lore that I’m fond of. And if Yew is the emotional heart of the main story, then Altair is the emotional heart of the climax. His bond with Vega is what drives a lot of the overarching plot, and it’s a sweet romance. I dunno, I like Altair. I wish he was a little more meta-involved, and gave a little more info about the Celestial Realm, but he did good for what he needed to be. Team Dad’s good

Denys Geneolgia is tied for my favorite character with Yew and I’d talk about him but I already did and nothing’s really changed about my opinions since then, though the rewritten talk with Anne might need to be changed since she apparently doesn’t even know the player exists on the second loop, somehow. Oh well. I wouldn’t be upset if he was a party member in Bravely Third though *wink* *wink*

Anne is cool. Anne is a good foil to Airy, and my rage at realizing that she’s been playing the player since the beginning of Bravely Default is definitely a highlight. She’s a good foil to her sister from the last game. I mean she’s basically Airy taken up to 11 and without the pretense of being a good guy in this game. No, she got that out of her system last game and is in full blown Manipulative Bitch mode this game. She’s a fun villain to have on screen. Very punchable. I’m not sure if there’s much more to say about her, though. I would have loved to see her interact with the player more than the one scene where she taunts us. Just really rub it in that even though we’re a god in Luxendarc, she still managed to deceive us. Maybe expand on her relationship with Airy a little more, focus a bit more on her status as a foil to Denys. She’s a good antagonist, I just would’ve done more with her

We’ve covered the good, so what’s the bad? The sidequests. I’ve gone on a lot about the sidequests but I cannot stress enough how much I disliked all but the Chapter 6 sidequests. They are so formulaic, and that formula actually hampers the story they’re trying to tell with them. The sidequests are Edea’s spot to shine, and I can so clearly see what they were trying to do with them. They’re training Edea for her role as the Grand Marshal of Eternia, where she will end up facing two forces that oppose each other and have to make a decision about her nation’s involvement, which becomes evident during the Templar quest, which all of these seem to be leading up to. The problem, though, is that they’re trying to set up Edea as a mediator and then outright contradict that by having her just choose a side with no thought of compromise, desperately try to validate her choice as the only correct one, frequently claim that the other side’s argument has no merit, and then beats them down to make them agree with her. I mean, what!? That’s not mediating! That’s not my Edea!

By forcing us to make a binary choice, they completely gloss over any moral ambiguity in the situation, and the epilogues always focus more on how Edea feels about her choice, and not the impact that the choice has on the world as a whole. I can somewhat understand why they wanted to implement a choice system into the sidequests to make use of the second loop, but good gracious does it NOT WORK. And it doesn’t help that at least half of, if not 2/3 of, the sidequests try to make a situation morally ambiguous that really shouldn’t be? Or that has a clear correct answer? And all the rest are just really petty disagreements and none of them expand upon the world or characters in any meaningful way. Edea’s sidequest story of becoming a great mediator to make her father proud and grow into the role of Grand Marshal could have gone somewhere if that was a consistent thread between them and not a concept that solely exists in the Templar quest that tries to make the rest look good with hindsight. They really were the worst part of the game. The narratives weren’t enjoyable and the gameplay was just repetitive. Meet two bosses from the last game, listen to grievances, go through old dungeon from last game, pick a boss to fight, meaningless resolution. Rinse. Repeat. But in all honesty, the poorly written sidequests are my only big criticism of the game, and they’re entirely skippable to the average player. (I don’t recommend that you skip them because they offer useful jobs, but you certainly could if you wanted to)

Overall, I’d give Bravely Second a solid A. It is, unquestionably, one of the best games I’ve played in a while. Which is almost word-for-word what my final verdict for Bravely Default was in the email mentioned at the beginning of this post. This series consistently manages to suck me in and keep me invested in its world and characters. I adore it. I love the Bravely series so much and I’d happily buy whatever they come out with next so long as they never try that sidequest stuff ever again. Ever. (Though playing the game is probably gonna mean buying a Switch. Mmmm.)

Moving forward, what are my hopes for the hinted at Bravely Third? Ringabel’s certainly been teased a bit, so I’d hope to see him make a return. Especially as a playable character. I’d love to see his role with the Planeswardens expanded on and what their impact on the lore is. I could easily see Magnolia returning as a playable character, too, just for that little bit of extra development that she desperately needs and her implied relationship with the Planeswardens. I’d really love it if they brought Denys back and made him a playable character, finally giving him an actual, well-crafted character arc. Not to mention that his ties to both the Sword of the Brave and the Eye of Foundar make him an excellent candidate for the plot that the end of Bravely Second teased (also gives me more Geneolgia brothers content).

Story-wise, Bravely Default was centered around parallel worlds (or space), and Bravely Second explored the concept of time, so perhaps we could see alternate Realms/dimensions in Bravely Third. It would be interesting to see them expand upon the lore of the Celestial Realm, especially now that there are characters aware of the Player’s existence, such as Denys and Magnolia. Having Deneb around could also be an interesting choice, as she’d certainly know what the cataclysm in the Celestial Realm was and the capabilities of the Celestial Beings, since she is one. I’ve seen the idea of Deneb as a party member thrown around, and I wouldn’t be against it. Maybe if the whole party was made up of people aware of the Player’s existence, we could have more Player-party interactions. Dialogue choices in cutscenes for us, maybe, where we can talk directly to the party

I wouldn’t be against a Ringabel-Magnolia-Denys-Deneb party. I think that could work really well. Just a team composed of blond boys and silver-haired girls

I love Yew Geneolgia to death, but I think I’d keep him as a side character. He’s already had his story, though a look into what he did after Bravely Second would be much appreciated. Show me my son who reformed the Crystalguard and became the most well-loved member of House Geneolgia in history! At least give me a good sibling reunion! Give me the hug between Denys and Yew that I was robbed of in Bravely Second!

Don’t undo any of the happy endings everyone got. Tiz and Agnès are happily married and retired, and Ringabel and Magnolia make it back home safe to their significant others post-Bravely Third

I guess I’d also kinda like to see a good Cryst-Fairy around at some point. I like the idea I’ve seen around of the Player having their own fairy servant. That could be fun to play with. Maybe with those Party-Player chats I mentioned our dialogue choices could be telling our fairy what to tell the party. Speaking through our own, personal Cryst-Fairy, if you will. Though again, if we’re still expanding the lore, maybe they could go into the state of being of Cryst-Fairies more. Anne gave us a bit to work with, so I suppose I just want more elaboration on how they’re all siblings, how they feel about being siblings, etc. Maybe there’s a good fairy and a bad fairy in the same game and they bicker like real siblings

Also, can they give us confirmation as to whether Yōko was a Luxendarc native or not? And if not, can we see her home realm? That’d be cool. I’d like to see the Yōkai world please

I guess that’s really it, though. For now, that’s all I have to say on the Bravely series! Again, I’d like to give a huge thanks to everyone who’s read through the liveblog and/or commented on any of the parts of it. Seriously, you guys rock and I don’t know if the liveblog would’ve gotten as big as it did if it wasn’t for you guys and the support you provided. If any of you guys want to chat, don’t be afraid to hit me up. My ask box is always open

So! I’ve been Liz, this has been Liz Liveblogs Bravely Second, and I hope to see you all again if/when Bravely Third drops so we can all get lost in the world of Luxendarc together one more time!

#bravely default #bravely second #liz liveblogs bravely second #*fingers crossed for bravely third*

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