#and SUPER INCONSISTENT WITH THEIR ESTABLISHED CHARACTERS

[moomeecore]

head in my hands. im so bored of people's takes. yes im super happy that people where able to enjoy it but it is NOT poor literary skills to be unsatisfied with simon & betty's ending. it's not bad because they broke up, it's bad because it SUCKED.

[aroaceleovaldez]

I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.

It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).

We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.

I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.

And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.

Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.

It's exhausting. Rick write more than one relationship dynamic you can do it I promise

[novlr]

How do I strengthen my writing? I tend to fall back on bad habits because I can't find good habits to replace them.

Building sustainable writing habits that really help you improve can be really difficult. Especially if you don't know where to look. So, here are 10 tips for building good writing habits that can help strengthen your writing!

1. Clear out your creative faucets

Step away from your project and do something else! Write something different. Let yourself write badly. Or just plain old take a break. Your writing will suffer if you're constantly forcing yourself to work on something that isn't bringing you joy.

2. Read voraciously

In the immortal words of Stephen King: “If you don’t have time to read, you don’t have time to write.” 

Read widely in your own genre and outside of it. Take inspiration from other authors, and read critically to see what they do well and what they could do better.

3. Read some bad writing, too

Breaking down exactly why a piece of writing doesn't work for you can be super helpful for understanding what to avoid in your own work. 

4. Try on different writing styles

Try out different approaches to storytelling to find the voice that feels most like yours. You might find yourself attracted to descriptive, sensory prose, or more to austere and pointed prose. Your writing will be strongest when you're the most authentic self you can be.

5. Explore characterisation 

People are messy. Accurately and compellingly conveying this innate messiness is essential to creating a powerful story. Explore your characters and who they are, and if it's a character-driven story, don't be afraid to let them drive.

6. Make friends with your thesaurus 

A great way to make a piece of prose shine even brighter is to expand your vocabulary. There are a lot of words in the English language that mean similar things but have slightly different moods and tones. Finding the exact right word to convey what you’re trying to say will help your writing land more emphatically with your reader. 

7. Banish filtering words

Filtering is one of the most common mistakes new writers make. It involves describing a character’s sensations or feelings with filtering words like felt, saw, heard, knew, watched, or realised. This holds the reader at a distance and makes them feel like they’re hearing a story, rather than living it.

An example of filtering would be, “She watched the sun rise majestically over the mountains”. It would feel more immediate to simply say, “The sun rose majestically over the mountains”. The reader already knows your point-of-view character is watching; now, the reader can watch it with them. 

8. Glare disapprovingly at the passive voice

Passive voice isn’t necessarily wrong all the time, but nine times out of ten, it will slow down the pace of your story and encourage the reader to lose interest in your characters. Passive voice means having something done to a character — “John was punched in the face by Nick” — instead of a character actively doing something: “Nick punched John in the face”.

9. Familiarise yourself with story structure

The best stories follow an established plot structure, and follow it so smoothly that the reader doesn’t even realise there’s an ancient storytelling template behind it. These structures are designed to introduce just the right amount of tension and suspense and to give the reader the ideal payoff by the end. Rather than being formulaic, they help with pacing and plot development.

10. Get peer feedback

Finally, the best way to make your work as strong as it can be is to get some feedback from other writers. This can be from a professional editor, a beta reader, or a collaborative writing group. Getting a second pair of eyes can help you catch plot holes or inconsistencies before you send your story out into the world.

Want to know more? Read the full post at the link below!

[aihoshiino]

chapter 161 thoughts

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 18

Aqua Hoshigan Status: For the future

Never has an OnK chapter gone from It's Hoshinover to We Are Oshi no Back quite as hard and fast as this one. I have issues with this chapter in terms of what it implies about the story's overall structure and the fact that it sort of ruins 153-4 by association but this chapter's back half is so fucking good and the chapter itself works so well in isolation that much like 153-4, I kind of uhhh don't care about the structural issues because the story's heart is, for the most part, not just intact but beating harder and more passionately than it has in a long time.

To get what I don't like out of the way, the story seems to have settled on Super Evil Serial Killer Mastermind Kamiki as his final form characterization with some helpful Tsukuyomi exposition to just straightforwardly Tell Us things the manga probably should have spent some of the last 70something chapters Showing Us about Hikaru. The basic idea of Hikaru being some sort of serial killer so dedicated to upholding Ai's legacy that he kills women with the potential to surpass her was more or less always where I expected his character to land and this settling of his character does at least preserve what I think is the most important thing: that he genuinely loved Ai and his bent towards villainy only came after her death.

What I don't love as much is that this chapter seems to continue leaning into Uber God Manipulator Mastermind Kamiki like last chapter. I already talked at length about my issues with this framing in my previous chapter review so all I'll reiterate here is that the story's attempt to frame Hikaru as being equally or even more culpable for the actions of Nino and Ryosuke fall entirely flat to me, especially when the manga itself does such a pisspoor job of actually explaining how or why Kamiki was able to control and/or predict their actions to the extent that he supposedly did. And ESPECIALLY especially given that Nino and Ryosuke seem to have already been dangerously obsessed with Ai by the time they approached him.

In general, Hikaru's character is honestly just so inconsistent at this point that making any sense of his actions feels fruitless. If I really dig into what's going on, I can infer that maybe he fell into the same trap as Aqua by overcompensating for his trauma-induced helplessness by becoming overly controlling and guess that his fucked up trauma response to Ai's death combined with those terrible words Kindaichi gave him at Airi's funeral lead him down he road he's traveling now. I can even extrapolate that Aqua showing him the DVD message in 153-4 pushed Hikaru to this extreme and now that he has nothing to lose, he's lashing out at his children too - though, it should be noted, that the manga still hasn't actually established what Hikaru's culpability is in Nino's attempt on Ruby's life, outside of Aqua saying "well you didn't use your psychic powers to perfectly predict nino's actions so it's on you".

But like - this is all stuff I'm having to infer and extrapolate and guess, reverse engineering logic from our end point in an attempt to create a stable foundation for this characterization. The manga has done such a poor job of properly establishing Hikaru both as an antagonistic force and as a consistent character that I feel like I'm trying to assemble a coherent image from two different puzzle sets with all the fucking corner pieces missing and that's with Crow Girl looking into the camera and Explaining Him to me.

And listen, I am a bitch who LOVES to infer things. One of my absolute favourite pieces of fiction of all time ever is Umineko no Naku Koro Ni, a mystery story that literally does not contain any straightforwardly explicit, textual confirmation of the culprit's identity or motives because it believes so strongly that you, the reader, are smart enough and empathetic enough to put in the time and effort necessary to understand it regardless and it deeply, deeply values being able to give you that experience. But OnK feels less like it's intentionally encouraging me to think hard and enjoy the process of putting my head and my heart to work - it feels like it's leaving its homework unfinished and letting the reader do the actual hard work of sewing up the internal logic.

I probably won't talk much more about Kamiki this chapter cos I'd just be saying all this shit over and over but I really just am struggling to understand from a perspective of authorial intent what the vibe is even supposed to be. Like I mentioned in a previous ask, if this is where Kamiki's arc is reaching its conclusion then it means that the Movie Arc was essentially a whole-ass waste of time in and out of universe. Blech. Hate that.

Also, before I move on, I don't want to leave this just implied - making Kamiki explicitly a CSA victim and then ending his arc on Aqua (and implicitly the narrative) dismissing him as being too broken/corrupted to be saved is a really major misstep that I think represents a huge black mark on OnK's handling of CSA as a topic. The idea of an eternal defilement or an unfixable core wrongness in the self is already something real life CSA victims struggle with in the process of unpacking their trauma and having our likable and supposedly morally superior protagonist espouse this unchallenged in a work as prominent and relevant as Oshi no Ko is irresponsible bordering on dangerous. It's incredibly disappointing that after all the care Aka and Mengo seemingly took in handling this topic that it was whiffed so badly at the last second.

ANYWAY!!! Now all the beef's been dealt with, we can cleanse our palettes and move onto everything else I liked which was… basically everything else in this chapter!

Admittedly, Aqua's overall arc is still suffering from us being kicked out of his head from like 123 onwards for no real apparent reason and while 150 was a welcome refresher on where he's at in this part of the story, it still feels a bit like the story is prioritizing preserving the surprise factor of its twists over making these surprises feel earned. Compare it to volume 1 - you are basically told exactly what is going to happen to Ai, especially in the manga when Saitou and Gotanda outright say as much - but her death is still incredibly impactful and upsetting. I think this chapter is very effective, but could've been a lot moreso if we'd spent more time in Aqua's head leading up to it.

THAT SAID… If the intention of keeping us out of his head was to recontextualize Aqua's behaviour across the past ten or so chapters in this new light, I don't hate it as much as I might have. I initially took issue with what felt like the story off-screening and not addressing the resolution to Aqua's suicidal ideation so whipping back around to prove that it was still very much present puts some particular Aqua moments over this past volume into a very different light. As some people pointed out, Aqua missing Kana's pitch - literally dropping the ball in responding to her feelings - and his wide-eyed look of alarm in 151 seemed very ominous omens for the success of her confession and that beat of him covering his face when Kana approves of his dream… very incheresting knowing Aqua was still struggling with 'love or revenge' at this point.

Most interesting of all to reconsider is Aqua breaking down in tears in Miyako's arms in 155 when she addresses him as her son for the first time. At the time it read like catharsis but now I can't help but wonder if this was Aqua grieving for something he desperately wants but thinks is out of his reach.

i do have to say though. i get the general vibe of this plan and think it works fine as the apex of aqua's self-sacrificial protectiveness for the people he loves but how is being the daughter of a serial killer somehow any less scandalous for her career than being the sister of someone who killed one dude. does aqua think they just won't notice that kamiki happens to be their biodad or something. wasn't that the whole point of the movie. goofy ass plan.

What really saves this whole scenario is the emotions at play, though. This really does feel like Aqua at his most Aqua in a really long while and this chapter has so much love and respect for his life as Aqua and the bonds he has formed as a result. The dreams Aqua lays out are so agonizingly simple, too - he wants to pursue the career he finds rewarding. He wants to date the girl he likes. He wants to accept Miyako as his mom and Himekawa as his brother and to make things right with Akane after hurting and using her. He wants to see Ruby achieve her dream and be there to support her when she does.

But Aqua's always considered his dreams impossible, hasn't he?

I fully admit; I got spoiled with the full page spread of Aqua stabbing himself way in advance of the chapter and initially hated it as a twist. But with the full chapter as context and the sheer weight of Aqua's longing to just fucking live and find joy, it's not just effective but absolutely gutwrenching. It is the synthesis of Aqua's series-long battle to choose love or revenge and it resonates perfectly because it has never been one or the other for him - Aqua's revenge has always been rooted in the fact that he loves others so wholly and completely and hates himself so utterly that he thinks sacrificing himself to preserve their futures is the only path for him to take. It's the culmination and final release of the suicidal ideation Aqua has been dealing with since he was four years old and like Ai's tragedy before him, there's a horrible sense that maybe there really was no other way this could've gone.

Aqua being the character who actually takes the knife also firmly cements him as Ai's narrative echo in the text which has me barkin and howlin because it's what I've been saying all this time. Not just that, but so many of Aqua's expressions in this chapter pointedly and deliberately echo Ai's after she was stabbed. Not just that, but Aqua's achingly simple dreams echo Ai's own heartrendingly simple regrets - all the two of them ever wanted was to be happy with the people they love.

This also reframes the story's prior establishment of Ruby as paralleling Ai and seems to place the twins in the position of echoing not Ai in her entirety but Ruby as 'Ai of B-Komachi' and Aqua as 'Ai Hoshino'. This was actually something I outlined in one of my very first meta posts on the series, but I think making it more specific to 'Ruby as Ai the idol' and 'Aqua as Ai the human', this actually gives Ruby's arc in relation to Ai a bit of breathing room. Don't get me wrong, everything I've said about her post-BH writing being underbaked and inconsistent is still the case, especially when it comes to how confused the story is on whether Ruby is her own idol or New And Improved Ai 2.0 but giving it less ground to cover helps in terms of her writing no longer being spread quite as thin.

Speaking of Ruby, that beat of her seeming to react or sense something is up the moment Aqua takes the stab. 'Something happened to my loved one far away and I just Feel It' is a trope I'm always a sucker for and I really dig it here.

"The public don't care about the truth, so let's tell them a lie" is such a crazy hard sentiment to go out on too. Holy fuck.

There go our boys…!!! Quite a few people predicted they might go over the edge when Aqua showed up in his Mephisto fit (Mefitsto) and I'm interested to see if we get any parallels to the ED's imagery in the next few chapters. Overall, though, I'm really excited for where things are going - I don't think Aqua will die, but I do have some theories about what might happen. I can't think of a more traditional misogi purification experience than the middle of the ocean in late December, after all…

No break next week! Woohoo! While the delay of episode 12 means we won't be getting them on the same day, that is the same week S2 of the anime will be concluding and Aka does like lining up his bombshells with the anime. So who knows what we'll see.

seriously tho aqua. everyone already knows kamiki is you and ruby's biodad. HOW IS THIS ANY BETTER THAN HER BEING THE DAUGHTER OF A SERIAL KILLER AS IT ALREADY STANDS

[ondeemand]

Umbrella Academy Season 4 Review

I cannot understate how bad this season was, not just from a character writing angle, but from a world building one as well. Am I biased because Five is my favorite character and he, arguably, had the biggest character assassination this season? Maybe. But I'd still like to go over my analysis of the final season of Umbrella Academy despite the fact that I'm going to pretend it didn't happen.

Things that don't make sense with the logic they've established

Little to no explanation of the “upgrades” or changes in everyone’s powers. Only some got an actual upgrade (Allison, Klaus, Five, Viktor, and Lila), but Ben’s tentacles just changed positions with no explanation (likely so he didn’t have to wear that greenscreen torso setup), and Luther and Diego just stayed the same.

○ Why does Allison’s upgrade involve super strength and/or telekinesis? I could maybe see it working on people (a silent command for them to do physically impossible things like float), but why does her power make the lights flicker and furniture move? ○ Why does Lila have laser vision as her upgrade? Her power is to copy powers, no one here has laser eyes. If it’s meant to be an upgrade, why is her upgrade laser eyes of all things? You could have made it so she can use multiple powers at once instead. Not to mention that the laser vision played next to no important role in the entire show besides one attack in the final fight that Viktor could have done instead. ○ Luther mentioned in an episode that he’s been having problems with his powers? What problems? That was never shown and never elaborated on. Also, everyone has already mentioned this, but Luther getting his power back wouldn’t give him the ape DNA.

The show claims that Allison also lost her powers last season despite her not getting her Marigold taken out of her. This could have been a programming thing with Reginald’s universal reset, but it isn’t really established so we’re left to guess (or at least I am).

Why did the CIA hire an 18 year old (at most) looking boy and accept that his name is a number? Did they not question that he’s a Hargreeves and any relations he may have to Reginald? This could be explained that the CIA looked the other way because Five’s boss was a member of the Keepers and possibly knew he had something to do with the timeline being screwed up, but this isn’t ever confirmed.

I liked that Lila’s family was alive, but how? Why? How did they reconnect? Did Lila replace their daughter? Are everyone else’s parents alive? If so, why didn’t they go look for them (especially Klaus, who went out of his way to find his birth mother last season)? Are the other October 1st children alive in this universe? If so, why didn’t they look for Sloane, even if she’d have no memory of her time as a Sparrow? This plot point just creates so many questions that go unanswered.

Number inconsistency with the timeline (Five is 63 instead of 64 years old, saying they spent 5 years instead of 6, etc). The beginning of the show said it was a 6 year time-skip, but the end of the season said it was only about 5 1/2 years, which is likely what led to these inconsistencies. It’s a small detail, but all it would take to fix is to just say it was a 5 year time-skip from the start.

Ben on a subway train last season was seemingly not explained despite subway trains being a very important plot device this season. I get that they probably had to change the story because of Netflix canceling the show, but still.

What’s with the Jennifer portrait in Sparrow Ben’s room in season 3 if he’s never met her before? It was probably just meant to be a reference, but now it retroactively doesn’t make sense.

Why does Claire know that Klaus is immortal? Even if he told her, why would she believe him? They live in a world where they never had powers, and I don’t think anyone told her they got the powers back, let alone every detail of how Klaus’ work.

Five used the ability to go back in time in short bursts way back in season 2, why does he never use that power again? (The answer is that it was too convenient and could fix any plot point, but still)

No paradox psychosis symptoms in the deli full of Fives (because it’s in the subway? Unclear and unexplained).

Diego said that Lila hates bracelets and traded one that Diego got her, but she kept the one Diego made in the 1963 asylum and wore it for the rest of the season. It even made it to season 3 where Diego had kept it for most of the time, then returned it to Lila at the end. It’s such an important symbol of their relationship, but they just had to throw in a random reason that Diego would discover the affair that doesn’t even make logical sense.

Very small thing, but Viktor said he was going to pull out Ben’s Marigold but then they switched it to pulling out his/Jennifer’s Durango.

Klaus doesn’t have his Hello/Goodbye or cult tattoos but they do all have the umbrella tattoos? That doesn’t make sense.

Seeing all the kids being happy in the new timeline was nice, but I do have to point out that they wouldn’t exist if their parents didn’t, or it’d be incredibly unlikely that they’d turn out exactly the same and end up being all together.

Seeing Grace happy at the end was also really sweet, but it didn’t make logical sense because the real Grace is from Dallas in the 60s. She’d be old and/or dead by then, and if they showed her, why not also show Ray, Missy, and Harlan?

Things I just don't like about it

Where’s Ray? It was sad that he was so easily written out and delegated to just a few lines.

Klaus getting whored out is so uncomfortable. Thank god they cut away before it got too graphic, but it was still so bad.

Klaus overall was underutilized and given the short end of the stick this season. How it usually works is Five and Lila are the A Team, they have all the pieces put together and are making real progress. Everyone else is the B Team, they’re trying their best to solve the plot but sometimes make unnecessary moves because they don’t know everything. And then there’s Klaus on the C Team doing god knows what (and I love him for it). However, even if it’s silly, it always impacts the story in some sort of helpful way.

○ In season 1 he gets kidnapped and sent to Vietnam on his own side quest. The plot relevance is that now he learns more about Hazel and Cha Cha and learns how the briefcases work. This is also a somber character moment that forces him to mature through a traumatic event. More positively, it’s where he meets the love of his life that, in turn, has ties to season 2. ○ In season 2 he fucks off for 3 years to start a cult. This allows him time to really practice with his powers and has development for Ben, as well as getting him connections and experiences that help them later on. ○ In season 3, while the rest of the cast are dealing with the Sparrows, he and Five go on a road trip to Pennsylvania. This fun jaunt leads to the incredibly important revelation that their mothers died before they were born, and the discovery of the Kugelblitz. He later goes on another road trip side plot with Reginald where he actually trains his powers, which allows him to survive the Kugelblitz and reveal Reginald’s actions to everyone in the Hotel Oblivion. ○ In season 4, Klaus… gets kidnapped by a gang he owes money to and gets spiritually and physically whored out to people. He manages to escape by himself, is almost immediately found by the gang again, gets buried alive and left to die over and over again (incredibly similar trauma to the mausoleum that isn’t addressed), and is rescued by Allison and Claire. He gains nothing from this except for more trauma. It’s not plot relevant, he doesn’t learn anything or gain any new skills from it, and he doesn’t even get the money he dug up. It’s mind boggling how many plot irrelevant things got squeezed into the final season when the runtime was cut in half. I’d argue that maybe it would all be worth it if they included the cut scene where Klaus goes to an AA meeting.

Not the fault of the show, probably, but the captions weren’t always accurate.

Lila and Five romance which is gross both in-universe and between actors. Not to mention how allonormative it is that Five “had to have a love story,” because the show was already a familial love story. I really don't believe Five and Lila would get together, but even if they did, they would both drop it the moment they got back to their family.

○ I believe that they would grow very close, especially when they’re the only people together. It’s like a diet apocalypse (I’ll get back to this point later), so it makes sense that they’d grow closer on top of the relationship they had based on their established similar backstories and traumas. ○ Five would NEVER give up on finding his family. It’s his main motivation, the very core of his character. Would he want to take a break after 6 ½ years on top of his 45 previous years being stuck? Absolutely, that’s entirely plausible, but he’d want to leave the second he found the journal. ○ Five loves his family, full stop. He’d NEVER hate Diego for his reaction to getting cheated on, and he’d never want to “fucking kill him.” Have we forgotten how a young Five tried to shake Diego’s corpse awake when he first got to the apocalypse? ○ On top of it all, he would never just abandon everyone like that and fuck off to another timeline, and especially not because he got dumped.

I wish the show focused more on how visiting the apocalypse and getting stuck on in the subway would dredge up old memories for Five. He had a whole PTSD attack in season 1 and freaked out hard. I know it’s been a few years for him, but seeing any kind of reaction besides mild concern would have been nice. Same with Klaus and getting buried alive. I didn’t even know that he was dying over and over until I watched the cut AA scene. Robert Sheehan has so much range and I wish they let him shine in that more serious moment on top of how well he does the comedic stuff.

I get that Random Fire Boy from the Phoenix Academy timeline was likely just another one of the October 1st kids, but why create a whole new guy for just that scene? Why not use one of the other established Umbrellas or Sparrows to shoot an attack that took 2 seconds of screen time?

The CGI was bad ngl. I thought it looked worse than usual last season, but this was. Not good.

The final fight with the big glob monster felt kind of disjointed and awkward, both with the pacing, visuals, and dialogue.

Incredibly sad that Ben (and Jennifer, but we didn’t get enough time to really bond with her) died so horrifically. He died scared and alone, never having fully connected with the Umbrellas who only ever saw him as a replacement for their own dead brother.

The fact that there wasn’t a dance sequence this season is really telling. Someone online proposed the idea that they should have danced as they waited to die, and I think that would have been great. The soundtrack did use another version of “I Think We’re Alone Now” for the final scene, but I think this part would have benefited more. Five and Lila would get to join in, and it’d be nice because they weren’t alone anymore. Even if they were going to die, they’d be together. It would have added more sweetness to a bittersweet ending.

The Diego fat jokes weren’t funny. Fatphobia isn’t funny. He also isn’t fat??? He’s really fucking muscular as shown by him going shirtless in the CIA fight (the Marvel dehydrate+flex method strikes again). Maybe he gained some weight since previous seasons but not to an unhealthy degree. He’s a suburban father of 3 who sits in a van all day to deliver packages, of course he’s not as active as he used to be when he was a crime fighting vigilante.

They also never name Diego and Lila’s third child despite them being so important to Lila and why she chooses her family over her affair. Grace as their first daughter is sweet (Diego was a mama’s boy to the end), then Coco is nice (Spanish name like Diego’s), and then there’s Coco’s unnamed twin. It would have been nice to give them a more traditionally Punjabi name to even it out, or show interesting character psychology for Lila if they were named after someone like The Handler or AJ.

No Pogo except in a flashback? The gang that held Klaus hostage were the Mothers of Agony, so I thought he would be there and maybe help Klaus escape. I guess if Reginald had his wife and never made the Umbrella Academy, he wouldn’t have done the experiments that made Pogo into what he is? That either adds to how awful Reginald is, or it’s just another plot hole.

That whole vomit scene. Bad and Not Funny.

Baby shark was funny at first but got old and cringe incredibly fast.

Things I DO like about it because I want to stay at least a little positive

(It’s not in the show but conceptually, with Allison’s new powers, she could tell someone to kill themselves and they just would which is a funny visual)

The family photo was cute, I love looking at everyone’s individual reactions.

The episode 4 flashback sequence was great.

○ Good casting for the young versions of characters. ○ I love that it showed how close Viktor and Ben were as kids. It’s always been a strong headcanon within the fandom but I don’t know if it’s ever been established on screen before (besides Ben’s sacrifice in season 2). ○ POGO!!!!! ○ Ben said fuck!!!!! ○ Holy SHIT very good reveal of Ben’s death. It was super shocking and unexpected, and the fact that it was a big mystery for so long and ended up being something so simple really added to the tragedy.

Allison throwing a plate at Reggie lmao.

Viktor standing up to Reginald!!! Let it out king!!! And I love that his outburst shows even more how close he and Ben used to be.

Diego and Luther’s dumbassery, I love them so much. The two halves of a whole idiot are BACK. They’re besties and I love it.

Diego learned Punjabi for Lila and her family!!!!! That’s so fucking sweet of him!!!!!!

The soundtrack, as always, was a banger.

Most of the fight scenes are great, either hilarious or incredibly violent or a mix of both.

Hargreeves being an abusive father but not a transphobic one lmao.

I still love the umbrella shapes at the beginning of every episode, and the final one being inverted was sick.

I wasn’t sure about Gene and Jean at first but I love them. Great casting choices, great performances, they felt very reminiscent of the weird and unique aesthetic of season 1 that I’ve been missing.

Diego calling Five “Cinco” was so cute. Too bad this horrible version of Five didn’t deserve it.

I do like how Viktor and Reginald were paired up together when they had the most strained relationship at the start of the show. It felt like a sign that Viktor was stronger now and had been able to recover enough to do so.

○ I understand where people are coming from that it feels too much like forgiving Reginald and absolving him of all his abuse. But also, this is the show that forgets about all the bad things a character has done between seasons, let alone between several. Viktor slashed open Allison’s throat? Water under the bridge. Luther locked Viktor in the same chamber that Reginald did and gave him a mental breakdown? Forgiven and forgotten. Allison’s sexual assault on Luther? To them it’s been 5–6 years so he’s had time to process it but still, never brought up again. I’m not excusing these writing choices, just establishing that it’s been a pattern. At the very least, this one felt like there was closure because Viktor actually got to stand up for himself and his siblings.

They finally wrapped up the plot thread of Five creating the commission, even if it was just delegated to a throwaway line. The fact that they addressed it at all was satisfying enough to me, especially in comparison to everything else.

It’s a blink-and-you’ll- miss-it moment, but Five protected Luther’s head from bullets when the van was getting shot at. So funny that he keeps trying to use his small body to protect the actual tank that is Luther.

○ It’s similar to the scene in season 2 where Five (prepubescent body) pushes Luther (bulletproof ape body) out of the way of falling bricks and gets crushed. Luther is canonically bulletproof (maybe not in the head?) and Five KNOWS this because he saw him get shot by a tank in 1963. ○ Thank god at least SOME part of his love for his family and protective instincts survived this season’s character assassination.

I like that the final scene of them all in a circle kind of mimics the ending of season 1 (even if I wish it was a dance sequence instead).

I liked that the ending showed other characters getting to have normal lives (The Swedes, Hazel and Agnes, Grace (even though that doesn’t make sense), The Handler, Dot and Herb, etc). If it had to end in a bitter way, I like that we got even this small comfort.

TLDR

Overall, while the season wasn’t entirely unbearable to watch, the small, momentary Pros are heavily outweighed by the Cons that either break the show’s logic, assassinate the characters, or are storytelling choices that leave longtime fans like myself dissatisfied.

3.65/10

[elswing]

i'm super glad that they're finally establishing the king's men lusting for immortality as one of their main political principles. we got a little 🤏 hint of it last season even though the main civil strife seemed to be rooted in the mass "THE ELVES ARE TAKING OUR JOBS" hysteria, which was definitely questionable at the time, but in hindsight i think it was a reasonable place for the writers to start.

we were introduced to a lot of númenorians last season who will end up on different sides of the eventual civil war. i think it does make the most sense to let all these individual characters HAVE their individual motivations while the story is still developing, because while we know that eventually the conflict will bleed and blend into *two* distinct sides, that line hasn't been drawn yet. there needs to be more nuance before we reach that point of ultimate divide

and we can see that beginning to happen!

a lot of people are unhappy with míriel for "taking orders from an elf" which obviously comes from their dislike of galadriel, and then pharazôn nurturing those seeds into outright malice. that can very easily begin to weave into different reasons for them to resent the elves (jealousy over their immortality, then greed, then the eventual desire to take it for themselves).

that doesn't mean they can't also settle into that allegiance from a completely different angle. eärien, for example, hasn't yet shown any interest in the concept of immortality aside from a throwaway quip in S1E4 that could simply be read as narrative foreshadowing rather than a symptom of some current hidden obsession. she was introduced to it BY pharazôn when he was giving his little "we are only immortal in the statues carved for our tombs" speech over the dying king's body.

the only reason (confirmed this episode) that she's sided with the king's men is because of her grief for isildur's presumed death and her want for justice. in her eyes, pharazôn is the only person willing and capable of giving her that, which is why she was so easily susceptible to his manipulations. i don't think her throwing the palantir in míriel's face in the name of Elf Racism™ and causing the riot is a sign of inconsistent character motivations, but a way to really drive home just how skilled pharazôn is at preying on people's needs and steering them down *his* desired paths under the guise of achieving *their* goals.

it's actually not dissimilar to sauron's tactics. "find out what your opponent fears, and find a way of mastering it, so you can master them", so i'm VERY excited to see his next tar-mairon disguise. it's like dropping a barrel of gasoline smack in the middle of an active gunfight lol

[autistic-ben-tennyson]

Alien Force Ben: Was he really that mature?

I want to talk about something that’s been on my mind for a while. Fans complain about how Ben was super mature in early AF before regressing into an arrogant “man-child” in S3, UA and OV but I don’t think the change was as drastic as people say. Ben was never the super stoic, mature character they think he was. A lot of his behavior was fairly consistent, even if some of it was flanderized in the later sequels. People can have their critiques of his character writing, I have some myself, but I think the version of Ben people romanticize wasn’t as much of a Gary Stu as they remember.

For starters, Ben could still be kind of a asshole, especially to Kevin, which was somewhat justified due to his criminal past. He took potshots at him in “Kevin’s Big Score”, both before and after he stole the Rustbucket. In “The Gauntlet” he had fun messing with Gwen and Kevin as Goop and later laughed at Kevin after seeing him get beat up by Cash. In that same episode, he goofed around when trying smoothie combinations as pictured above. He also enjoyed annoying Kevin by playing with his car lock in Verdona’s debut. There was also “Darkstar Rising” where he made an insensitive joke that caused Kevin to lash out at him after getting his plumber badge confiscated.

Before I continue, I’d like to say that I’m not doing this to vilify Ben or make him into a heartless monster like some do. I’m kin with the asshole and consider him one of my favorite characters. This is just me pointing out that early AF Ben was never the perfect mature person that he’s remembered as and could still be goofy and had some of those same flaws that Ultimate Alien Ben gets dragged for. I headcanon him as having autism because while he’s very compassionate, empathy is not his strong suit which isn’t a bad thing nor does it make someone a bad person. I sort of incorporated that into my fanfic where Ben and Steven Universe grate on each other before bonding because of their differing personalities with the former realizing how insufferable he can come off as.

Then there’s “Pet Project”. For starters, Ben lied about having homework to get out of going to the mall and so he could watch a movie. Not much different from what he does in “Duped” or “The Perfect Girlfriend”. He also shows a distrust of Ship and doesn’t seem to care about him until Gwen and Kevin force him to which remained consistent through S3 and UA.

Ben acted as mature as he did during the Highbreed war because with Max gone and his team as their only hope, he had to be the adult in that situation. By S3 with peace established and Max out of retirement and proven to be alive, he could let his guard down a bit. He said himself in “Absolute Power” that he has fun “but when the situation got serious” so did he. In UA, when Aggregor injured Max and Kevin mutated again, Ben was forced to act as leader again, hence why he was back to acting mature in that arc. Kids IRL who are forced to be adults far younger than they should be do often struggle with regression later on.

Again, none of this was to vilify Ben or make him into douchebag. I just feel like his character isn’t as inconsistent as people say it is. Could the writing have been better? Sure but early AF Ben wasn’t a mature, always serious saint and he always had those flaws or personality quirks, even before fame got to his head in season 3 and UA. If you disagree and think they ruined his character after, that’s fine, this is just how I interpret him.

[devine-fem]

Why do you ship damian and Jon? especially still as they are now in canon, I’m genuinely just asking…

This is a loaded question.

Firstly, my introduction to younger heroes was through Super Sons and I didn’t immediately ship them until I entered the fandom and had all their content clash together consistently in my head and it slowly made me realize the potential of the characters and what I was reading.

I’m more of a Damian Wayne enjoyer than anything in the batfam, he’s my favorite Batkid, then its Jason and Cass. I really enjoy his character and I also really relished in the potential Jon had with Damian and how he was a genuine friend.

I really do think that if done right then Damian and Jon being in some sort of relationship would not only be excellent representation but also, could fix a lot of troubling aspects of their character. Like their mantles and how their characters function in canon. Their relationship could be catalyst for them seeking a new mantle.

It’s more so built off of the mutual friendship they have for each other and how much they care about the other person.

A lot of people expect me to consider older Jon because he’s canon but no, I don’t like Jon’s age up for many, many reasons so I choose to ignore it.

Whoever chooses to get mad at me for it are hypocrites because you cannot honestly tell me there aren’t stuff about your favorite character that you don’t choose to ignore… every character in dc has done something problematic and if you didn’t ignore something, they wouldn’t be enjoyable.

People only want me to take in older Jon because they either hate the ship or weirdly enjoy Jon’s pseudo-relationship and feel threatened over Damijon even though it’s an entire fanon ship and can’t do anything to harm canon in the first place. You guys have the canon ship, why do you have to feel so threatened?

On Damian’s part, there’s flatline but I don’t personally feel threatened by his relationship/romance with her… she’s a fine love interest and I really enjoy her allegories of death, it’s interesting to think about and how that correlates with Damian’s grief with Alfred. There’s no reason for me to get so up and arms about Damian’s canon romances… it’s fandom… I think I would even like them a lot at some point when Nika gets some more content in the future. I also fear for her because she’s so new and has potential to become a character we grow to hate once other writers get their hands on her… (I have more thoughts on this but that’s all for now)

Jay… no… I’m sorry, there’s no appeal with him and Jon and with how it came about… I don’t find it likable.

Like I don’t actually want Damijon to be canon ever, really, it’d be a nightmare in the longrun with how these writers handle queer relationships.

And yes, people are always like “Damian and Jon had an age gap even before the age up-“ Dude, their ages were infamously inconsistent in comics that weren’t Super Sons, sometimes they had a 1-2 year age gap if you put them on a certain timeline in canon. Super Sons is what established the age gap, and even after Jon was aged up, till Taylor took it, they still had an inconsistent age gap. Jon’s age was inconsistent and Damian was also aged up but people tend to forget that.

Jon and Damian don’t have canon birthdays and didn’t know each other for that long before the age up. The age gap is probably much smaller. Even Taylor sometimes refers to it as “2-3 years” but he’s never consistent on any basis so…

I simply just think they’re 1-2 years apart in my head, or sometimes 3 as well. But I also, don’t consider them being in a healthy romantic relationship unless they are adults. No one should consider Jon and Damian actually being able to hold a relationship while they are young, it wouldn’t work. Any shipping I do while they are younger, is because that's where they peaked and it’ll be entirely innocent.

If they were to be in a relationship as they’re older, I seriously do think they can be incredibly happy together. I feel they are somewhat the perfect person for the other.

Thanks for the ask.

[runabout-river]

I know people are coping hard for Part 2 but…

They are probably overthinking Kenjaku scene.

Takaba's ability is manifesting ideas he seems funny, so he manifesting his duo in his routine to be funny with him. That's not real evil Kenjaku, just a product of Takaba's CT, a comedic version of Kenjaku.

I bet it wasn't intended to be serious, it was supposed to be funny. Takaba scene is a part of typical "everyone gets a happy ending" montage.

Mei Mei/Simple Domian “plot” is over.

Zenin clan is gone, Gojo clan is irrelevant without Satoru, Kamo is chilling somewhere. What clan wars do people expect?

Tengen/Merger/Culling Games plot also get it’s rushed unsatisfying conclusion this chapter.

I also see a lot of people saying that next chapter might introduce new villain for Part 2 but again I don’t expect anything serious. I expect "last mission" to be another oppapi joke like "we need to save Yuta" and mostly light-hearted chapter about the main trio being happy together.

At course, I might be very wrong, but I honestly don’t see any set up for a sequel right now. Gege killed all potential plot lines. Was it satisfying end? No, but it reads like definitive end.

The only thing that was left if Gojo’s funeral but it seems that we won’t see it. I’m so happy that Gege wrote about Sugar Guy’s bullied classmate but couldn’t force himself to add a couple of panels where characters say something nice about Gojo who sacrificed their life for them /s

I agree on Kenjaku. The speech bubble over the guy's face with his hairdo still visible is a dead giveaway that's supposed to be taken comedically. Either that's a poor guy who is now forced to look like Kenjaku or its a strange CT construct Takaba made who could be a depowered Kenjaku clone. The real Kenjaku could've survived but not in Geto's body.

Okay, the happy ending montage.

There are so many happy endings, it feels like Gege changed JJK's genre all of a sudden. JJK was never this happy. Even Gojo's stint as a soul meeting his old buddies again at the airport which I already found too happy, was still steeped in his and everyone else's gruesome deaths.

Taking this at face value, it looks like Gege fumbled his ending. So right now it looks like he'll go the "the story continues peacefully but it still goes on" route. Did he have to break established canon for that though?

Like, why did the CG end all of a sudden? Sukuna's death or Tengen getting freed from him shouldn't just end them. That was never established anywhere. What was established was the hosts of the reincarnated sorcerers being lost. They can't be saved outside of Megumi and Hana but now Maki says they will save them one by one.

You could say, Gege sat down and wanted to end everything, even if it was rushed and cut off.

Or you could try reading this theory how the last 3 chapters were actually an induced dream sequences that Yuji is cooking up in his head right now while he's about to die.

All these super happy endings for everyone, the thematic of making sure that neither Megumi nor Yuji are to blame for what had happened, drawing inconsistencies, the lack of Gojo and Choso, and how no other conflict exists right now even though it should like the invasion and JJ soictey instability, all of that could be explained by Yuji thinking of everyone ending up happy while also pushing the dead and other conflicts away from his subconsciousness.

And I gneuinely, genuinely think Gege would pull something like that off. Making everyone, the audience and Yuji, think they had their happy ending when in reality Sukuna won (or the merger started or sth similar). That could be why chapter 268 was titled Finale and why this chapter is titled Dream's End.

As it stands right now, JJK will end okay-ish. This chapter itself could've been the last chapter except Gege wanted to make one last time skip.

But if Gege really went for the "memories that never existed" route, then JJK will end bombastic.

[kurczeno]

okay a quick question to dragon age fandom

why do we hate jennifer heppler?

i saw this few tumblr posts and everyone was like "but it was jennifer heppler, ew". I'll write my thoughts on her based on WHAT I KNOW and just keep in mind - I was 9 when DA2 came out, I played it but I might simply not know some things about her, some drammas or anything.

like first of all - i know there was a whole drama about her not liking playing games, but i hope we are not true gamers tm, bcs gross.

second of all - i know, she wrote anders in da2 and I hate him (I also like him, I just think hes super inconsistent + an asshole), I really do. He has a terrible char dev arc and is a kind of shitty romance, because no matter what you do, he never trusts you, which really sucks. Also the cannibal thing is weird and kinda makes no sense considering Justice is a spirit, so it's a valid argument. BUT!

a) anders in awakening was written by David. So, while as a writer she should be able to write a character, even if not from scratch, it wasn't the easiest job considering that I'm pretty sure the plan was to make him more tormented and depressed and all that jam. He turned out whiny and just... annoying at times, I'm not going to argue with that, but what I'm trying to say is that it wasn't the easiest job to go from "zevran but even more stupid" (i love daa anders btw) to what they PROBABLY had in mind, especially when you get an already established character. Still, could have been done waaaay better, true.

b) she did write branka, so one of the best characters in origins. The Orzammar plot is truly DA at it's peak, sorry.

c) back to Anders but I don't really think the whole "lack of trust" thing is her fault, because you know. DA2 was super rushed and they worked on tight schedule. So many of the game faults are because the game is barely an RPG tbh (still, a great fucking game though)

d) tbh the cannibalism short story, besides... well cannibalism, that makes a little sense is fine. Like, it's really interesting to see how Anders is slowly loosing his mind. And eating templars. (sorry I will never get over this, I just have all the memes in mind and theyre hilarious)

So is there something I don't know about or is it just "anders sucks, so Jennifer does too"?

sorry if it came out rude, i just wanted to lay down my arguments too and make it "as quick as possible".

[antianakin]

Had a thought, I think what's bothering a lot of people about recent Force stuff is that Filoni/new shows are treating the Force like a "soft magic" system. As in it's flexible to whatever the plot is and the few rules can change. Vs the more solid "hard magic" system the original stuff operates on. Only certain people have it, there's established things it can do, and it's main point of flexibility is that if you don't think you can do a thing with the Force, you can't.

Like movies/clone wars/even Rebels establishes that having the Force is an innate thing and while non Force users can "hear" the Force (various other practices we see like Chirrut) they can't utilize it. That there's certain abilities are things everyone has and more rare abilities exist but don't seem to be learned (at least not easily). I'm even willing to say Force Healing works in the og system set up in that it's a rare ability and it takes energy. You can't bring someone back from the brink of death without killing yourself or someone else.

But things like Sabine suddenly able to use the Force or Ahsoka able to use abilities out of nowhere and established to be innate and rare basically throws the hard rules out and gives it a confusing inconsistency that just makes it unenjoyable.

I think the problem is, in part, that canon itself treats the Force as both soft AND hard, depending on what aspect you're talking about, because Star Wars runs on Rule of Cool sort-of above and beyond anything else sometimes. For example, the Force Ghosts. Even within the original trilogy, the implications about how the Ghosts work seems to change from ANH to ROTJ, and then you get into the prequels and TCW and the sequels and now the Mandoverse and the Ghosts are just... wackier and wackier every time. There are NO RULES for the Force Ghosts beyond that the person ghosting should be definitively dead, not a Sith when they died, and they should look bluish. Like that's... really it. Beyond that, everyone seems to do whatever the fuck they want with it and they always have, even Lucas himself.

And then you have other things that seem to have remained fairly static this entire time even if they went unsaid, like who is capable of wielding the Force and who isn't, whether it's something you're born with or just something some people can learn easier than others. Up until the Ahsoka show, everybody seemed to agree on this one, so even though it's never been outright stated in canon that you HAVE to be born with the ability to wield the Force or you'll never be able to, it's just a generally accepted part of the worldbuilding and one that a LOT of the character narratives sort-of rely on. BUT, because it's never been outright stated and OTHER elements of the Force and how it's used can be pretty "soft magic", I suppose it's not shocking that eventually someone would try to switch this one up. It's infuriating and it's bad writing just because what little we DO know about it is so important to how these storylines go, but it's not shocking.

It's not like I hate "soft magic" systems in general, but in a lot of those stories, how the magic WORKS isn't actually important to the story being told most of the time. Like in Lord of the Rings, how Gandalf can do magic is completely irrelevant to the themes and messages sent through the story of Frodo and the Ring and the Fellowship. It doesn't MATTER.

But in Star Wars, the way the Force works is baked into the themes and messages of the whole ass story. What darkness is, where it comes from, what balance means and how it can be achieved, all of this is VITAL to the story being told throughout the first six films. And so a lot of the little stuff that gets added to the overall "how the Force works" stuff (psychometry, midichlorians, etc) should all sort-of work within those overall themes already set up. Midichlorians are important because Anakin is DEMONSTRABLY super powerful, more than anybody else in history, and it DOESN'T MATTER. He's literally MEASURABLY more powerful than anybody else and he still fails to do anything he actually wants to do. His power makes it so that his choices change the fate of an entire galaxy, but they're also completely useless in any way that actually matters to him. The fact that they can measure his power helps that message get across. Psychometry takes a lot of the stuff about how the Force allows you to dial into the emotions of other people and just takes it up an extra notch to really hammer home some of those themes about control over your own power and being connected to the world around you.

So Star Wars, in many ways, DOES have a "soft" magic system, it always has, but the things that are changed or added to it SHOULD generally still fit within the overall themes and messages that Star Wars has set up prior to this. Sabine being Force sensitive randomly very explicitly goes AGAINST all of these themes and messages and that's why it sucks. Changing the system so that literally ANYBODY could have the Force if they just worked hard enough at it (and having Sabine gain her ability to wield it only when she FEELS the most emotions as opposed to when she CONTROLS her emotions the best) completely fucks up a lot of the narratives for other characters. What makes Luke so special if literally ANYBODY could have just learned to do what he did, but apparently they just weren't trying hard enough? If Ahsoka felt this way this entire time why wasn't she training up TONS of people in the Rebellion to utilize the Force, why was she HOBBLING the Rebellion by keeping this from them? It's just... SO so stupid in so many ways. Why does Filoni seem to think that fans want the space wizards to be LESS special? It's ridiculous and it's insulting.

I think that at this point we're also just VERY tired of Filoni's blatant favoritism for his own characters and the ways he very intentionally will bash other characters in order to lift up his own faves, and quite honestly THAT'S what pisses me off the most about the Ahsoka show. Sabine and Ahsoka can't be special on their own, they HAVE to call the prequels Jedi failures because they were elitist in order to make Sabine and Ahsoka seem like they're so much better and more enlightened than those OTHER Jedi. And that honestly just stinks of a lack of imagination on Filoni's part. If he can't figure out how to make these characters feel special without tearing down other characters in this franchise to do it, then maybe he's just not that good of a fucking writer to begin with.

So while I'm not PERSONALLY a fan of the way the Force is often very "soft" in the way it's written, that doesn't make it bad in and of itself, but Filoni (and the Mandoverse in general, but mostly Filoni) feels like he's actively flipping the bird at prior accepted assumptions about the worldbuilding and the way those things really helped build the NARRATIVE just because he wants to insist that HIS characters are NOT IRRELEVANT and are in fact more important and cooler than everybody else. When I consume a Star Wars story, I'm EXPECTING something about how it's better to accept and acknowledge your own darkness so you can let it go and control it rather than letting it control you. I'm EXPECTING something about being selfless and compassionate over being selfish and greedy. I'm EXPECTING something about how destiny exists but it isn't everything and your choices still MATTER (both good and bad). And that's just... not what Filoni gave me. The things he changed DON'T suit the narrative of Star Wars, regardless of whether the Force is a soft magic system or not.

[vasito-de-leche]

;R1999 "COVER" section analysis (1)

Analysis and theories on how to interpret the characters' profiles in the Cover section of the game, such as their exhibition year, ages, their medium, afflatus etc. A full dissection of the profiles.

I started seeing a lot of people argue about whether a character's first exhibition date correlates or not to their birth year, if their ages are correct and all the little inconsistencies that make it difficult to understand, so obviously I wanna talk about it lolol

disclaimer that I do not play or follow CN updates, I only play the global version! but I invite everyone with more insight (hehe....insight) to discuss in reblogs, replies or tags! (<- loves discussing viddygames)

I'm ALSO gonna be VERY pedantic and explain some stuff that might seem super obvious or go on really long tangents because this game is relatively new, so I don't wanna assume everyone is on the same page and alienate some ppl from discussing the lore and cool stuff of the game!

First of all, I would like to point out something that most people know by now about the character profiles, just in case someone hasn't seen it yet: the "Cover", "Item" and third unlockable story for every character are all written by Pandora Wilson for the UTTU magazine.

When you go to a character's cover page, there's an extra menu that can be found by tapping on the UTTU logo on the top right corner, as pictured here.

Which leads you to the following page, a Reader's Guide for UTTU's magazine.

The contents of the Reader's Guide are a little scattered and confusing, sometimes their own text format breaks as well, such as points 5, 6 and 8 being in the same paragraph as opposed to a proper numbered list. Or point 11 having a weird line break mid-sentence.

There are three items pictured on the guide, which have letters spelling out different words. The first one spells "ARCANUM", the second one "MAGAZINE" with "SELF-UPDATING" upside down, and the last one spells "ENJOY reading". Not pictured above is the full proper end of the guide:

But overall, this guide is important because it explains the formatting of the profiles and why they're worded a certain way. The implication is that the character profiles are interviews of all arcanists that Pandora Wilson and UTTU encounter, archiving and exhibiting their information like works of art.

There are some people who offered the idea of the profiles being written by Vertin, since the voicelines imply all characters are talking to her - but this cannot be, since the voicelines are just an archive of the lines said during other situations, such as being in the main menu (her suitcase) or battles (guided by her). In this case, it is extradiegetic within the context of the magazine (though the Guide does allude to the magazine being able to emit scents and have moving pictures within).

There is also another theory which replaces Vertin with the Foundation instead, given the events of the main story. For those who don't know, in the main story there is a very heated political debate within the Foundation regarding Vertin and all the arcanists she's gathered, on whether they deserve to be an independent group led by her or go through their usual regulation system. This theory implies that the information given in the profiles are reports made by the Foundation.

But given UTTU's Reader Guide and every 03 Story, we can all safely confirm that they're all written by them and Pandora Wilson. The items' description are also written from Pandora's perspective. This might be a lot just to establish a single thing, but I wanna be thorough!

As for why UTTU magazine specifically chose to portray all arcanists as pieces of art, using words like exhibit and measuring them the same way one would a statue, I don't have a very clear answer!

The game overall has a lot of themes regarding art, like Vertin's tuning abilities "First Melody" and "Grand Orchestra" being so obviously music themed. She's portrayed as a conductor for the arcanists she leads. The art theme also lines up pretty well again with the main story and how Vertin, as a Timekeeper, is meant to record time and events for the Foundation but she also keeps track of the people she meets and their endeavors, not for the Foundation but herself. It makes sense to me that the arcanists she takes in are seen as "artwork" by UTTU, they're stuck in time and represent an era that is no longer possible to reach or that has long passed. It makes sense that they're archived and represented as such to me, at least!

With that, we can finally go into the actual cover page for the characters. I'll be using the characters that I personally own and I'm most familiar with as examples. So everyone say hello to Pavia again.

Right away, we're hit with an unknown term - "mixed".

In the "Atlas" menu, there's three sections - "Story Review" which allows you to see the full story of the game as you unlock it, with some of the trails you can unlock (this is irrelevant to the post, I just wanna say it here in case anyone can help me out - but some of the trails don't seem to be recorded in this menu and there is no way to find them again?), then there's "Role Atlas", which I'll get to in a second, and "Psychube", a collection of all Psychubes.

The Role Atlas is, once again, written by UTTU. You can see their logo in all the magazines and there is the UTTU Bound Volume of all characters in one menu. The text on the covers varies, but I cannot read most of them clearly, the text inside does not change. All five of them in order are:

The Beyond

The Awakened

Arcanists

The Mixed

The Infected

All character's profiles begin by stating which of these categories they fit in. The VAST majority of the characters fall within the "Arcanists" group, so it's very easy to assume that all human characters will fall within this section, while others such as Door or Mr. Apple would fall in categories like "Awakened" by virtue of being objects.

And this is where it gets tricky, because as far as I know, there is no official description for any of these categories nor what they fully entail! But bear with me, there's a thought process somewhere in here.

The "Beyond" seems to be self-explanatory - it encapsulates any living creature that comes from space and isn't native to Earth, such as Voyager and aliEn T.

The "Awakened" seem to be inanimate objects native to Earth that gained consciousness and self-awareness, such as Mr. APPLe, Sputnik and Ms. Radio. But that is immediately put into question when seeing characters like Darley Clatter, Door and TTT being categorized as "Arcanists" instead.

There are only two "Mixed" characters - Pavia and Satsuki. The word alone could easily imply that they're either "half-arcanists", and thus less respected due to their lesser Arcanum abilities, or that their Afflatus is mixed, but Afflatus and the way they're assigned onto characters is still very vague, because they don't seem to align with their actual use of magic.

And then, we have the "Infected". There are no characters labelled as such so far, so there's nothing to speculate here.

With all of this in mind, I would like to point out the wording of the profiles. I will add a few examples here in order of category (Beyond, Awakened, Arcanist, and then Mixed).

Notice how Mr. APPLe, Darley Clatter and Pavia's description are notably different than aliEn T's? Compare "A supernatural work" to "A mixed's work".

I don't own Voyager, but her profile listed in the wikifandom site follows the same pattern as aliEn T. It is very distinct to me that neither aliEn T nor Voyager, the only two characters who come from actual space, aren't described as "A supernatural's work".

The point I'm trying to make here is that the first phrase of the profiles alludes to the character's parents or creator, rather than themselves.

After all, the character is the artwork, it makes sense that they allude to their origins/heritage - in this case, crediting the "artist" that brought them to life. With the examples given, it makes sense to me that the Beyond cannot be anyone's work, by virtue of being aliens. Human concepts such as family and such don't necessarily have to apply to aliens. Their origins can easily be much too complex to understand by our standards.

One might argue that this theory falls apart when examining the Awakened - after all, they're described as "An Awakened's work". But I have to insist that the Awakened are confirmed to be inanimate objects that became sentient on their own, and thus they are given credit for their own "existence" so to speak. I'd like to point out the introductions posted on the official global twitter for these three characters. Mr. APPLe's does not allude to the moment he became sentient, but Ms. Radio's and Sputnik's do.

And speaking of sentience, I chose Darley Clatter as the example for the "Arcanist" category because it perfectly illustrates the point I'm trying to make. Darley Clatter is not a human in any way whatsoever, it's a toy horse. But the difference that sets Darley Clatter apart from the "Awakened" is the fact that he was MADE by an arcanist rather than gaining sentience himself. He exists and is able to move and talk thanks to an arcanist - this is explained in his 01 Story

If you don't feel like reading it, here's a short summary - it tells us about a young girl named Lilian who wants a horse and how her father, who spoils her way too much, approaches an unnamed arcanist to make her dreams come true. The arcanist then gets the ingredients needed and prepares a speech for Lilian's father, insisting that the foal they created will be better than any other real horse. Thus, making Darley Clatter an arcanist's work.

But then it leads me to characters like La Source, Pickles or Door. La Source is easy to explain, as she's a magical creature. Nature itself and some animals aside from critters are presented as inherently magical in some ways, so that could also explain Pickles. I'm pretty sure one of the tips displayed in loading screens says something similar to "sentience has nothing to do with arcanum ability", which supports the previous statement. As for Door? I have no idea!

And there's also the more vague characters, who were implied or hinted to have been humans and are now supernatural entities such as TTT, Rabies, Poltergeist or Click. I'd argue that the supernatural aspect of it lines up with nature as an inherently magical thing, but that could be a reach.

Another point against the theory I offer is the fact that it implies most of the characters come from arcane bloodlines, and arcanists are said to be a minority. But how can they be a minority if everyone and their dog (hehe, Pickles....get it...) comes from arcane bloodlines?

During Constantine and Madame Z's divorce arc the last two chapters, one of the main points of tension within the Foundation is the fact that there are more arcanists than there used to be in the past (hinted to be a result of the "Storm"). And that these arcanists no longer feel comfortable having so many restrictions within society now that they're no longer a minority that's easy to ignore. While this information could work as an argument to support my theory, I think it's easier to remember that all the characters in-game are people that Vertin takes along to brave the storm with her - as seen with Regulus, they're special. The fact that there's so many of them isn't an issue. The ones not relevant to the main story are summoned with the spinning wheel from their respective times, it is not indicative of a high amount of Arcanists overall because they don't share the same space or time.

Characters like Druvis III, Mesmer Jr, Matilda and Sotheby are stated to come from prestigious or important arcanist families, but for other characters its either a subtle implication or their families are not addressed in the slightest.

And this finally brings us to the "Mixed" - where do they fit? Does this term allude to something different, just like the "Beyond"? Are they Mixed because their Afflatus is different? Or because they come from a family that includes both Arcanists and non-magical humans? Or because they're not full Arcanists? For this, we have to examine both Satsuki and Pavia. Both of them share a very particular detail that is important to their respective backstories: neither of them know their parents.

Satsuki is an orphan, which led her to start a life of crime out of necessity. The defining trait of her character is that she's trying to put her past behind her. This excerpt is from her 01 Story.

On this hopeless land, the orphan girl could only make a living by theft, which had earned her the title "Little Thief Using Arcane Skill" from the local government.

As for Pavia, he was sent to live with his aunt after his mother's death. The information on Pavia's parents is mentioned in his 02 Story and one of his voicelines.

His aunt did not like him. The child's face resembled that of her beautiful, sorrowful sister who had abandoned her, gone to the city, then died a few years later.

Mio padre (my father) was missing, Mia madre (my mother) was in the asylum. I can't remember her face, but I vaguely remember the rhyme she sang me... She's in Rome, probably in her middle age. I've never visited her.

On Pavia's specifically, there is a little confusion from my part since his 02 Story says that his mother died a few years after she left for the city, but then Pavia's voiceline implies she's still alive. I go into detail about that in this other post here, so I won't do it again either cause this post is already long as shit.

Either way, the main thing to keep in mind is that neither of these characters knew their parents, which could explain why "Mixed" is a category for Arcanists whose families and bloodlines couldn't be properly traced on account of not knowing them.

But also, "Mixed" encompasses arcanists who aren't purebloods, as implied by this document on Manus Vindictae from chapter 3:

"Holding a grudge against humans and contempt for the mixed, these extreme racists only recognize the bodies ruled by arcanist's blood as 'mankind'."

"In that case, humans, arcanists on the human side, and the mixed who tolerate the pollution of arcanist's blood [...]"

The wording used to described the Mixed speaks for itself. There's a discussion to be had about the parallels between the stigma against Arcanists and real life racism, or rather, how it replaces racism as we know it within the universe of the game. But that's an entire different debate. Overall, it's safe to assume that "Mixed" is a term for those without traceable and/or fully arcane families.

As for the "Infected", I have nothing to say because there's no one in that list! From what I can gather trying to look up information on them, Schenider was put on that list in the CN version for the demo, but was later taken out. I'll leave it at that for this part.

The next part of the profile states when they were exhibited and for how long. The first thing that comes to people's minds is to assume the year/era stated is when the character was born and that the age listed is their current age.

But upon closer inspection, that year of birth theory falls apart rather quickly because of characters like Regulus, who has been "exhibited" in two different centuries. Satsuki as well has two different ages listed. Or the fact that characters who should know their exact birth year instead have an approximation of it, like Matilda. Sonetto, despite being on the same age range as both Vertin and Matilda, is listed to have been exhibited in the 20th century too instead of the 1990's like Matilda's profile. Lilya, who was also in the Foundation at the same time as those three, is said to have been exhibited in the second half of the 20th century. They're within the same period, but imply very different things in the end. It's little details and wordings that simply don't add up.

But the biggest thing that ruins this assumption is the fact that characters born in the 90's simply wouldn't have any time to be the age they're listed as, because time began to go backwards on the year 1999.

This might be something explained in future CN chapters or events, I recall seeing people talking about how there are hints and clues about how time might've advanced up to 2006, that Vertin has been lied to in that regard, that the Foundation knows more than it lets on. And that could definitely affect my current analysis, but again, I'm a global player </3.

So assuming time DID stop in 1999 AND that the years listed are their birth years... Let's talk about Matilda and Pavia, characters stated to have been exhibited in the 1990's. Pavia is stated to have been exhibited for 25 years, while Matilda has been exhibited for 14 years - there are 11 years of difference between them, already impossible for characters who were both born in the 1990's. If Pavia was born in 1990, Matilda would've had to have been born in 2001 for their ages to line up. This isn't even taking into consideration the fact that they would've also have to live BEYOND 1999.

One could argue that they could've continued aging as expected with the reversal of time, but Matilda is the only one who could've done so by virtue of being a student within the Foundation - who are not affected by the "Storm". Pavia wouldn't have been able to, because only those special Arcanists can brave the storm if they're WITHIN Vertin's suitcase. The other option to survive a storm would be to work with the Foundation or Manus Vindictae. I can also safely say that Vertin wouldn't have been able to save Pavia on time, on account of being a child and the fact that Regulus was the first Arcanist she ever saved - something that took place in 1966.

Which begs the question: what does the year a character was first exhibited mean?

I've been told that one of the most popular theories within the CN fandom is that the year dictates the moment the character developed their Arcanum. For a magazine that focuses on Arcanists' and the truth about them, it makes sense to focus on when they first began to develop their unique Arcane skills. It does help with some age inconsistencies, but it leads me to think again about the previous examples.

Pavia first developed his skills as a child - it's the same argument as before. The timeframe is much too narrow for things to line up with his current age. And again, there's characters with more than one exhibition date.

I think it's pretty simple and that we might be reading too much into it: an exhibition is just a public display of art. The exhibition date is just the eras in which the characters were seen. The era they're from.

I don't have Regulus, but I remember her global Cover profile lists two different ages. The wikifandom states this for her profile: "Exhibited in the mid-20th century for 15 years." The era listed, mid-20th century, is equivalent to the period between 1930s and 1960s - this lines up with the main story, as Regulus braves the "Storm" from her era in 1966 (note she was already 15) to 1929.

For characters that aren't relevant to the main story (or that simply aren't affiliated with the Foundation or Manus Vindictae) the era they were exhibited in could apply to the moment they were taken from by Vertin's spinning wheel - the abilities of the item and the way characters are summoned seems to transcend time and space, leaving it all vague, magical and mysterious enough to make it work without too much scrutiny.

Next! The date the characters' were "completed" is simply their birthday. This is easy to check, since we can check all birthdays of the month when looking at the Sign-In menu and tapping on the birthday cake on the top right.

Right now, as of writing this, it's December. Rabies' birthday is on the 14th, which aligns with the information on his Cover profile.

Next, their place of birth and different places of exhibit. Pretty self-explanatory too! This is where they were born and all the relevant places the character might've traveled to throughout their life.

This post got very long, so I'll be talking about the remaining sections in a different one! If you've read this far, thank you! And if you have more insight, thoughts or would like to discuss details I might've missed, overlooked or that you feel are relevant, I'm all ears! I love talking lore and theories with others <3

[moriartyluver]

can we have some mtp boys (separate) on how they’d treat a fem! Reader who is on her period. You don’t need to make it historically accurate & if you’d prefer, you can make it modern au. Thank you!!!

A/N: I did this in a modern AU as suggested because I have no idea how people would have dealt with periods in the 19th century

Characters: William James Moriarty x fem! Reader , Albert James Moriarty x fem! Reader ,Louis James Moriarty x fem! Reader (separate)

Format: headcannons

Genre: hurt/ comfort, fluff

Prompt: the Moriarty brothers with a reader who is on their period.

Warnings: reader is afab, reader is female, established relationships, periods/menstruation etc.

LOUIS would be such a good partner in general so when you’re on your period? He is doing everything!

He’s already very much a househusband male wife kind of guy but it just gets so much more malewifey when you’re on your period

Oh you’re hot water bottle got slightly less warm? Louis is filling it up for your instantly

He will literally shower you in heating pads

I don’t think he’d be very physically affectionate in general, his love language is definitely acts of service and it’s very evident all the time, but if you ask to be held, hold you he will.

He’ll make you anything you want to eat no matter how strange (I always get really weird cravings on my period so if you do aswell, be prepared because Louis will stop at nothing to make you happy)

He has a whole storage cupboard packed with pads and tampons and whatever else you may use, all with your preferred sizes and brands because he’s just that caring. You never run out of pads or tampons with him around.

If any ones annoying you, he’ll be super pissed off and will actually get into a fight for your sake.

If you’re feeling emotional, he’ll be by your side reassuring you that everything’s okay. He’s a bit emotionally constipated but he tries his best for you.

If you ever need sheets to be washed or clothes to be cleaned, he won’t mind at all and he will definitely not get upset.

He himself doesn’t go out unless necessary so he’ll try stay at home with you all the time, just in case you need something (even if you insist that you’re fine)

Overall rating? 10/10 wifey material

WILLIAM probably knows more about your period than you do. Not in a gross mansplaining way but in a well educated husband kind of way

Like he definitely knows when you’re going to start you’re period based on symptoms and stuff before you get that little red surprise in your underwear. Worst feeling tbh.

He helps you learn how to track your cycle and if you’re an inconsistent period girlie like myself, he’s a great help. Imagine just getting ready to go out and then William tells you to make sure to take a pad/tampon/cup with you before you leave 💀

He pampers you too, especially if you live together, but not in the same way louis does.

He’s a bit more strict when it comes to what you should and shouldn’t eat (it’s the protective teacher in him). Liam makes you take magnesium supplements and makes sure you eat healthy even if you’re craving junk food so your cramps don’t get worse.

He’s probably calculated the perfect temperature for your heat pad/hot water bottle 😭

Probably a little more affectionate than his younger brother would be. If you’re complaining about being cold or uncomfortable, he’d put whatever book he’s reading down and hold his arms wide open for you. William absentmindedly rubs your back while listening to you complain about having a uterus

Definitely pressed kisses to your forehead while you ramble like the old fashioned lover he is 🤭

He makes sure to buy you really good quality pads/tampons and is sure to memorise which brands or types you prefer. Might slip a chocolate bar in there too. He also buys you painkillers and gives you the correct doses and everything at the right times

If you don’t feel like speaking much (he loves talking to you for some reason. its adorable) he gets a little upset but he’s a surprisingly good communicator. He doesn’t want to make you feel uneasy and bless his heart, he does all the chores and everything so you don’t have to suffer further while your uterus tries to fucking kill you

Overall rating? ∞/10 (I am totally not biased) I want to marry him idc if he’s a drawing

ALBERT is stupid. I’m sorry that’s a mean way to start off

I think we can all agree he has OCD or OCPD but he’s so sweet to you despite some seeing periods as a ‘Filthy’ thing.

You bled through the sheets? He’ll calmly help you fix that dw sweetie. If you bleed through your pants in public and anyone gives you any dirty looks or some weird shit because people hate uterus havers, he’s not called one of the most unhinged mtp characters for nothing 😊

Ok but this man knows nothing about periods though. I’m so sorry. Like you had to explain to him that no you can’t hold in the blood nor do you use your pad as a bandaid of some sort

Would probably send you one of these :(yes I made that)

He needs Louis to go shopping with him to help get you stuff because this man is smart enough for eton but not enough to know that different colours on pad packages are not flavours 🙄

Also he’s a shit cook so you still have to do that if u don’t wanna starve

Probably the most affectionate out of the brothers. He’s very cuddly with you when you need him to be (mainly because he feels bad for being so damn useless)

Overall rating? 2/10 💀

[gamesception]

Sception Reads Cass Cain #42

Batgirl (2000) #21 - December 2001 Writer: Kelley Puckett……….Pencils: Damion Scott Inks: Robert Campanella…..Colors: Gregory Wright

My short break turned into a 6 month hiatus, but the first issue of the new Cass Batgirl run releasing tomorrow (at time of writing this) has finally given me the push to start this project up again. While this isn't the most consequential issue to come back to, it is a good one, and it has Stephanie in it, and references og Cass's initial dynamic with Shiva, which is topical since the new book will at least start with a focus on modern Cass's relationship with her mother.

Most of the usual team here this time, only we have a different Wright on the colors than usual. Which did give me a brief moment of panic that I'd been attributing colors to the wrong person, but no, most of the previous issues specifically credit Jason Wright, but this one specifically credits Gregory.

The issue opens with Cass preparing for a training routine, and I have to point out that the evolution of Damion Scott's art style that I brought up in a reply to a post that was going around recently (link) regarding inconsistency in Cass's appearance was already well underway by issue 21 of her ongoing.

The training sequence itself is pretty extreme as Cassandra demolishes dozens of dummies and a few (potentially load bearing?) stone columns in her cave...

Before nearly taking Spoiler's head off and making herself sick with the effort of stopping her own punch and/or the realization of what almost just happened. It's a cool-then-funny sequence which also reinforces how Cassandra is capable of absolutely destroying people, but that she very much doesn't want to actually hurt anyone, traits that will of course be key to events later in the issue because Kelley Puckett is just good like that.

Anyway, Steph is here because Babs sent her to get Cass and bring her to the Clock Tower, since Cass wasn't responding to calls while engrossed in her hours-long training regimen.

*I wish I didn't have to, Mirthful Mike.

But yeah, this issue is a sort of tie in to Joker: Last Laugh, a miniseries / crossover event from 2001 that frankly I didn't much care for. Unfortunately we'll have to look at an issue from the main miniseries run next time, but for the moment Bab's summary is all that needs to be relevant for the current issue.

The more interesting thing going on in the same panel is the little exchange between Babs and Cass about whether Cass has been studying her super villain files. With Cass answering 'no' in a kind of embarrassed way, which Barbara reads as Cass being embarrassed about not doing her homework, something Babs obviously things Cass ~should~ be doing but that she's kind of given up on Cass ever caring enough ~to~ do, with Cass just not caring about the part of the job that she's not good at / the part of the job that Barbara does. It's a whole thing., and a point of tension that at this point in the comic is slowly building and then later will be forgotten about and unmentioned for a huge run of issues and then even later than that will explode out of nowhere. Again with my recurring comment about this book being fantastic on the build up of character arcs and not as great on the follow through.

BUT ANYWAY, Babs is completely misreading this situation, because Cass isn't embarrassed because she think she's been caught not doing something she should, she's visibly embarrassed (love the art from Scott here, again with managing a very expressive Cass despite being in the full face covering mask) because she thinks she's been caught doing something she shouldn't.

One of the first rules Bruce gave her was 'no costumed criminals'. She's not supposed to be fighting supervillains or metahumans or any other weirdos with special abilities or gimmicks that might invalidate her body-reading ability, which we've already established is her primary and near only defensive skill. At least, that's the in universe justification for why this book mostly avoids big scenery chewing bad guys who would otherwise distract from the intended tone and core themes.

Now, Bruce would have intended that as "don't fight them, but absolutely study them so you know what you're dealing with if you have do", but Cass is very much the sort of kid who would have heard that as 'supervillains are entirely off limits, I don't want you to fight them, or look at them, or even think about them', like the whole subject is a taboo - one she'll absolutely break, but that she'll feel guilty about breaking and try to hide from authority figures, because that's how she deals with guilt in general, lying (poorly) about it, trying to hide it. Because she doesn't think she deserves to be Batgirl, so she's completely insecure about it and sure she's going to be fired the moment anyone sees through her.

And that's especially the case given the reason she's been so carefully studying the particular supervillains she has - super powered martial artists. The same reason she's been training so hard that she's destroying her cave, missing calls from Barbara, and nearly killing unexpected guests who wander into her sessions, but that's a subject the comic comes back to later.

This habit / character flaw / broken coping mechanism of lying to hide guilt (misplaced or otherwise) is just so compelling to me. The way the lies taint every relationship, distancing the character from anyone they should be able to rely on, the way the they inevitably build up as the character feels guilty about the lies themselves and makes up more lies to hide that, like a matryoshka doll, or a tower of cards waiting to fall, the way that by the time other characters start pulling on the strings thinking they know what's going on there's a usually a cascade of revelations each more shocking than the last. Alphys in Undertale is a prime example of this.

The disaster when everything falls apart is usually the best part of this dynamic, and sadly Batgirl (2000) will choose to subvert that part (again, fantastic set up, but never quite following through), but we aren't there yet.

Anyway, it's just a couple short lines of dialog across as many panels sharing space with a blunt info-dump, but it's a really good character beat speaking to both Cass's flaws - the whole lying and hiding anything she feels guilty about - and Barbara's - assuming she already knows what's going on and not digging any further or following up (which only enables Cass's lying and hiding) because the reason she assumes makes her annoyed and angry (which Cass of course picks up on, reinforcing her feelings of guilt and insecurity).

It's a complicated and unhealthy dynamic between two people that otherwise genuinely love each other, and the tension and angst that comes from that is also fantastic.

The original Cass Cain Batgirl run was full of this drama that comes from making these variously maladjusted characters care about each other and exploring the fraught relationship dynamics that result. That more than anything else is what made Batgirl (2000) great and that post-flashpoint Cass has been lacking (the parts I've read anyway, still need to get around to that Outsiders run). Even my constant complaints about the flanderization of latter day David Cain basically boil down to this, because original Cass's relationship with Cain was overflowing with this sort of tension.

Anyway, that's a ton of talk about two panels, lets see if I can rush through the rest of the issue a bit more quickly...

...

So Babs gives a reason why Cass and Steph aren't wanted in this otherwise all-hands-on-deck emergency situation, a reason that's a little bit dumb, but way less dumb than the reason we'll get next time, and Cass says she's fine with it, which takes Babs by surprise. You can see the fight she was ready to have about it, you can see how confused she is when Cass just says OK, because again Scott is just so good at these facial expressions. Babs, or at least this version of her, is susceptible to making inaccurate assumptions about people, about Cass in particular, but she's a smart enough cookie to notice when Cass acts outside of those assumptions and start questioning whether something else is going on.

So Cass goes to train in Bab's star trek holodeck (I admit that thing was a bit too sci fi for a gotham book for my tastes), and refuses to let Steph sit in, which calls back the scene earlier to reinforce it in the readers memory before what happens later.

The power goes out, and Cass comes out sheepishly, this miserable look on her face (again! So good!), because she thinks she broke the holo room, and there's no way to hide & lie her way around that, but the problem isn't Cass...

It's this guy, Shadow Thief (jokerized), a villain I know nothing about and have never seen or read outside of this comic. He's got some weird tech that, I think, drains electricity from nearby devices to make himself (but not his weapons) intangible?

Scott draws him in an extra exaggerated, cartoony, and rubbery style, which works here to emphasize his weird powers and/or jokerization, but does kind of foreshadow how all of his comic art starts to look more like that over time - which again isn't bad (as you can see in the panel here it actually looks pretty cool), but I still prefer the earlier style.

Anyway, Shadow Thief also a notable supervillain martial artist, so Cass actually has been studying his files, and knows exactly how to deal with him -

Catching the throwing stars he throws at them with her fingers (look at her smile! She's loving this!)

Throwing out some cocky banter to play on his ego

Grabbing his very tangible sword to draw him to the roof so Babs and Steph aren't caught in their fight.

All great stuff.

And yeah, Barbara has absolutely picked up that somethings going on with Cass. Eventually it will be revealed that she just already knows about the fight with Shiva, and I don't think we ever see how she found out, but this is pretty clearly where she started to suspect something and it's not too much of a stretch to jump from that initial suspicion to just knowing everything, at least not with this character.

Even without his sword, Shadow Thief has special martial arts techniques that somehow let him sort of hit things despite his Shadow Field making him intangible....

And now Cass does, too.

One of the usual principles of early Batgirl (2000) - no supervillains - serves to keep the focus tight on the more emotional themes of the book. Cass is so far out of the league of any of the typical criminals she runs up against that fights are always over in a flash, keeping action scenes short and punchy and leaving more space in the book for other things. But it is nice, every once in a while, to make an exception for a more drawn out and elaborate fight scene like this, where Cass can really show her skills.

But the real drama of this issue happens when Babs finds a way to remotely deactivate Shadow Thief's intangibility field mid battle. That 'oh, shit' face is so good.

All Cass's joy gone in an instant. She was having so much fun. She was so happy to have a real opponent she could cut loose on instead of inanimate dummies or holograms. Someone good enough to keep up with her, and with a defensive ability effective enough that she could put her full skills to use without having to worry about actually hurting them. Yeah, Shadow Thief's a villain, but they were playing with each other, trading banter. Having fun. Despite Shadow Thief's murderous intent, this was almost more of a friendly sparring match than a real fight.

But once again she gets a stark reminder of what her skills were originally meant for, what she was originally meant for. Earlier in the issue Cass was throwing up at the thought that she even could have hurt Stephanie, and now she probably killed this guy. And there won't be any hiding this - forget what might happen if Bruce finds out about the guy she murdered as a child, he 100% is going to find out about this man that she murdered, on the roof of Barbara's safe house, while wearing his symbol. Her entire life is falling apart, here.

But Stephanie is here. And helps Cass save him. Helps her save herself.

And of course Cass wants to hide what happened from Barbara. And of course Stephanie, being a good friend, keeps her secret, even if it probably would have been better to talk to Barbara about what happened and what Cass is feeling about it. Then again, if Babs knew it might have gotten back around to Bruce, and that ~wouldn't~ have been a healing conversation.

And the issue ends with a Flashback to Cass agreeing to fight Shiva, a real fight, to the death, using all of their killing skills. An bargain struck many issues back, so this is the reminder to readers that the fight is coming up soon, only a few issues away now. The final page is this panel of Cass back in her cave, with Shiva's file open, a video recording of her fighting on loop, as Cass sits with her face in shadow. She isn't going to fight to kill Shiva. She can't. So Shiva is absolutely going to kill her.

So yeah, a strong issue to come back to, catching us up on the overal serial plot of the book at the time, but also strongly grounded in original Cass's core emotional themes and the intricate dynamics of some of her core relationships, including now to Stephanie, with this being a huge early moment of vulnerability from Cass and support from Steph pushing them from like work friends who pal around some times to real friends who rely on each other.

And despite making exceptions to include a super villain and extended fight scene and callback to an ongoing serial narrative arc, this issue still mostly adheres to the core early Batgirl (2000) playbook.

It tells a complete story in a single issue; tightly focused on Cass's core character themes, motivations, and frought, layered relationships; expressed mostly through the artwork with relatively minimal reliance on dialog and even less on narration, with an overall sombre or even tragic tone punctuated with moments of levity or heartfelt human connection.

I'm writing this before having a chance to read the first issue of Cass's new ongoing, but more than anything else, more than reverting her canon to the pre-flashpoint history (which I don't even want, post-flashpoint Cass is a new character and I'm sure she has fans who care about her as much as I cared about original Cass), even more than restoring the original version of David Cain, what I hope for most from the new book is a return to this kind of storytelling.

[galacticbuddysimblr]

Part 1: The Timeline of The Sims

Welcome to the first entry of The Sims Mysteries! I’ve been wanting to give my take of the story of The Sims for a while, and to start a conversation with other Simmers about what their theories are for the countless lore debates that are out there. First though, here’s some context:

There’s a Sims movie in production! Margot Robbie’s production company, LuckyChap, has started work on one, which we heard about last week. I’m super excited! However it turns out, I’ve always wanted to see a live action Sims movie, and I personally have high hopes for it. So far we know the movie is not going to be largely based on the game lore, but now’s as good a time as any to give my two cents on the various inconsistencies in The Sims canon.

As with Barbie, I can imagine the movie will deviate somewhat from what the fans consider canon and will not actually focus on lore at all, but on the simulation aspect of The Sims just as how Barbie focused on the dissonance between the real world and Barbieland. Today, I’m going to start with the topic I feel most strongly about: the timeline order of The Sims. If you take away one thing from this post, let it be that the story of The Sims does not take place in alternate universes or timelines. Take a look under the cut to read my explanation!

When The Sims 4 came out, the alternate universe theory was used as the main explanation for inconsistencies in the lore, specifically regarding sims’ ages. For some reason, this explanation was set in stone as canon without question. A lot of the confusion surrounding the timeline arose due to the assumption that The Sims 4 would take place after The Sims 2; at that point the latest established point on the timeline. Also, there seems to be a figure that’s cited often whenever simmers refer to the timeline; that there are two 25 year time jumps between The Sims 3, The Sims, and The Sims 2. I haven’t been able to find a source for this fact, though. If you know where it’s from, please send a link my way! I presume that it’s not as canonical as it’s considered to be, and in any case it’s a very rigid timescale which is incompatible with the stories of most if not all sims.

I want to recognize the fact that I think The Sims 4 has started taking its lore more seriously. The story of Robert Crumplebottom turned Roberto Crinkletop shown in a promotional video for Horse Ranch is exactly the kind of small scale but significant lore that I personally love! It truly gave me an impression that the developers care about the stories of our favourite sims. Just because The Sims 4 base game is not a neat addition to the canon we all know and love, that does not mean we should resort to the alternate universe explanation. Personally, I see alternate universe explanations of lore as lazy and messy world building, at least if a story doesn’t start out with a theme of alternate universes in the first place. It just seems like a sign that the developers or writers between different entries in a franchise were not in sync with each other or didn’t care enough about the story as long as the same characters were used. In any case, it’s more challenging, and in my opinion more interesting, to put together a unified story from a franchise that is on the brink of being explained away as a multiverse.

In a sentence, since the developers didn’t give us a clean slice of lore, it’s up to us simmers to put the story together. As you may know, this is the current most popular theory of the chronological order between the mainline Sims games based on lore:

The Sims 3

The Sims

The Sims 2

(The Sims 4 outside of the timeline, in an alternate universe)

Here is what I think the timeline should be:

The Sims 3

The Sims

The Sims 4

The Sims 2

The Sims 5?

So yes, all Sims games (including all spin-offs) are in the same canon and timeline in my eyes. The confusion comes from multiple inconsistencies introduced in The Sims 4, but as I said the main factor is the age of sims.

Originally, the main reason I was going to give for the inconsistencies in age was the Elixir of Life. We know that the Elixir of Life is an item in The Sims 2 which has the ability to prolong a Sim’s life in their current life stage, thought to be invented by Mortimer Goth. When it comes to aging inconsistencies, I think this makes for a much more elegant resolution than branching off a whole alternate universe. Anti-aging potions might not seem like a good solution for realism-oriented simmers, but at the end of the day something like an Elixir of Life is exactly in tune with the unique magical realism of The Sims.

All that considered, though, when looking at some of the staple households which appear in multiple games, there actually isn’t any aging conflict. That is, in the chronological order of games that I propose, the age of said sims progresses linearly. The issue might arise when trying to define the exact number of years passing between The Sims games, however considering that there could be different lengths of time between different entries in the franchise, it should be relatively straightforward to figure out when comparing sims’ ages against each other.

To convince you that the multiverse explanation of The Sims canon is unnecessary, I’m going to address the main reasons given in the ‘Alternate universe’ article on The Sims Wiki. Thank you to the person or people who wrote it by the way! Insofar as explaining the alternate universe it makes sense but I’m just using it as a jumping off point to explain my perspective. In the below table, the first two columns contain the conflicts in quotation marks as they appear on The Sims Wiki, while the third leftmost column is the reasons I have for the differences in the lore:

My main wish for the lore of Project Rene, or the current development of The Sims 5, is for it to be set after The Sims 2. This way, we start a new entry in the franchise with a clean slate and no confusion about the timeline. A big mistake The Sims 4 made is being afraid to show how life has gone by for our favorite sims, which just made confusion in the storyline. In fact, SimGuru Sarah said herself that it was the most flexible way to keep the most recognizable sims in the newest game. However, this made the story of The Sims 4, at least in the base game, seem stagnant. Let some of our favorite senior sims die from old age! Let our younger sims grow up and start families! Let Bella Goth grow old!

At the end of the day, we don’t need to rehash Bella’s, or anyone else’s, young adult life with new places and people, and it would be much more interesting to see how she is as an older woman, while her family matures and grows. That is, if Bella is in The Sims 5 at all! Thank you for taking the time to read my thoughts! If you have any comments please message me or reply to this post—I’d love to start a discussion! For upcoming posts, here are some ideas I want to tackle (see the table for the mention of the topics below):

MySims in The Sims

With some of our favorite adorable MySims bridging the gap to the mainline franchise, how can we abridge their stories? What problems came up in their move to The Sims?

The Nighat Caliente vs Katrina Caliente Conflict

Both moms to our favorite sisters, Dina and Nina, but who is the real deal? Are they both?

The Timespan of The Sims

Have the games given us enough clues about the lengths of time that pass between the games? Can we use this to figure out the exact ages of sims or vice versa?

Too Many Malcolms

With enough Malcolm Landgraabs to go around, how can we tell who’s who? Which Malcolms are the same person, and which are relatives?

The Disappearance of Bella Goth

The age old debate: what happened to our Bella after that fateful night in Pleasantview? How much do we really know?

Agnes and Mrs. Crumplebottom

You’d be forgiven for mistaking the two, so how do we know they’re different? Is there a larger lineage of prude Crumplebottoms?

The Setting of The Sims

Do The Sims games take place in SimNation, or across the world on an alternate Earth? How does this Earth differ from ours?

The Teleportation of Don Lothario

When the time came for Don to reap the consequences for his streak of heartbreak, what did the women he scorned decide to do with him? How did Don end up in Riverview?

The Time Travel of Alexander Goth

One Alexander Goth is credited for writing A Murder in Pleasantview, but how did he write the book when his parents were still children? Did young Alex try to save his mom by trying to undo what was already done?

The Identity of Lolita Goth

Who was the mysterious bachelorette buried in the graveyard of Goth Manor? Was there an unspoken affair between her and Gunther?

[genericpuff]

Hello you often use the word “retcon” and I’m not sure what it means. I looked it up and I’m still super confused. Could you please explain?

A "retcon" is an attempt to change a plot point that has already been established, typically as an overcorrection to a past plot point that a writer may be wanting to change. Retcons are usually seen as cheap ways to erase, deny, or "fix" the canon you've already established, instead of working with the canon you've set up for yourself. They can happen a lot in works that weren't planned well enough ahead of time, such as LO. It's essentially the writing version of gaslighting LMAO

Think of it this way. You're watching a movie where a character's family member has died, killed by a random gunman committing a robbery. The main character grieves the loss of this family member, but eventually learns to move forward with their life and live with the values and morals passed down to him by them, carrying on the legacy that that family member left behind. Two movies later, it's suddenly revealed that that family member wasn't killed intentionally by a robber, but accidentally by another gunman who was teamed up with the original robber (but never shown in the first movie). That new gunman is one of the 'bad guys' in this third movie.

What I've just described to you is the retconning of Uncle Ben's death in the original Raimi Spiderman trilogy LMAO originally Uncle Ben died in a random but tragic shooting that was framed as an intentional murder for getting in the way of a carjacker, but later on in Spiderman 3, they suddenly change what 'really' happened into Flint Marco (Sandman) shooting Ben accidentally after asking him for his car. It doesn't really add anything to the plot at all - even Peter lampshades this (calls it out) slightly when he asks why the police department is just now finding this out and telling them when it's been years - and it's clearly being used just as an easy plot device in Flint Marco's backstory and Peter's symbiote plotline. Rather than write a new backstory for a new villain, they changed what information they had already established to 'fit' an easy backstory for a new villain. Ironically, had producers not interfered with Raimi's original vision for the film, it would have worked a LOT better to just stick with what they had already been building up to for the past two films, making Harry the new Goblin and the central focus (but instead he plays third fiddle to the Sandman and the symbiote, both of whom were random villains with zero foundation in an otherwise well-structured trilogy.)

Anyways, rambling about Spiderman aside, that's essentially what a retcon is! It's typically in the form of introducing new information that erases or 're-explains' old information that didn't necessarily need to be corrected or otherwise should have just been stuck with for the sake of continuity. In LO's case, there's clearly so little planning on the story's trajectory that it basically retcons information every other week.

In this case, as I'm assuming you're referring to my recent essay post about the SA retcon, it feels like they're trying to subtly retcon the story away from the SA plot, by giving us a sob story from Apollo's POV and by claiming that Persephone found Apollo 'handsome' (she didn't) and that she felt 'special' around him (she did not). They're revisiting a past scene with descriptions that are completely false and inconsistent with the original scene, hence, a retcon.

Hope that answers your question! :)