#and even if it’s good like…. if the og creators jumped ship i feel that says it all
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jennycalendar · 11 months ago
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not watching the live action atla and completely at peace with that decision
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dansantcaparet · 4 years ago
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In all my years of being a fan of Final Fantasy VII, I never realized the polarizing nature surrounding the debate about who Cloud loves more: Aerith or Tifa?
What’s clear to me is that Squaresoft wanted Aerith to be the heroine of FFVII from the very beginning. The opening scene of the game revolves around Aerith, with the “LOVELESS” sign appearing above her. The juxtaposition of Aerith walking the streets of Midgar, with Cloud simultaneously jumping from the train, sets these two up as the primary characters & love interests of FFVII.
Star-crossed lovers. Their destiny & fates intertwined. Soulmates.
The creators of FFVII have stated that Aerith, Barret, and Cloud were the original three characters created for the game. This confirms that Squaresoft always intended Aerith to be the central female character & love interest for Cloud. Just look at the original & official artwork Squaresoft produced – it’s all of Cloud and Aerith together.
Let us also remember: Aerith is both the FIRST & LAST character we see in the entire game. In addition – Aerith was one of the ORIGINAL three characters created for FFVII. This confirms that Cloud and Aerith were meant to be together from the very beginning. The ORIGINAL hero & heroine.
Since 1997, I always felt Cloud and Aerith were meant to be together. After finding Aerith looking beautiful under the “LOVELESS” sign, Cloud agrees to be Aerith’s bodyguard for the promise of one date. When Tifa asks Cloud to join AVALANCE, he only did so when Barret promised him more money. See the difference?
While Cloud was growing up, him and Tifa were childhood acquaintances  – not friends or lovers. Tifa ignored Cloud when they were kids, allowed her friends to bully him, and excluded him (just like she did in the morning at Seventh Heaven during the Remake). As kids, Cloud and Tifa only had one conversation – a conversation Cloud doesn’t even remember. During this conversation, Cloud makes a friendly promise to Tifa – a promise Tifa begged Cloud to make (ie: “STRONG-ARMED”)  – hardly a childhood romance. Meanwhile, Cloud and Aerith were both two lonely kids destined to meet and complete each other.
The facts are: Cloud only laughs and cries for one character in the entire game: Aerith. This suggests his emotional connection to Aerith is deeper than his emotional connection to Tifa. Even Tifa picks up on this, which leads her to having a jealous meltdown in the Shinra jail cells where she witnesses Cloud and Aerith developing their own “WORLD” together.
When Aerith dies, Cloud exclaims: “My fingers are tingling. My mouth is dry. My eyes are burning!” It is officially stated that Cloud’s “HEART” breaks when Aerith dies.
Even after Aerith dies, Cloud seeks the Promise Land so he can reunite with her. At the end of FFVII, Cloud exclaims: “…I think I’m beginning to understand. An answer from the planet…the Promised Land… I think I can meet her… there…” – anyone who doesn’t think Cloud is referring to Aerith is either an idiot or being purposely disingenuous. Furthermore, this quest for the Promise Land and search for Aerith (by Cloud only) is also included in numerous material Squaresoft has released since FFVII (ie: Final Fantasy Tactics, etc., etc.)
Furthermore, Cloud thought it was Aerith reaching down for him during the end of FFVII. It was ultimately Tifa who was reaching for Cloud, but his heart wanted it to be Aerith. See? Aerith is #1. Tifa is #2. That is how it has been from Day 1.
Even in Advent Children, Cloud is shown to be distant & cold towards Tifa while living in Aerith’s Church. If how Cloud acts toward Tifa, and where he’s living doesn’t tell you where his true feelings lie, I don’t know WHAT will.
Many Tifa supporters point to the VARIABLE Highwind scene as proof of Cloud and Tifa’s love. However, this scene doesn’t prove anything and is pure speculation (not to mention VARIABLE). Even if sex did occur, does sex automatically mean love? And would this have even taken place if Aerith had lived?
The fact remains: Aerith is the only character Cloud comes close to revealing his true feelings for. In Cosmo Canyon, Cloud says to Aerith: “But, I’m –I mean– we��re here for you, right?”
...the reason Cloud comes close to revealing his true feelings for Aerith is because of the wonderful chemistry & love the two have for one another.
Those that say Aerith was meant for Zack are also mistaken. Aerith states that she recognizes Cloud is different than Zack, saying to Cloud, “But you’re different. Things are different…” – Aerith loved Cloud for who he was and recognized that the past was the past.
Aerith also states in the OG that she wasn’t in a serious relationship with Zack, and that he was a real ladies man who probably moved on to someone else.
During Cloud’s and Aerith’s Golden Saucer date, Aerith confirms that although she initially liked Cloud because of Zack, she has grown to like Cloud for Cloud.
Finally – the official commercial approved & released by Squaresoft states: “A story of a love that could never be…” – obviously referring to Cloud and Aerith’s tragic star-crossed romance. This is also the official FFVII tagline.
Cloti supporters can dispute this all they want, but the official commercial (approved by Squaresoft) includes the word “Love” during the scene when Cloud holds Aerith in his arms. I need no more proof than this:
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But if all this still doesn’t convince you, just go back and look at the official Amano artwork. 5 pieces exclusively of Cloud & Aerith together – the canon couple:
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I’ll end with this...
Cait Sith: “Looks good. You are perfect for each other!” “Aerith’s star and Cloud’s star! They show a great future!”
You can claim Cait Sith isn’t always accurate with his predictions, but this was an obvious attempt by Squaresoft to further illustrate that Cloud and Aerith are meant to be.
“Poor Tifa!” ~Cait Sith
Want more reasons why Cloud and Aerith are the intended pairing of FFVII?
Go here: www(.)cloudandaerith(.)com – this website discredits every Cloti argument and lists all the wonderful & accurate reasons why Clerith is the **ORIGINAL** FFVII ship from 1997.
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davethot · 4 years ago
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Aysha is homophobic but more so in the realm of being lesbophobic. Remember that she completely removed all Rosemary interactions from Pesterquest for more Davekat, decided to push for Yiffy the cuckhold child to be forced into the narrative during Lesbian Visibility Day and has made sure to demean any positive Rosemary interactions in lieu of Davekat which she is solely invested in. Her being transphobic more relates to her poor handling of Jade (dog dicked sex fiend isn't good transfem rep)
You do realize you sound fucking insane right???? This is literally what I’m fucking talking about when I mentioned people in my og post about hs2 pointing fingers and giving someone a really harsh label such as LESBOPHOBIC because they didnt quite handle a lesbian couple EXACTLY how you would have.
First of all i want to mention that Aysha is non-binary poc and is married to a woman. This doesnt exempt her from possibly writing some shitty things, but its good to have perspective here. Shes not some cishet white person writing these characters.
So are you going to ignore the literal thousands of pages of the original comic where we had a PLETHORA of Rosemary interactions??? And absolutely no davekat? And if you remember Kanaya was still having hang ups with Vriska, so it only made sense that that was explored a bit in Pesterquest rather than jumping straight to Rose and Kanaya cuddling on a couch and spewing gay poetics at each other. Like I genuinely dont know what you fucking want.
Also i would like to point out that romance wasnt even the fucking focus of Pesterquest. Dave and Karkat’s interactions were barely anything more than characters mentioning them and them being in the same place together for one single ending and mspar implying that they had a feeling they were supposed to be good friends. Tbh it sounds like you and the people who often have this complaint are way more fucking obsessed with what’s going on with Davekat than Aysha or the rest of the team will ever be. Maybe you should redirect your efforts into creating more wlw content for Homestuck since you think the new team is so lesbophobic for portraying two grown ass women having some marital problems (and acting like that cant happen in the real world with real people literally every day).
You and tons of other people fucking love to point to Kanaya and Rose’s issues in hs2 and preach that it’s suddenly lesbophobic that theyre not happy go lucky 24/7. Again, Davekat didnt even fucking happen in the og comic. We had one flash where Dave rests his head on Karkat’s lap and they’re playing hopscotch on a poorly drawn dick on the ground, meanwhile Rose and Kanaya had comfortably been together for Awhile at that point. I just don’t understand how Dave and Karkat finally having a semi-functional and happy relationship in hs2 is promoting lesbophobia. Also we didnt even get to see the comic FINISH!! We dont KNOW what exactly was going to happen with Rose and Kanaya, and we arent going to for a long fucking time because it’s people like you who are perpetuating this narrative of the team and that theyre horrible awful people because they did two fucking things you dont agree with. It’s honestly fucking exhausting. And you know I can throw this right back at you right? Like, pretty homophobic of you to only be focusing on wlw ships and invalidating Davekat, one of the only healthy relationships PERIOD in Homestuck, not just a healthy mlm relationship. Like, pretty shitty of you anon :/ kind of homophobic of you fr.
And this isnt even mentioning the genuinely nice interactions we have seen with Kanaya and Rose in Homestuck 2. Everyone’s really fucking eager to forget that in meat Kanaya was wistfully looking out at the stars missing her wife and told Dave she’d do anything to get her back, esp since it’s implied that Rose was being manipulated pretty heavily by Dirk. But no, according to yall that never happened and Aysha + the rest of the team are just spitting on all wlw folks.
Also again I feel like youre coming to insane conclusions. You think it was a purposeful move that Aysha and the team introduced Yiffy on lesbian visibility day??? Like???? Also pretty lesbophobic of you to invalidate a child born from two women. Like hm pretty shitty of you anon. Rose and Jade explained why they did what they did, and tbh, again, we could have had more information if people like you didnt indirectly harass the creators and cause it to go on indefinite hiatus.
As for the Jade dog dick thing, I have multiple friends who are trans women who have issues with people blowing it out of proportion. Its important to remember that every trans woman is going to have a different opinion on this, and we shouldnt invalidate any of them, but at the same time what one trans woman says about it isnt the end all be all of the situation. Some trans women think this portrayal is transphobic, while plenty others think it isnt, and that people are making way too big of a deal out of it. Therefore I’m going to leave it at that. Personally I dont know if how Aysha and the team wrote Jade is transphobic and its not for me to decide. However, my trans friend would like to be quoted saying this:
“People claiming that the writers intended for Jade’s dick to be the driving force in her emotional and sexul appetite shows someone’s willingness to ignore Jade’s actual reasons for doing these things that she STATES in the actual text. All in favor of projecting their own transmisogynist reading onto the writers.”
This probably ended up being longer than my og post lmfao but fr anon im sick of people like you. Even if you didnt directly contact the creators of hs2, you’re literally the problem here. I wish you and others would stop throwing around these terms like lesbophobic, homophobic, transphobic, etc, because it literally makes those words lose meaning. Someone writing a lesbian couple having marital problems, especially in the context of Homestuck, is not fucking lesbophobic. And i hope i helped you understand that by throwing the terms back at you because tbh, im sure youre a good person with good intentions, and I would never seriously call you homophobic for this. But i hope you can have some fucking perspective and stop targeting marginalized authors and creators moving forward. Its embarrassing fr.
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So I'm an original Avatar: The Last Airbender baby, but I didn't watch Korra when it first aired - I've been watching it lately though, and here are my thoughts.
I'm not a fan but I'm going to try to keep this unbiased.
- Honestly they could have done a show about Tenzin rebuilding the air nation and that would have been better than Korra and her shit but whatever
- the first season is a mess and I'm going to give some leeway to the creators for thinking they only had one but honestly all the pro bending stuff is ... uncessisary. Also the characters never really bond. They're just kind of ... there. Thrown together for very little rhyme or reason and we're just supposed to feel the same way about them as we did the gaang but there's really no reason to.
- Slighty irritated that only Kya has dark skin out of Aang and Kataras kids???
- Jinora is the real MVP of this whole ass show and deserves to be avatar more than Korra but whatever I know that's not how it works
- The timeline is probably done correctly but the jump from ATLA to LoK is so jarring and honestly I don't enjoy it. ATLA was so easy to disappear into but LoK isn't
- Korra is really very bratty, and she has a bad habit of siding with strangers over the people who love and care for her. She's too easily swayed and not very balanced
- season two: aka the season of shit that aang never would have let happen and the season of Korra messing everything up
- my least favorite thing about LoK is how it destroys everything ATLA had set up. Korra merging the spirit and real world was whack, and letting the link from her and the other avatars be severed was down right blasphemous. The saving grace of this show is being able to see the OGs and she ruined a good bit of that
- this season was hard to watch. My GF gave up. I actually really enjoyed S3, the bad guys were good and Korra actually got to act like an Avatar
- Ngl though I wish there was ... better reasoning behind airbenders? Like idk I get they needed to bring them back or whatever but why random people and not like??? Idk the air acolytes who are actually interested in preserving air nomad culture
- bro I can't believe Mako did THAT. Also Bolin lava bending? A+ shit. (Unrelated note: Toph's children are insufrable).
- Season 4 is the best season. Korra is still a mess but at least she has PTSD now so it makes SENSE.
- remember how I said pro bending was irrelevant? Yeah this is the first time it's even been mentioned again. Remember how I said the new team avatar are hardly even friends? There's a 3yr gap here where none of them are together. Korra has supposedly been writing Asami letters but it's mentioned only briefly. Like 'oh yeah we forgot about them ummm throw in some letters'.
- if all the seasons were as good as 4 this would be a different show.
Here's where LoK really went wrong for me: as a WLW, and an Avatar fan, KorrAsami has ... nothing. No build up, no chemistry. Neither of them give a hint of liking anyone besides Mako, much less female, or each other. By the end of the show they've spoken maybe 4 times? Their relationship makes zero sense and if I hadn't known about it from the fandom, I would have never guessed they were canon. It's a let down because gay relationships deserve the same amount of buildup straight ones do. And maybe Nickelodeon is to blame but honestly you can't put it all on them because they girls don't talk? Don't look at each other? Aren't really even friends? If they didn't both know Mako or feel responsible for the world would they cross paths at all? No. Honestly there's more material to ship Sokka and Zuko with than there is Korra and Asami and that's just. Sad.
*the comics do cover their relationship, but they're not what I'm talking about*
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notsosmallbean · 5 years ago
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I’m binging right now uwu
Since this is gonna have more than 2 episodes, I’m putting in the “keep reading” thing, but, for the record, I’m watching Happiness Is, Peril on the High Seas, and Curses! in this post!
Happiness Is
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Okay, I’m very excited for this episode because I’ve heard some things, so let’s go, baby!!
Hecking heck, more leafy dude content?
OH MY GOD I FINALLY UNDERSTAND THE CONTEXT OF ONE FANFIC I READ!
the downside is that I already know that idol makes people hallucinate and that the tangled crew will get affected by it.
Hey wait a sec- Hookfoot has his hook back!
Awww oh my gosh, that’s so cute and sweet and also sad-
What are they celebrating?
So who’s ready for her to hallucinate her family?
The idol was suspiciously easy for her to find, and I have no idea how nobody found it earlier-
Pascal must think she’s crazy right now lol
This statue is lowkey kinda useful though-
“The card was not made of cheese” “agree to disagree”
Haha, poor Max
I love the looks everyone gets when they’re holding the statue
Haha, poor Hookfoot
They’re gonna all start feeling the withdrawal soon-
#letpascaltouchthestatue2k19
Oh this will have some funny hijinx lol
Lolol, the swooning crabs
WAIT ARE YOU TELLING ME I DON’T GET TO SEE EITHER OF THEM IN A TUTU???
whoo yes, max in a tutu!
what does shorty want it for?
So yeah, Raps is just trying to get the statue right now-
Yeah, exactly-
Oh, thank god the leafy dudes are here! WAIT WHAT AM I SAYING!?
HER EYES WHAT
HAHAHAHA, THE RUMORS WERE TRUE!!
HEHEHEHEHE
Okay- uh- hah... Ahem, back to cohesive thought.
So uh, why did her eyes turn red when she didn’t touch it?
Oh no, they’ve been hypnotized..!
He sicked Cassandra on them like an angry dog lol
PASCAL IS A FIGHTING MACHINE HELL YE
Woah
Aw, how sweet...
I really loved this episode for a variety of reasons.  It had a really great message, good storytelling, personal appeal, and some really funny moments!  Two super awesome episodes in a row?  Nice job, Disney.  There is either not enough or too much for me to say for this episode, so I’ll just leave it at that.
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Peril on the High Seas
okay, so this little island arc is over.
I- WHAT? The opener??? Is this gonna be a bunch of mini shorts??
Ohhh the ferry!
wait what do you mean six weeks? aren’t new moons monthly?
Ohhh it’s just cuz Max was being The Suck-
The stupid bug ate more of the fruit;;;
Lol, one of his OG wanted posters
AND THEY EVEN MESSED UP THE NOSE!
Just listen to the horse, Eugene.
Wonderful! They’re stuck!
Oh that’s a pirate ship, isn’t it-
oh no-
OH NO
OH NO
Stop screaming, they’re gonna hear you
Hah, I just noticed that the knife says Rider on it
Dang, that transition-
Okay is it a problem that I totally forget who that chick is??
MAX CALM DOWN-
OH NO THE FERRY
Doesn’t the Fire Fly just live on the island?
Hahahahaha, that parallel.
Why did they not tie that dude up?
Oh hey! I remember the girl now.
OH SHOOT IT’S THE STABBINGTONS
Stupid Max and his stupid friggin grudge...
Oh dang-
HELL YEAH, THAT'S MY GIRL!
Ohhh, the Fire Fly is gonna kill them, isn’t it?
Epiiiic
NO NO NO NO NO
OH MY GOD HE JUST-
OH MY GOD THE BOOK HOW DARE YOU SCARE ME LIKE THAT DISNEY
Eugene your mouth- how isn’t it burning?
This episode was so awesome!! The creators are on a roll here!  It was full of suspense, jokes, and action!  I really liked it, and I totally didn’t expect such an episode from a title card like that!
Curses!
haha, that title makes me think of mojo jojo
Her dress;;;
I really love Rapunzel~
He just “oof”ed!
IT’S THE DAMN MONKEY AGAIN
Kinda okay with that tho-
This woman;;;;
Just pay for the damn thing-
heh, grappling hook...
Thassa deep puddle-
Hey so funky coincidence: This episode, to me, is a lot like when people google symptoms and it’s like “you have cancer” and they are then paranoid about it being true.  I was trying to describe this to google because I know there’s a word for it, but I couldn’t remember, and, apparently, chronic inability to find the right words is linked to Alzheimer's, so now I have this phenomenon and I STILL DON’T KNOW WHAT THE WORD FOR IT IS.
Okay, back on track.
This seems a tad extra, Hookfoot-
Oh my gosh, what are those doofuses doing in the caravan-
IS THAT FOR-REAL MAGIC OR JUST SCIENCE??
you don't need to return it! just pay for it!
how DARE they not show me the kitties
asjkdfhdsakjh she can’t seriously be doubting him
A MOOSE TOOTH DOES NOT MAKE YOU IMMORTAL, PRINCESS!!!
that’s disgusting.
real sweet, guys, but YOU ARE ON A SWAYING ROCK BRIDGE
OH, THAT’S BRILLIANT RAPUNZEL!
fajksdlkjhlk THE MONKEY JUMP SCARED ME
This episode was really good!  I mean, I liked the previous three a little more, but I will not count it as a break in the awesomeness streak!  I’m glad they’re back on their quest, and this episode was generally pretty funny.
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jewelridersarchive · 6 years ago
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Why do we love seeing new versions of the same thing? Is it simple nostalgia? Is it the desire to engage with some sort of content that once moved us in a new and different way? Is it new creators wanting to stamp something they loved from their own childhood with their mark? Or is it all of the above?
I’m not immune to loving reboots. I devoured the new DuckTales on Disney XD, I’m reading the new Rainbow Brite comics from Dynamite, I’m watching the new iteration of Will & Grace, and continue to watch My Little Pony: Friendship is Magic. Reboots are fun; they not only allow fans who loved something to have a nostalgia party, but also allow potential new fans entry points into what sometimes appears to be never-ending streams of content (I’m looking at you, Transformers). But things seem out of hand when even ReBoot, the mid-90s CGI cartoon, has a reboot on Netflix (ReBoot: The Guardian Code). Have reboots become the “safe,” risk-averse way companies can cash in on portfolio properties that already have known fanbases? It’s the equivalent of an artist only drawing fanart because they know it will get thousands of likes versus hundreds on original content.
And I fully admit some level of fatigue with franchises that just keep chugging along, seemingly forever. Every movie that comes out seems to want to be a tentpole franchise builder. Or a reboot of an existing franchise, or a soft reboot that only takes some elements going forward, or an alternate universe or…well, you get the idea.
I love original content. One of the best shows I watched this year was Alex Hirsch’s Gravity Falls (yes, I know I’m rather late to the game). It was a bright spot of originality, something new and not tied to any other content or previous iteration. Many of the anime I watch and enjoy are either original or straight adaptations of an existing manga. I think original content and ideas are important in entertainment. They allow a generation to experience a piece of entertainment in its prime, and have something uniquely “theirs.” Kids of the 60s had Star Trek, kids of the 70s had Star Wars, kids of 80s will always be the original audience for Jem & the Holograms and He-Man/She-Ra, kids of the 90s will always have X-Men TAS and Sailor Moon. (And PGJR, of course haha). No matter if they are rebooted down the road or not, that original experience belongs to the original viewers.
Which is why it’s always hilarious to me when people who hate on the new version of something say “It’s ruining my childhood!” Your childhood is whatever it was, frozen in time. Those original cartoons obviously still exist, and if you have the desire you can watch most of them. A reboot doesn’t destroy the original, no matter how many changes it makes to the original idea. The best reboots can often give us (as adults) what we thought we were watching as children. And often, the reboot can drive traffic back to seek out the original, as adults want to share with children the version they loved at that age.
Which brings us to She-Ra. I didn’t watch any He-Man or She-Ra as a child, for whatever reason. I found He-Man & the Masters of the Universe through the 2002 anime-influenced incarnation (also a great reboot IMO), then went back and watched the 1983 cartoon, followed by the 1985 She-Ra: Princess of Power. I loved it all. Sure, sometimes it was goofy, and there was lots of animation reuse in the older versions, but the core concepts were really strong. They are classic good vs evil, freedom vs tyranny stories, told with engaging casts and crazy creative worlds.
I powered through all 93 episodes of She-Ra during the summer of 2010 while I studied for my board exams. It holds the special place of being the series I turned to to relieve the stress of studying. I love the 80s fantasy girl designs, the color schemes, the powers, the sheer kookiness of the side characters. She-Ra was the OG American magical girl, and I finally understood what all the fuss over this franchise was about. She-Ra feels iconic in the way that characters like Wonder Woman and Sailor Moon do. Yes, she starts out as a spin-off of the successful He-Man franchise, but he makes very few appearances in She-Ra’s cartoon.
But after her initial run, She-Ra remained a virtually dormant property for the next 30 years. He-Man had two different reboots in 1991 and 2002, but She-Ra was stuck in limbo. Only once the Masters of the Universe Classics collectible figure from Mattel released in 2010 did She-Ra finally see the light of day again. Story-wise, the bios on the back of the toy packages gave us a little info about She-Ra’s further adventures, but it wasn’t until the 2012/2013 Masters of the Universe comic from DC that She-Ra comes back, this time in the guise of the villainous Despara. It’s a dark but interesting take on the characters; an exploration of what being raised by the Evil Horde would really do to a person.
Interestingly, this seems to be the jumping-off point for the new “She-Ra and the Princesses of Power” animated series from Dreamworks and Netflix. This show takes as its central theme the relationship between Adora and Catra. When Adora finds the sword that lets her turn into She-Ra, she leaves the Horde – an organization to which she has devoted her life. Almost more importantly, she leaves behind Catra, her best friend. It’s this broken relationship that informs the emotional tone of the rest of the show.
Unlike the 80s version, this time around the Rebellion knows Adora’s identity as She-Ra. It’s an interesting change – shows of the 80s were obsessed with secret identities, and sometimes it could get ridiculous making up excuses for what happened to the other identity of the character every time. Thankfully, that is avoided here, and instead of angst over whether or not you can let people know the real you, we are treated to relationships that ask whether we can accept someone who we know has wronged us before.
Much has been made over this update’s reworking of the body types and ethnicities of the main princesses. While I confess not loving all the updated designs and missing the 80s fairytale warrior goddesses of the original, I understand and fully support the change. Reboots are about viewing something old through the lens of today, and audiences of today want to see themselves in the media they watch or read. We can’t (and shouldn’t) go back to mostly-white casts. The world is a rainbow of colors, and the show feels richer for including them.
Speaking of rainbows, I have to mention the new show’s decidedly queer bent. The relationship between Adora and Catra is somewhere between ex-best-friends and ex-girlfriends in tone. Netossa and Spinerella, long shipped by the fandom, are finally outed in a true relationship this time around. Other characters like Scorpia, Bow, and Entrapta all tap into queer mannerisms and norms as well. The end result is unlike anything else I’ve ever seen in children’s entertainment, and I couldn’t be happier. I wish I’d had something similar as a child, but I’m grateful today’s queer kids have their own heroes.
When we talk about a successful reboot, what are we looking for? Here’s what I think a good reboot need to accomplish.
Bring the characters and concepts of the original property up to date for current audiences.
Explore the characters or world in new and different ways.
Add depth to the original concept.
She-Ra and the Princesses of Power does all of these in spades. I think it’s the nicest treatment an 80s female-driven property has gotten in a reboot. The show is full of strong characters with interesting dynamics, great writing, and interesting world building. Yes, some of the episodes can be a bit predictable and the designs are not always my favorite, but everything works together toward a greater whole. I won’t spoil the story for you, because seriously if you haven’t watched this, get thee to Netflix and enjoy!
For the Honor of Grayskull!
Chris
P.S. Can you imagine getting a ✨Princess Gwenevere and the Jewel Riders✨ reboot that brought all this to the table? I’d die!
Read the complete blog at The Jewel Riders Archive! http://www.jewelridersarchive.com/posts/she-ra-the-princesses-of-power-and-reboot-culture/
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jewelridersarchive · 6 years ago
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She-ra & Reboot Culture
Why do we love seeing new versions of the same thing? Is it simple nostalgia? Is it the desire to engage with some sort of content that once moved us in a new and different way? Is it new creators wanting to stamp something they loved from their own childhood with their mark? Or is it all of the above?
I’m not immune to loving reboots. I devoured the new DuckTales on Disney XD, I’m reading the new Rainbow Brite comics from Dynamite, I’m watching the new iteration of Will & Grace, and continue to watch My Little Pony: Friendship is Magic. Reboots are fun; they not only allow fans who loved something to have a nostalgia party, but also allow potential new fans entry points into what sometimes appears to be never-ending streams of content (I’m looking at you, Transformers). But things seem out of hand when even ReBoot, the mid-90s CGI cartoon, has a reboot on Netflix (ReBoot: The Guardian Code). Have reboots become the “safe,” risk-averse way companies can cash in on portfolio properties that already have known fanbases? It’s the equivalent of an artist only drawing fanart because they know it will get thousands of likes versus hundreds on original content.
And I fully admit some level of fatigue with franchises that just keep chugging along, seemingly forever. Every movie that comes out seems to want to be a tentpole franchise builder. Or a reboot of an existing franchise, or a soft reboot that only takes some elements going forward, or an alternate universe or…well, you get the idea.
I love original content. One of the best shows I watched this year was Alex Hirsch’s Gravity Falls (yes, I know I’m rather late to the game). It was a bright spot of originality, something new and not tied to any other content or previous iteration. Many of the anime I watch and enjoy are either original or straight adaptations of an existing manga. I think original content and ideas are important in entertainment. They allow a generation to experience a piece of entertainment in its prime, and have something uniquely “theirs.” Kids of the 60s had Star Trek, kids of the 70s had Star Wars, kids of 80s will always be the original audience for Jem & the Holograms and He-Man/She-Ra, kids of the 90s will always have X-Men TAS and Sailor Moon. (And PGJR, of course haha). No matter if they are rebooted down the road or not, that original experience belongs to the original viewers.
Which is why it’s always hilarious to me when people who hate on the new version of something say “It’s ruining my childhood!” Your childhood is whatever it was, frozen in time. Those original cartoons obviously still exist, and if you have the desire you can watch most of them. A reboot doesn’t destroy the original, no matter how many changes it makes to the original idea. The best reboots can often give us (as adults) what we thought we were watching as children. And often, the reboot can drive traffic back to seek out the original, as adults want to share with children the version they loved at that age.
Which brings us to She-Ra. I didn’t watch any He-Man or She-Ra as a child, for whatever reason. I found He-Man & the Masters of the Universe through the 2002 anime-influenced incarnation (also a great reboot IMO), then went back and watched the 1983 cartoon, followed by the 1985 She-Ra: Princess of Power. I loved it all. Sure, sometimes it was goofy, and there was lots of animation reuse in the older versions, but the core concepts were really strong. They are classic good vs evil, freedom vs tyranny stories, told with engaging casts and crazy creative worlds.
I powered through all 93 episodes of She-Ra during the summer of 2010 while I studied for my board exams. It holds the special place of being the series I turned to to relieve the stress of studying. I love the 80s fantasy girl designs, the color schemes, the powers, the sheer kookiness of the side characters. She-Ra was the OG American magical girl, and I finally understood what all the fuss over this franchise was about. She-Ra feels iconic in the way that characters like Wonder Woman and Sailor Moon do. Yes, she starts out as a spin-off of the successful He-Man franchise, but he makes very few appearances in She-Ra’s cartoon.
But after her initial run, She-Ra remained a virtually dormant property for the next 30 years. He-Man had two different reboots in 1991 and 2002, but She-Ra was stuck in limbo. Only once the Masters of the Universe Classics collectible figure from Mattel released in 2010 did She-Ra finally see the light of day again. Story-wise, the bios on the back of the toy packages gave us a little info about She-Ra’s further adventures, but it wasn’t until the 2012/2013 Masters of the Universe comic from DC that She-Ra comes back, this time in the guise of the villainous Despara. It’s a dark but interesting take on the characters; an exploration of what being raised by the Evil Horde would really do to a person.
Interestingly, this seems to be the jumping-off point for the new “She-Ra and the Princesses of Power” animated series from Dreamworks and Netflix. This show takes as its central theme the relationship between Adora and Catra. When Adora finds the sword that lets her turn into She-Ra, she leaves the Horde – an organization to which she has devoted her life. Almost more importantly, she leaves behind Catra, her best friend. It’s this broken relationship that informs the emotional tone of the rest of the show.
Unlike the 80s version, this time around the Rebellion knows Adora’s identity as She-Ra. It’s an interesting change – shows of the 80s were obsessed with secret identities, and sometimes it could get ridiculous making up excuses for what happened to the other identity of the character every time. Thankfully, that is avoided here, and instead of angst over whether or not you can let people know the real you, we are treated to relationships that ask whether we can accept someone who we know has wronged us before.
Much has been made over this update’s reworking of the body types and ethnicities of the main princesses. While I confess not loving all the updated designs and missing the 80s fairytale warrior goddesses of the original, I understand and fully support the change. Reboots are about viewing something old through the lens of today, and audiences of today want to see themselves in the media they watch or read. We can’t (and shouldn’t) go back to mostly-white casts. The world is a rainbow of colors, and the show feels richer for including them.
Speaking of rainbows, I have to mention the new show’s decidedly queer bent. The relationship between Adora and Catra is somewhere between ex-best-friends and ex-girlfriends in tone. Netossa and Spinerella, long shipped by the fandom, are finally outed in a true relationship this time around. Other characters like Scorpia, Bow, and Entrapta all tap into queer mannerisms and norms as well. The end result is unlike anything else I’ve ever seen in children’s entertainment, and I couldn’t be happier. I wish I’d had something similar as a child, but I’m grateful today’s queer kids have their own heroes.
When we talk about a successful reboot, what are we looking for? Here’s what I think a good reboot need to accomplish.
Bring the characters and concepts of the original property up to date for current audiences.
Explore the characters or world in new and different ways.
Add depth to the original concept.
She-Ra and the Princesses of Power does all of these in spades. I think it’s the nicest treatment an 80s female-driven property has gotten in a reboot. The show is full of strong characters with interesting dynamics, great writing, and interesting world building. Yes, some of the episodes can be a bit predictable and the designs are not always my favorite, but everything works together toward a greater whole. I won’t spoil the story for you, because seriously if you haven’t watched this, get thee to Netflix and enjoy!
For the Honor of Grayskull!
Chris
P.S. Can you imagine getting a ✨Princess Gwenevere and the Jewel Riders✨ reboot that brought all this to the table? I’d die!
Read the complete blog at The Jewel Riders Archive! http://www.jewelridersarchive.com/posts/she-ra-the-princesses-of-power-and-reboot-culture/
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