#and for aforementioned reasons i’m aware of quite a few spoilers

[shadowtraveled]

me: you are all so horny for the vampire can we be normal for a second

larian studios: EXTREMELY LOUD CORRECT DING

[linklethehistorian]

BSD Season 4 Reveal: Initial Impressions

Speculation and initial personal thoughts under the cut due to spoilers for the manga up to Chapter 95.5, and Storm Bringer (and also the Fifteen light novel and the previous anime seasons, but I should expect that’s a given by now and no longer requires a spoiler warning to begin with, since it’s been years).

Hello, everyone! It’s good to see you again! As I’m sure you all know, last night I was made aware of the announcement for BSD anime Season 4, and now that I’ve gotten some decent sleep and had some time to reflect on the announcement with a clearer and more alert mind, I’d like to share all of my initial musings on the matter with you — both positive and negative.

I actually do have a quite a few points I’d like to cover, so rather than going on one long, messy rant, I’m going to be separating them into different sections as per my two previous articles — here and here (the latter of which is still in progress) — on the animated series.

With that out of the way, let’s begin!

Season 4 Light Novel Adaption Expectations & Thoughts

Given the series’ at-times-beloved-and-at-other-times-disastrous past tradition of including a light novel adaption into each season of the anime, I do think it should go without saying that the speculation on which one, if any, will get chosen to be “brought to life” through the TV series this time is a very valid avenue for anyone to want to go down immediately upon finding out that there is going to be yet another season.

Personally, I don’t think any speculative analysis of a new season is complete without that kind of banter, so let’s explore the possibilities and what exactly they each entail, shall we?

Ordinarily, I would have tended to go on a longer ramble about the situation and all of its implications than I actually will this time around, but thankfully, most of what I’ve already said and the reasoning I’ve already laid out in my speculative article on the previous season still holds up, so today, I will mostly just be building off of that, instead. (If you haven’t read that already, I do highly recommend reading it before you finish this mini-article, but it isn’t strictly necessary, for I’ll probably quote or summarize most of the important parts here.)

As stated there, while there are, in fact, still many light novels to cover in the anime before we’ll have seen them all — Untold Story, 55 Minutes, BSD Gaiden, BEAST, and the at-the-time-unknown-of Kunikida and Katai's Magnificent Days short story and Storm Bringer — when we take into account informative relevance to the current arc and all previous seasons, we are really left with only a few possibilities.

BSD Gaiden, being a spinoff in its own right, is, if anything, better suited to being a movie — or better yet, becoming its own spinoff animated series, sometime in the distant future, and has nothing of major relevance to contribute to the main series at all at present.

BEAST, while informative in some ways about the Book that is so highly sought after and semi-used in Season 4′s arc(s), is honestly the farthest of all light novels from being necessary to introduce into the main animated series. To quote the aforementioned piece I wrote prior to Season 3′s release:

Yes, [...] I too agree that the things this novel brings to light about the Book and its functionality are almost as insightful and compelling as the very premise itself; however, [...] in the end, this story is an AU and therefore has the least necessity to be brought into the animated series in any way, and I’m quite sure that if any of the information from it regarding the Book is truly essential to the main series, it will be brought up at some point within those events on its own, as I can’t imagine that Asagiri would ever leave critical information only within what otherwise would appear to be an entirely optional side story/spinoff. [...]

If BEAST is to be animated at some point at all [...] I feel that it would be best served [...] as its own standalone movie, probably ideally released sometime after our hypothetical Season 4, which should be fairly Book-centric in itself.

Furthermore, now that BEAST has its very own, fully-fledged live-action movie coming out, as much as I may enjoy the idea of seeing it animated someday, I really don’t think that that will — or even should — be taken into consideration anytime in the near future, when there are many other novels already waiting to get their chance to come to life in a movie or TV series that haven’t gotten such special treatment or privileges.

In regards to the Kunikida and Katai's Magnificent Days short story, I’ll admit that is the novel (if it is to be called such) I know the least about at present, but from what I do know about it, although it does star two characters who appear in both Season 3 and Season 4, it also doesn’t seem to establish anything of critical importance to either of these seasons, or the main story as a whole. Thus, I feel that placing it as this season’s light novel adaption — although it may be able to be squeezed into a very small number of episodes with no issue, from what I understand, if not just one — would be a waste of both time and opportunity, if they’re determined to keep with this tradition; I think it would really just be better off being adapted as a bonus OVA of some sort later on, if they felt the need to animate it, as I frankly don’t feel it’s long enough or high-stakes enough to be worthy of an entire movie, however cute or touching it may be. As for 55 Minutes, while I do think it’s one of the better candidates out of the bunch to be chosen, my feelings about it ultimately still remain as they did over two years ago: that it would be best relegated to a movie, either released sometime between the previous season and Season 4, or — given the better understanding I obviously have of Season 3′s contents now — between Season 4 and a potential Season 5, depending on how far into the manga we truly go in this season (more on that question in the next section).

If you would like to know more about my reasoning for why I think 55 Minutes could be considered a good candidate to go alongside Season 4′s (or a potential Season 5′s) main arc(s) at all, you can read about that in my previous article’s section on the subject, as well why I think that although it is a good candidate, between it and Untold Story, the latter is really a much better fit to be integrated directly into the new episodes. As much as I would like to talk about that again here, I think it would just be a massive waste of time to merely (and probably poorly) re-iterate what I’ve already said and documented very well in the past, when that information is presently available for you to go back and read at any time.

Now, with all of the above eliminated from the running, that ultimately leaves us with the two possibilities I think are most feasible for them to choose: Untold Story and Storm Bringer.

Oh, and I know, I know — I can hear the metaphorical stones being cast at me already; how dare I mention Storm Bringer as an option above all those older novels for them to pick? I’m clearly just biased and want to see more of my favorite character/story getting animated, or I must be a Soukoku shipper (I’m personally not, by the way), or some such thing; go ahead, get it out of your systems, I know it’s probably in there from the moment you read that, but, if you do think any of that, you’re actually very highly mistaken...sadly.

I would love to have listed Storm Bringer of my own volition, because I’m “biased” and excited about it; that would definitely be a more fun reason for me to have done it, personally, but...that’s not remotely the case.

In actuality, if I got to choose between the two novels in regards to which would get to be this Season’s light novel representation in the anime, I would actually still choose Untold Story, just as I did for the then-hypothetical Season 4 I explored the possibility of prior to Season 3′s release. 

To quote myself during that time, I still very much do believe that:

[...] yes, [...] you could absolutely adapt Untold Story into season three, and yes, it would give everyone even more information than they already had and perhaps even more reason to feel the way they already do about [Fukuzawa and Ranpo and their bond], but if you’re looking for the story to actually have an impact on anything, you would be better off waiting until it would have some kind of effect on the overall plot, provide some form of insight towards it, and aid in altering the way things are perceived; an opportunity which is clearly presented to us in the form of the manga’s Chapter 65 and Chapter 66 — which, in the anime, would manifest themselves as episodes within Season 4.

In these chapters, it is shown how Fukuzawa fought Mori for the freedom of the young Yosano Akiko and how he and Ranpo together gave her the chance to join the Armed Detective Agency as its second ever member.

If Untold Story were to be introduced at the beginning of Season 4 or even well into it, just before these episodes, it would have a very heavy impact on the overall story, and it would lend even more importance and depth towards all of the characters that are involved, while also displaying the extreme contrast between the methods, morals, and personalities of the two heads of the series’ leading organizations to an even greater degree than ever before.

I still stand by what I said there, now and forever; Untold Story is without question the light novel that has a place in these new episodes — that is not, and never was up, for debate.

The real question is, though, does Studio BONES feel the same way about it as I do?

I’d love to say “yes, absolutely!”, but the reality is that despite technically getting what I wished for and knew could have been best last Season, it was that same ‘granting’ of my wish in the way that they did — butchering and bloodying it beyond recognition and removing nearly all of the reasons why I thought it belonged in that season in the first place in favor of rampant fanservice — that opened my eyes to the very harsh reality that quite frankly, BONES cares more about raking in that sweet, sweet cash from SKK content than preserving narrative integrity, at the end of the day.

Trust me, being the dedicated and passionate Fifteen and Arthur Rimbaud/Randou fan that I am, I would love to be able to say that if they do choose Storm Bringer over Untold Story, it would at least all be for the right reasons of wanting to deliver on giving us the rest of the tale they presented to us last season, but that motive is an utter impossibility, even if they someday try to claim it, when the way they butchered Fifteen ensured that at least 70% of the plot and lore that actually mattered in Storm Bringer was destroyed beyond redeeming, unless they go back and redo it — which they won’t, because that would be admitting to their error.

As things stand right now, because of that fact, even as a fully-fledged, several hour animated movie, Storm Bringer would be an utter disaster of a film, much less as a 400+ page beast of a novel — more than three times the size of any light novel before it, including its predecessor— crammed into the space of 3-4 measly episodes in the television series.

Quite frankly, although I fear this may sadly be a very hot take, unless that miracle happens and they somehow, someday decide to abandon their pride and redo Fifteen correctly, I would really rather they never touched its sequel at all — even if that means I never get to see an animated Storm Bringer; I would rather never see it in that medium than to see it and have it butchered.

Unfortunately, though, I know all too well that that novel is much too tempting for them to resist forever; not because of the amazing, deep, beautiful, simultaneously tragic and hopeful story it can tell, or because of the well-written cast of characters, but because of the opportunity for fanservice it brings.

I am not delusional; I know that it will be animated at some point — whether that is now or later — and when it is, it will be a pitiful, cash-grabbing disaster that has no right to share its title with the novel from which it claims to have been born. The only question we have is “when is that going to happen — in Season 4, or later?”, and sadly, I don’t have an answer to that.

Personally, I see a high probability they will try to animate it soon, but whether or not that means including it in the upcoming season is anyone’s guess; all we can do right now is hope that if they do try to fit a light novel into it, it will be Untold Story, instead.

The Hunting Dogs Dilemma: A Concerned Exploration of Season Length & Exhausted Resources

Of course, that brings us to the next issue: should there even be a light novel adaption this season? I know this is a much-debated topic in the fandom, but personally, I have always been of the highly controversial opinion that yes, they do belong there — at least, until now, and that’s all thanks to a little something — and a good many someones — present on the newest poster.

While I may be just as excited for the new season as the next person — yes, despite my reservations and how my initial public reaction may have come off, I actually am looking forward to the new episodes in general — the very fact that we’re apparently getting so far into the arc as to see the Hunting Dogs and the Aerial Casino period, much less on the main illustration...concerns me.

I had honestly hoped and expected, for several reasons that I will elaborate on within this post in just a short while from now, that the Season would end on the Chapter in which the Hunting Dogs first arrive on the scene in their pods, after the Armed Detective Agency is ‘revealed’ to supposedly be the Decay of Angels via the use of the Book.

With the revelation now shown to me that it will apparently be going farther than that — and potentially still include a light novel adaption — we are once again forced to return to the age-old query we explored last season: just how many episodes does this season intend to have?

Up until now, every season in the Bungou Stray Dogs anime has had a total of 12 episodes on average, and it would be very logical to assume that Season 4 is going to be no different. Yet, if that’s true, how exactly do they intend to fit all of these chapters into one season? It’s utterly ludicrous to even dream of doing such a thing — and that’s without taking any potential chosen LNs into account; without that, it’s already impossible, but with it, it’s even more so!

Perhaps if they decided to do a 24 episode season and forego the LN adaptation — which I find highly unlikely, but let’s go ahead and give them the benefit of the doubt for a moment — it could somehow work, but even then, the question remains of just how far they intend to go with the arc. Ending it at the point just before the Hunting Dogs are all introduced would have made sense; it was logical, it left a cliffhanger for a potential fifth season that would leave viewers definitely wanting more, and it would leave a fair amount of content already in existence for that next season.

Try as I might, I just cannot begin to fathom what good can come of trying to cover much more than that in Season 4; where will they end it? Do they intend to finish the entire current arc in this season somehow, when at the time of writing this, the ending isn’t even out yet? How do they intend to cram all of that into just 24 episodes, let alone a potential 12? Hell, what do they even intend to do for a Season 5 if they push that far and leave themselves few to no current manga chapters left once they’re done with and release the season? To exhaust all of your current resources like that, when you could easily get away with shoving in a light novel adaption and ending Season 4 at the aforementioned logical spot, with plenty of content left to spare, just seems entirely reckless on their part.

I have all of these questions, and absolutely no answers to give; it isn’t sustainable, it isn’t wise, it isn’t even profitable, and it confuses me beyond belief.

Season 5: To Be or Not to Be — A Look into the Potential Future of an Animated Series that Has Spread Itself Too Thin

So, if all of this is true, and they intend to push through to the eventual defeat of Fukuchi and the Decay of Angels, what awaits us at the end of it all? Is there even hope for the animated series to easily continue and thrive beyond that point?

I want to be positive, to end this on some spectacular final section that gives all of my readers — my fellow BSD fans — hope, to have my words be like a warm, friendly pat on the back that says “don’t worry; everything is going to be just fine! ^-^”, but if I intend to continue to be honest, all I can really do is try to look at the statistics of the situation and offer up the most likely probability as a potential answer, and from where I’m standing right now, it...sadly isn’t looking very good.

True, it did take them a little more than two years to announce the anime this time — definitely a bit longer than the length of time between Season 2′s and Season 3′s announcement, comparatively — but even so, if they want to continue this pattern of averaging a new season every 2-3 years (supposing Season 4 doesn’t jump the shark with this new, bold tactic and actually does well enough to warrant another season at all), will they even have enough new content to make by the time a Season 5 would roll around?  Honestly? I don’t know the answer to that; every arc has been a different length — some longer than others, and this current Decay of Angels one definitely being the longest of them all yet, spanning over a whopping 50 chapters long and counting. We don’t know how long the next arc will be; it could be 16 like the smallest arc to date, it could be around 20 like the average arc seemed to be up until this point, or it could even be as many as this arc or more. 

Even if we are optimistic and say that the next arc could be as low as 16-20 chapters long, when we factor in that the current arc hasn’t even ended as of writing this, and seems to at least have another 10 chapters to go before the end — if not way more — that’s still a good 26-30 chapters of content that needs to be produced before Season 4 can be finished, and Season 5 can be remotely feasible.

To quote my previous article: 

A new chapter of the BSD manga comes out once a month in the Young Ace magazine; this means that in one year, barring any potential breaks, a total of 12 chapters are released.

If we presume that Season 4 comes out sometime next year, that could be enough for this arc to have ended in the manga just before its premier, but definitely not enough time for much of anything else to have been produced.  Assuming Season 4 could span anywhere from 3-6 months depending on how many episodes it contains, by the time it ends, around 3-6 new chapters of the new arc could potentially exist, should Asagiri-sensei and Harukawa35-sensei take no breaks; that would mean they would still have to wait at least another year to a year and a half to have enough content to even begin talks about a potential Season 5, then probably spend another year or so working out the specifics before making the announcement, and then it could take potentially another half-year to a year before it’s out. That’s three to three and a half years for the next season; it’s not undoable by any means, but definitely not the most ideal situation ever.

If the next arc is longer, however, and reaches, say, 30 chapters, you’re looking at a good four and a half years before we get a Season 5, after Season 4 ends, and even longer than that if it becomes as impressively long as the current arc and they intend to do the entire thing in one go again.

Could the animated series stay relevant enough to survive another four and a half or more years without another season after this? Potentially, it could, supposing they make Season 4 really good somehow, despite these concerns, and keep the series in anime-only people’s hearts and minds by possibly renewing BSD Wan! for another season, and/or releasing new movies in the meantime (whether original content or LN-based), but once again, it’s certainly not ideal and could prove to be a major struggle for them in the future.

All I can really say is for now is to hope for the best, even if, like me, you manage your expectations so much that you are actually expecting the worst-case scenario. As I’ve said before, I actually do love the anime very much, save for the handling of the Fifteen adaption, and I do hope that it can live on and continue to be as great as it has, in my opinion, almost always been besides that.

I am, above all, thankful for this new season, and hope it is everything we dream of, even though I may not have the most positive outlook at the moment for all of the aforementioned reasons.  Anyway, I hope you enjoyed reading my initial thoughts on Season 4; I feel like they’re certainly not as well-articulated as usual, but it is the best I can do on short notice, and without allowing myself to obsess over re-writing it a million times before finally getting around to posting it weeks or months later.

Thank you for your time, and I hope you have a wonderful day. 💖

Oh and BONES? Hands off Storm Bringer. 👀 🔪 

[true-blue-megamind]

Fan Theory Thursday – The Not-So-Evil Overlord?

Shhh… Want to hear a secret?  Come closer... SPOILER ALERT!

Okay, this one delves a little deep into the imaginative side of Megamind fan theories, however I believe it holds enough interest and has enough support to be well worth discussing.  There is a supposition which I frankly love: our favorite blue alien was an Overlord of sorts before he briefly took control of Metro City, and he had good reasons to be so.  That might sound a little crazy, but bear with me.

This idea has appeared in several fan fictions, and essentially goes as follows: Megamind was more than a supervillain; he was also a crime boss, and he chose that path for the most unlikely of reasons. Bizarre though it may seem, his primary drive was bettering Metro City.  (And, yes, I’m aware of how contradictory that sounds.)  However, it’s logical when considered more closely.  By making himself the de facto ruler of the city’s underbelly, Megamind was able to control crime to an extent, probably even setting limits on certain activities, and guidelines for others.  In the majority of fan fictions using this concept, that includs things like reducing violent crime, setting purity standards and purchase limits for narcotics, and ensuring sex workers were neither underage nor abused.

I’ll be the first to admit that, on the surface at least, this seems like nothing more than fans seeking to justify or even moralize a beloved character, but research reveals that there is actually some support for this theory.  Firstly, there is the fact, touched upon previously in the Fan Theory post concerning the Warden, that Megamind was clearly already establishing control over other criminals at a young age.  While writing a truly wonderful blog article, Demishock actually went through the trouble of deciphering the newspaper clipping shown at the beginning of the film’s title sequence.  It contains, among other things, a reference to the fact that, although an elementary school age child, Megamind was feared and obeyed by other inmates at the prison where he grew up.  A quote from the Warden reads: “I've got experienced, hardened criminals in here who are afraid of him.” The article goes on to mention an incident which involved a few other inmates, adding that “the other prisoners refused to point fingers for fear of retaliation.”

It is quite possible that Megamind was already building and consolidating a base of power.

Next, there is the fact that the blue man seems to have lines he won’t cross, even as the self-proclaimed Evil Overlord. In one of the storyboards, when Megamind is approached by the Doom Syndicate, he clearly holds them in disdain, yet they are careful to placate him.  Obviously they have somewhat different standards.  When Agent Orange—who was later reimagined as Psycho-Delic before being cut from the film entirely—compares Megamind’s “inspirational” defeat of Metro Man to “a car crash on prom night,” the blue alien looks rather disgusted. Although they refer to celebrating his victory, it also seems the Doom Syndicate may be indirectly asking Megamind’s permission to go on a crime spree. While this may be because he is the new Overlord, it seems odd that other villains would immediately leap to the assumption such approval is necessary if they were accustomed to acting on their own. However, if they were already in the habit of requesting the blue alien’s sanction, their actions make more sense.

Whatever the case, it seems that, once again, Megamind and the Doom Syndicate may have very different ideas of what sorts of crimes are acceptable. The Destruction Worker refers to “really putting the screws to the city,” while Agent Orange adds his desire to “swim in the torment of the innocent.”  However, these suggestions don’t seem to match what we actually see Megamind doing.  In the movie, Megamind does, indeed, go on a crime spree, but none of it appears to be violent.  He certainly causes chaos, but no one seems to ever be injured.  In fact, in the DVD commentary, one of the creators even states outright that the supervillain never goes beyond vandalism and theft because he doesn’t really want to hurt anybody.  (Indeed, in the film it rather seems that, by being raised in jail, bullied, and constantly rejected, Megamind was pushed into supervillainy.) This, together with the previous evidence, paints an image of a man who has been forced to do some harsh things, but who nonetheless dislikes violence and, deep down, possesses a certain moral code, albeit a skewed one.  

There are, in fact, several other details that point toward Megamind being far from truly evil despite being a supervillain.  As I mentioned in Megamind and Identity, he displays several redeeming qualities, such as his largely friendly treatment of Minion, his respect for Roxanne’s intelligence, and his playful, affectionate game of fetch with the brainbots.  However, I won’t go into a long explanation about that here as it can be found in the aforementioned post.

Nonetheless, I don’t believe we can seriously expect that the former villain has never once hurt anyone in his life.  Keep in mind that, as discussed in the post How Strong is Megamind, the blue alien almost certainly had to fight in order to survive.  However, his unwillingness to attack citizens suggests that he only injured others when it was absolutely necessary.  Similarly, the aforementioned “news article” indicates that he may have limited his physically aggressive responses to other criminals only. (After all, the reference to prison inmates fearing him is the sole evidence of possible violence we have.)  I have seen it suggested here on Tumblr that he may have taken over Metro City in part because he believed that, if he didn’t, someone worse like the Doom Syndicate would.  It may even be possible that he was afraid of appearing soft and thus losing control over the criminal underworld.  

Of course, it has to be mentioned here that Megamind also fought with Metro Man, who certainly wasn’t a criminal.  However, there are two factors that I believe need to be considered.  The first is that it is very likely that Megamind didn’t expect he could truly harm his nemesis. This is evidenced by both the his apparent shock when Metro Man seems to actually be dead, and by his overt statement during the museum scene that he “didn’t think it would really work.”  The second is that, as young Metro Man was a bully, tormenting Megamind without provocation and encouraging other children to do the same, Megamind may have mentally placed him in the bad guy/threat category.

His lack of violence is not the only proof that Megamind had a better heart than most credited him for even when he was a supervillain. Keep in mind that he had a holographic disguise watch and a hoverbike.  Presumably, Megamind could have simply fled Metro City when Titan turned evil, but he didn’t.  Instead he went to Roxanne for help, stating that if they could not find the new villain’s weakness Titan would “destroy the whole city.”  And this was after Titan had tried to kill him.  Clearly, despite being a supervillain, Megamind cared enough about his home town to put his life in danger.

The final support for the Benevolent Overlord theory is less obvious: Megamind had to have been getting funds from somewhere even when Metro Man was still functioning as the Defender of Metro City. (Indeed, in some of the early concept art, the Evil Lair was imagined as a luxurious space boasting things like a huge library and a sleek laboratory.  Some fans still picture the living quarters in much the same way despite the creators stating that he built his inventions from whatever he could get his hands on.)  Near the beginning of the movie, Minion mentions a supplier in Romania, and presumably he and Megamind had to be getting food and other necessities somehow.  While it’s true that the blue villain was clearly not above thievery, we also know that his plots were always defeated by Metro Man, so it’s safe to assume that he rarely if ever got away with stealing anything before the former hero’s supposed “death.”  Of course, it also seems extremely unlikely, even laughable, that Megamind would have had a day job.  Where, then, did the money come from?  Many fans theorize that, as the local crime boss, he received a cut from all illegal activity. It certainly seems like the most probable explanation.  

Art by Kory Heinzen, found in The Art of Megamind by Richard von Busack

So why would Megamind build his technology and machines largely from scrap if he had a constant cash flow?  Given his concern for the city, several fan fictions have imagined the blue man secretly and anonymously donating a significant portion of his ill-gotten money to various charities and non-profits.  That idea is not directly supported by any evidence, but it does fit with what we know.  It’s also consistent with Megamind’s character: a feared supervillain who possesses a surprisingly good heart and, given his past, knows too well what it’s like to be thrown away by society.

So, was Megamind a crime boss as well as a supervillain?  Did he use that position to secretly better life in Metro City?  If so, is he still doing that now that he is the Defender of Metro City, thus curbing criminal activity from within as well as fighting it from without? (For the record, given that there is no apparent gang war happening during The Button of Doom, I would propose that the answer to the last question may be yes.)  These are certainly interesting ideas to consider, and the mere fact that this animated film offers enough details to argue the point is a testament to just how well-constructed the movie is.  I consider it yet more proof that the film Megamind is truly an underrated masterpiece.

[why-this-kolaveri-machi]

whumptober day 10: crying

slightly more straightforward h/c this time!

summary: set after the ric grayson/joker war arc in nightwing. 

dick’s been missing for two months. jason finds him first, but it’s just the first step in finding how very, very lost dick really is.

warnings: SPOILERS for the aforementioned nightwing arcs. plentiful cursing. moderately graphic descriptions of injuries.

crying

The last time Jason received a family-wide SOS to help them rescue Dick, the guy was a twice-brainwashed mess whose brain was being pulled in opposite directions by the Court of Owls and the fucking Joker, and that was after said brain had been shattered by a fucking sniper’s bullet. (And a period of being left to fend for himself with a broken brain in between, but Jason doesn’t really like to think about that.) This time, he doesn’t know quite what to expect. He can’t imagine things have gotten even worse than the last go-around, but then again, Jason knows from personal experience that there’s no end to the list of ‘things that are worse than dying’.

Besides, the alert came from Babs. And, in quick succession, Tim, Bruce, Duke, and Cass. If nothing else, Jason is curious.

Dick disappeared from Bludhaven about two months ago. The reason the oh-so-precise Bats have the word ‘about’ in that statement is because nobody can really pinpoint the exact date it happened. Donna can recall dropping by his place ten weeks ago. Tim maybe exchanged a few emails or text messages a few weeks ago but didn’t really get alarmed about Dick not responding to his messages until the radio silence stretched for over a month. Bruce had his trackers on (that bastard) but Dick hates them and is known to destroy the ones he finds. And they can’t even really depend on reports of Nightwing sightings in the city because having his brain knocked around and pulled apart like taffy means Dick takes regular holidays from patrols if he’s not feeling particularly steady that day. (Look what being sensible and having a smidgeon of a sense of self-preservation got him.) And the CCTV in his apartment complex was shit, so. 

It’s almost like it was a planned thing, like he was kidnapped, but honestly it’s how things go and how they’ve gone for a very long time: they drift in their own worlds for long periods until an event brings them together, and then it’s back to being scattered across the country again (or sometimes the world, or sometimes the galaxy). Dick is more prone to this than most; he’s probably gone undercover more than any of them, and he’s lived the longest on his own as well. 

Even after the clusterfuck that was the last year and change, it’s nothing new. And if that isn’t the most fucking depressing thing that Jason’s had to think about today, it turns out that not only have the Family figured out where Dick is, but that Jason is the one that’s closest to his location. 

So here he is, shivering, on a particularly icy night on the Gotham docks, scoping out the warehouse where Dick’s supposed to be. It’s not very well-guarded, which either means there’s nothing in there and this is a massive waste of his time, or that it’s a trap and what’s waiting on the other side is a fucking bomb or something even worse. It’s not a great situation to be in either way, and Jason’s got half a mind to have Tim or even Bruce take over--but it’d take too long for them to get there and Jason’s never been fond of the idea of handing over to someone else anything that he could potentially do by himself.

Besides, like he said, he’s curious.

He crouches down at his vantage point overlooking the warehouse and presses the communicator in his ear. “Two guards in front but nothing else; the place is practically abandoned. Infrared picking up three people inside.” He shifts his weight from one foot to another, bracing, ready to spring. “I’m about to go in.”

Tim grunts. “I’ll be there in fifteen, give or take a couple.”

“Twenty,” Bruce says. Then: “Hood, you--” An uncharacteristic pause, and Jason can feel the sudden, uneasy chill across the entire comm channel. Bruce clears his throat. “Be careful. Assess the situation first. Don’t engage alone unless it’s an emergency.”

There’s a thanks for stating the obvious on the tip of Jason’s tongue, but something about the gravity of the situation, the mildest quaver in Bruce’s voice (he’s been missing for two months, god, two months) has him say, instead: “Roger that.”

Jason makes quick work of the guards in the front, leaving them in unconscious heaps on the ground before he creeps in. They’d hardly put up a fight, which just makes Jason’s stomach twist in anxious knots. The anxiety is made worse by the complete lack of resistance when he’s actually inside: there are only two huge, cavernous rooms, and one of them has two of the three people that he’d detected. They scatter as soon as they see him and Jason considers chasing, but now his nerves are stretched so taut that he thinks he’s going to vomit if he doesn’t see Dick now--

The night-vision on Jason’s helmet catches a figure sitting, slumped, in the corner of the room. A chain connects a manacle around its ankle to the wall, and another between the same wall and… a collar around its neck. Jason’s blood is already boiling before he steps closer and recognises the figure as Dick. His hair is long and shabby, having grown past his chin, curtaining his face. He’s shirtless but wearing ripped, stained jeans. His hands are cuffed in front of him, the thin metal biting into his wrists enough to leave his hands puffy and slightly purple from the lack of effective circulation. He looks considerably thinner--Jason can just about count the ribs under his skin--and every visible part of his torso is painted in bruises in various stages of healing. And--

--and he’s breathing.

Well, thank fuck. That’s a start.

Jason crouches in front of Dick and presses his comm again. “Found N. Little worse for wear, but alive and safe.”

He ignores the immediate clamour of questions from the others to focus on trying to get Dick awake. He brushes Dick’s hair aside and gently lifts his chin to have a look at his eyes. 

Dick smiles at him. “Hey.”

Jason is beset by an onslaught of emotion that’s part relief, part incredulity and part anger, so much so that he thinks he’s going to fucking burst with the pressure of it. Of course that would be the first thing out of Dick’s mouth--hey--like he’s meeting Jason for cocktails after work instead of being rescued after two months of captivity and torture! Well he can take that hey and shove it right up his fucking--

“Is there anything else here we need to worry about,” Jason says, busying himself with picking the locks on Dick’s manacles so that he doesn’t snap and say something he’ll regret.

Dick shakes his head. He’s got a shaggy beard going and he stinks of sweat and urine and filth, but there’s a sense of… togetherness to him, like he’d always known that Jason was going to show up at this exact minute and that had always been part of his plan. “They scattered as soon as they got word that you guys were coming,” he says, voice thin and raspy. “I guess not enough of them were curious to stick around to find out why so many capes would be coming for me.”

Jason pops the manacles and collar loose and goes to work on the cuffs. “So you weren’t taken as Nightwing.”

Dick sighs, then winces as the motion pulls on the gigantic bruise around his neck. “I wasn’t taken as Dick Grayson, either.”

The cuffs come off with a click. Jason stares at him. “So… what, you were just some poor mug they picked up off the streets to… torture for shits and giggles?”

Dick is silent for a moment. His eyes flick to a point behind Jason and back again. “They knew me as Ric.”

It takes a moment for the name to click in Jason’s brain, but he finally remembers that it was what Dick called himself during his brain-injured year in Bludhaven. “Why would Ric have enemies?” he says, without thinking.

There’s that smile on Dick’s face again, but this time it doesn’t reach his eyes. “Ric did have a life, Jason. And friends. And… enemies.” He begins to move, bare feet shifting against the floor and shifting his weight onto his hands as if he’s trying to figure out a way to stand up, but barely manages an inch of elevation before he runs out of energy, breathing heavily. “Ric--I used to fight. Street fights. Involved a lot more money and people than I remembered, and… apparently a lot of people felt betrayed when I just up and left the city one day. I’ve been fighting matches here almost every day.” A sudden, sharp grin. “I haven’t lost yet.”

Jason--stops. Utterly freezes, hands midway to helping Dick sit upright, because there’s something terribly, terribly wrong here. “Why didn’t you ever try to escape? And how--I mean, in the first place--”

How did you even get caught?

To Jason’s horror, tears start rolling down Dick’s face. His expression doesn’t really change, so Jason’s not sure that Dick’s even aware that he’s crying, but right now Jason is already halfway to being mortified. “I was on my way back from the gym,” Dick says finally, “and I think I--I blacked out. It happens sometimes.” Dick gives a wet laugh. “Talk about bad timing.”

“And--and what, you blacked out for two months?”

At this Dick’s face crumples, and suddenly Jason gets it: this is a man pushed and pushed to the end of his rope and beyond, utterly exhausted, past the point of caring who knows about it or why. “I guess…” Dick swallows. “I didn’t really see the difference. Between--between here and out there.”

Jason wants to scream, shake his shoulders--a shameful part of him even wants to hit Dick--and tell him that of course it was different outside of this stupid, dank warehouse: he has friends and family and a lifetime of experience to support him while he flies free. It’s ridiculous to even compare the two, and Jason is ready to put these words down to the effects of too much pain and too little food.

Except--

(plucked you right out of one life and stuffed you into another, didn’t they? treated you like a puppet without a past and a future, didn’t they? didn’t let you entertain the idea of a different life even for a minute, did they? punished you for straying, reminded you there was just too much at stake, and that those stakes were always, always bigger than you or your health or your happiness or your future--)

“Dick, I--” Jason really doesn’t know what to say. Tim says, “ETA five” in his ear while Bruce says, “Right behind you, Robin” and Jason knows, just knows, that this isn’t how they would want to see Dick, and more importantly, this isn’t how Dick would want them to see him.

He gathers Dick in his arms and presses him to his chest. Dick freezes for a second, surprised, then melts into his embrace. His shoulders shake, hands coming up to weakly grasp at Jason’s jacket. The sobs reach a crescendo quickly, a pathetic keening muffled into Jason’s chest, before tapering away and Dick is still, just… breathing. 

Jason breathes with him.

That’s how Tim and Bruce find them a couple of minutes later. Dick peels away and somehow musters the energy to reassure them. Bruce helps him up and carries him to the car while Jason follows; just as Dick’s lowered into the backseat his hand shoots out, grasping Jason’s arm in a silent plea. 

Jason gets in with him. Neither he nor Bruce say anything through the whole drive at the tears that continue to pour down Dick’s face, but Jason doesn’t let go of his hand for the whole ride.

[benevolent-savage]

this is what happens when u enable me lets go

(spoilers ahoy)

Firstly, here’s some somewhat miscellaneous reasons that don’t contribute to any sort of narrative analysis but are still parts of the character I like.

His boss fight is my favorite in the game thus far. It’s not super hard, but it isn’t super easy either, and I even managed to solo it on my Balance after a few practice rounds. Sufficiently challenging without feeling unfair.

His boss fight music. It is a bop and a half, go give it a listen, my soul ascends from my body a few centimeters every time I hear it start up.

His voice. I’m sure it’s processed at least a little but gotdamn his voice is so deep and spooky it startled me when I first heard it. Very curious who his actor is; I think he and Inyanga Whitestripes share the same one. Either way, very well voiced and acted.

His design is very good. It’s the perfect mix of innocuous but also spooky sorcerer fella who knows some shit. And I was afraid that the designers would try and make him like. Handsome? Under the hood? To try and make him more sympathetic? But they didn’t and I’m glad for it.

With those out of the way, the next thing to establish, I guess: I don’t interpret Old Cob to be the main villain of arc 3, nor do I interpret Raven as such. They’re definitely antagonists, but they’re not the ultimate problem; the ultimate problem is their divorce, and how they keep dragging people into their bs. It’s established the Aethyr is a physical manifestation of their anger towards each other, and as it thins, communication between them becomes possible, as Sparck puts it in this thinly veiled metaphor toward the start of Empyrea part 2.

But Cob’s still an antagonist and I love him so I’m gonna talk about that. Most of this is going to be talking about his motivations for doing what he does, since I don’t see him quite as the ‘likes to watch the world burn for the hell of it’ archetype that others might.

One of the reasons that drew me to his character is how legit his gripe is, when put in perspective. Old Cob- or Grandfather Spider, if you prefer- is not a mortal like the other antagonists of previous arcs, which establishes he has a different thought process right off the bat. This new universe was built on his suffering and he has a grudge against the ex wife who made it, so as a god, it makes some sense he’d try to destroy it and build one he would like better. He’s fully aware that what he is doing will hurt people but decidedly doesn’t care, and I appreciate that so much. He’s chaotic as fuck and he owns it, along with his superiority complex that’s as wide as the day is long.

Yet his reasoning is like. Weirdly understandable? Like, if my ex-whatever put me in jail for a lifetime sentence and stole my kidney to pay for a new house or something, I too would go apeshit and want my fuckin kidney back. That’s mostly how I interpret his situation. He’s not doing this for hell of it, he’s doing it because he wants to get back at his ex because he’s bitter and petty and for the most part he knows this but he feels justified in doing do because she ripped out his goddamn kidney- I mean heart, and he wants that back.

And then, even after all that, he and his magic are treated as if they’re inherently evil. While, sure, Shadow is a ‘dark magic’, its actual properties aren’t anything malicious by itself. It is described as “a magic that changes reality,” and that’s it. Incredibly exploitable and you should practice caution while handling it, but used correctly it is powerful and helpful; this is likely alluding to the backlash mechanic, where likes decrease the percent of damage you take, dislikes increase the percent, and I imagine the person meant to be the literal embodiment of the magic in question to be similar in nature: not inherently harmful and lashes out if he feels he’s been mistreated.

Going off that, I’m not sure he ever wanted the FirstWorld to be destroyed, and therefore believes his incarceration to be entirely unjust; he doesn’t deny that he instigated the fight between the Titans, but when it comes to being accused of its actual destruction, he gets angry.

...Okay the written text doesn’t really display how mad he got here, but he was like. Big Angy. Super offended. Honestly, a big part of why I love and analyze the hell out of his character comes from how his VA delivers his lines and his voice in general. If you haven’t heard it for some reason, I recommend looking it up. Anyway, here he’s basically saying he didn’t destroy the First World, and even if he did, he’s suffered enough punishment because of it, to my interpretation. The only one I remember blaming him for it is Raven; Bartleby was there, and I don’t recall him blaming anything other than the Titans for it. This is of course not accounting for the various changes made to the lore since he was introduced, but they could have easily thrown in a line like ‘And now Spider plans to destroy the Spiral the way he destroyed the FirstWorld!’ or something to make it clear it was done intentionally.

And this may very well be straying into headcanon territory here, but I think he holds positive relationships very closely to him, even if things went sour in the end; he clearly still has some remaining affection for the Titans, calling them ‘the children’ and being incredibly angry at Raven for forcing one of them to destroy his Heart.

When Rat loses in Polaris he shows up to praises his efforts and even comfort him, in his own weird way. He reprimanded Scorpion in Mirage, but it’s because Scorpion wasn’t doing what his dad asked him to and got his ass kicked as a result. As for Bat, every time they’re in the same room together he pays him some sort of compliment.

Bat claims that he and his brothers are meant to be his tools, and to some extent that’s true, but he also genuinely cares about them, and it’s really interesting to see a villain defect from the usual ‘not caring about anyone other than themselves’ and openly show affection for his kids while still managing to be an incredible asshole.

In line with this is his relationship with the Wizard. There is, of course, a foundation of manipulation to their dynamic, at least to some degree. I thoroughly believe that Spider was overshadowing Coleridge, at least partly, so our character could bust him out of prison.

And while this is happening, he regains some of his spent power and removes threats to it as well, namely Morganthe, using the Wizard’s help. In fact, I have very little doubt that he was at least partially responsible for her fall; his timing on that two-liner was too on the nose.

But even with that, I think he genuinely treasures the Wizard’s help and company, which is why he attempts on four different occasions to either sway them to his side, or warn them away from what he’s doing.

Boy, I want that vacation, but it’s your fault I’m here.

And then, of course, his relationship with Raven, something that is basically a summation of his character arc. Laden with baggage and tragic in concept, it is my belief that most of what he’s doing isn’t because he genuinely hates the Spiral or he wants to get back at her, but because he loved her and treasured their relationship; so upon her mistreating him, he lashed out at everything she’d made and detested it as a result. But only because he felt betrayed and hurt so he has to inflict that on other people because he is, as aforementioned, a petty and bitter old fuck.

Moving off that line of thinking, an admirable quality he possesses is how smart he is. This guy has so many wrinkles in his brain it must look like a raisin. Well, perhaps not ‘smart’ exactly, but how good he is at manipulating certain situations to his advantage. Like in Mirage; you just know that he was fully expecting Mellori to be there and fully planned to use her as a back up plan, or you could even argue that the whole debacle in Mirage was a ploy to get his hands on her, while having the added possible benefit of things actually working out.

Actually his scheme in Mirage was really interesting now that I think about it. His aim was to turn back time to when the FirstWorld was whole, further implying that he never wanted its destruction in the first place. It would also, of course, be a time where he had his Heart and would have the ability to avoid having it ripped out again. This would involve not having the Titans fight each other again, or at least not starting it and suffering the consequences. It would be everything he wanted to achieve knocked out in one go with minimal muss or fuss, compared to other methods. It’s probably a part of why he shows up personally to bargain with Eerkala and the Cabal, and why he directly intervenes in our Wizard’s efforts to stop him; it was too important to trust to any of his kids, so knowing Scorpion probably wouldn’t have been able to execute it anyway, he used his kid as a distraction for the most part.

I also like looking into the fact that his element, besides Shadow, is Storm, as opposed to pure Shadow or Death, as most major antagonists are. Storm is a school based on invention, experimentation and improvement. This is something that interests me for two reasons: one, the magic of major antagonists is always a part of their character, Malistaire the most blatantly, and two, because of this line he says in Mirage.

To my interpretation, this would imply that he sees the Spiral as something that could be improved. And as a god, he would of course find it his obligation to try and fix this flaw. When he made the barter with the Cabal, I don’t doubt he was being at least partially honest about restoring the FirstWorld; it would certainly fix the flaw it has in the context of stealing his internal organs, but he would also probably seek to improve it, make it more suited to Shadow or something.

Something else I find intriguing is how weirdly honest he is; I don’t recall him ever lying to us once, unless you count omitting certain facts as lying. But that’s absolutely something I can see him using against people, like “I didn’t lie to you, I just didn’t tell you, your fault for not asking ¯\_(ツ)_/¯ .” As said before, he;s really good at manipulating people and he weaponizes whatever he can; @that-wizard-oki​ made a really great post about how he uses conflicts- his fault or not- to his advantage, and does his own thing in the background without interruption, Mirage and Neumia probably being the best example of this, with Scorpion and the Cabal serving as distractions while he either carries out things himself or gives instructions.

To pull all of this together narratively, I think it’s important to consider this line from Mellori during one of their confrontations:

He feels powerless, so he puffs up his god status. He has little power to fight with, compared to before, so he mostly manipulates and creates back-up plans while causing conflicts to serve as distractions. His love hurt him, so he lashes out at others and drags them into his problems.

You may ask, “But Sam, these are all bad qualities, why should we like him because of this?” And I would respond “Because it makes him a complex and interesting antagonist.” The kind of character that executes his shitty actions in such a way that you can’t help but respect- even just for the level of dramatics put in to it- while also having a motive that makes you stop and consider that maybe he has a point but is very much handling the situation the wrong way.

Like, c’mon, he ticks so many villain boxes. Tragic backstory? Check. Blatant thespian who owns it? Check. Gets his hands dirty before the climax of the story? Check. Smart/ manipulative/ has back-up plans? Check. Understandable, strong motives? Check.

He’s got layers. Like onion. I felt like there was always something new to discover about him, and for that I can assert my opinion that he’s one of the best characters in Wizard101.

lmao if you read this far into my simp-for-shithead post congrats. feel free to shoot me more asks on the subject bc i cant write persuasive-essay-esque format anymore my brain is rotting. if you will excuse me, im off to listen to the chronoverge combat track for the 82937487734th time

[inawickedlittletown]

The Dresden Files - an overall review

(There are very very minor spoilers, but I mostly wanted to write something non-spoilery about the series as a whole.)

-

The Dresden Files. I knew a few things about this series before I went into reading it in part because I had watched Daniel Greene’s YouTube video about why people should read it and I won’t lie and say that I didn’t go on Goodreads, look at how long the series is and then question if I actually wanted to read it and wanted to spend months and months going through the books. But, I had nothing else that was pressing on my TBR list and my library had Storm Front on ebook available. So, I gave it a chance. I am so glad I did. I think I finished that first book in two days and I rolled right into reading Fool Moon pretty much as soon as I finished Storm Front. 

I didn’t expect to like it as much as I ended up liking it. I didn’t expect to read the series as quickly as I did. But here we are. The thing about Dresden Files is that it’s the type of story that starts off small and then evolves into something much bigger. After all, the first few books can almost be read as standalones because while there is consistency of character, largely the events of each really remain within the scopes of each book aside from a few minor details. This is why at first glance Dresden to me seemed like a procedural leaning towards a pulp-fiction style of storytelling which I was okay with even though from the aforementioned YouTube video, I was aware that that would change as the series went on. 

Back when I was a kid, one of my favorite shows was Buffy the Vampire Slayer. And Dresden has been one of the few things that reminds me of BTVS, although I’d wager that Dresden more closely resembles the BTVS spin-off Angel more. I think it’s this resemblance that made me eager to keep reading. That and knowing that the books weren’t as simple as first presented. 

The things I love about it:

I love how simple and yet complicated it is all at once. It’s simple because the concept can be summed up in two words: wizard detective. You really don’t need a whole lot more to describe it. And yet as the books go on the world is expanded and suddenly things are more connected than you once thought and there are different levels of power at play as well as factions and magical creatures and politics in the middle of all of it. This just makes the world so much richer and interesting and fantastical while still keeping the roots of the human world. 

I love the characters. There is no character in this series that isn’t complex and flawed. They are very very human even when they’re not actually human and it is very easy to relate to one or more of them. Not every character is likable, but many — even the villains — are. And to go off of that, it is the relationships between the characters and the growth of that over the course of the books that makes this series worth reading. 

The mythology that is weaved into the story is great too. There is so much that comes right out of myth and adapted to fit into the world of Dresden and I am just in awe of how well Butcher manages to fit all the different things into one world from characters to artifacts and story and then also weave it into his own additions and his own changes to fit with his story. I’m aware that Fool Moon has a lot of criticism, but one cannot ignore the work that went into depicting all the different werewolf myths in one book. Then you also have the three courts of Vampires, the Sidhe, and characters like Odin, as well as archangels, and so much more. 

The writing is also good. I think one of the best parts about it is that Butcher has gotten better and better with every book. His descriptions are vivid and he does so well when it comes to magical battles and action. And it’s very easy to read and get just sucked into the world in part because the books are written in first person POV. 

As far as representation goes, it isn’t amazing, but there is some and specifically, there are a lot of women in positions of power which is always enjoyable to read. 

All of this does not mean the books aren’t without their flaws. No one thing can be perfect (except Black Sails…), there is always some problematic aspect to a work or something that doesn’t appeal to everyone. Some might say that Dresden Files has a lot of problematic things going on. 

The number one glaring thing is the way that Harry talks about women. It’s not that he doesn’t respect women or think that women can be strong and capable — I mean, he literally has Murphy there to remind him — it’s that the male gaze is so very very prevalent throughout the entire series. It’s like Butcher and Harry through him, cannot help but notice how beautiful or sensual or sexy any woman that crosses his path is. It’s understandable because we are reading the first person POV of an adult man, and even more so when we realize that sex is a big part of the supernatural world. I mean, we literally have vampires that are essentially succubi and get their “food” from sexual energy rather than drinking blood. The Sidhe all seem to be attractive and in multiple instances we see these fairies use their bodies and sensuality and like weapons to entice and seduce and overpower Harry and others. 

And yet, there is a clear choice that Butcher has made here to have Harry notice every woman and describe them nipples first and then describe them again on a next encounter in the same way. Even Murphy who does get described by her stubbornness and her strength and her accomplishments and her prowess also has the attached description of how short and how cute she is and Harry does also sexualize her in his head. Susan gets similar treatment and in the first book we even get to see her throwing herself at Harry due to the imbibing of a mis-intended potion. 

So, yes, this is very much the male fantasy/male gaze in action. Harry has women — mostly supernatural women — throwing themselves at him and in-book context there are reasons for this, but we’re supposed to praise Harry for how much his male libido is telling him “yes” and how he manages to somehow rise above that and not take the temptation — there’s even a scene where he literally pours ice water down his pants. And to be honest, I see the problems, but I also think it fits his character and Butcher describes the series as “Dirty Harry Potter” so what can you do. 

The moment that it became truly a big problem for me was when Molly came into the picture. The first time that Harry has a scene with Molly she’s fourteen and I can’t quite remember the exact words used but I’m sure that he manages to notice her body.

Molly doesn’t return for a few more books, but when she does she’s seventeen and Harry definitely notices Molly then and while it is one thing to take notice once, he constantly goes back to noticing Molly throughout the book. Molly’s feelings during all of this is one thing in part because Molly is young and impressionable and I think most young women have crushes on older men they admire and look up to, but to continually make a point of having Harry notice Molly and be attracted to Molly is icky. It doesn’t even matter that Harry doesn’t intend to act on it and that he actively puts a stop to it when Molly tries to turn things in that direction, mostly because in books following this one Harry still always takes a moment to appreciate Molly’s appearance and not just him but other male characters. 

So, yes, the sexulization aspect of the books is not the best, but I did appreciate that at least earlier on Harry is a bit demure when he is with women. His sexual acts are not described in detail. I was a bit surprised, then, when we did get slightly more graphic descriptions when it came to Harry and Murphy. It’s nothing like what you’ll find in fanfic, but it was a surprise. 

And the thing that also gets me about this is how easily Harry being this way could be explained because of his past and because of how Harry relates to sex, but instead Butcher explains it by saying that Harry is repressed because he isn’t getting any so that’s why he notices every woman that comes into his life. 

I will also point out that there aren’t just women supernatural beings, and that aside from Thomas who is described as the perfect man — strong and attractive and young, a lot of the male characters are a bit rougher and older and monstrous. 

Now, I’m not the best person to speak on this, but religion is a bit strange in Dresden. Mostly because while we have characters like Odin and Hades show up we also have fallen angels and archangels and characters that believe in God and have faith. But we have Christian artifacts in play so I do feel like there is a bias towards Christianity. 

Overall, I did enjoy these books. I think it’s a really good immersive story and that the world is interesting and ever expanding and that as a fantasy series — in particular an urban fantasy series — it is one of the best out there and I can’t wait to see where the rest of the series takes us. So I do recommend it with the caveat that it isn’t perfect and that some books are better than others but that as a whole it is an enjoyable read. 

--

Other Meta/Reviews 

[cheerystarlightwish]

Millionaire Detective Balance: Unlimited Episode 9 Thoughts

Hi guys! Episode 9 got me thinking and though I didn’t want to create theories or analyzations about Fugou Keiji because we are nearing the end already, I simply can’t help myself. To be honest, I wanted to create some earlier and chat with people but my schedule didn’t side with me for the past three months. Nevertheless, here I am better late than never and excited to read other peoples’ reactions, analyzations, and theories as well. Anyways, For those who haven’t watched the recent episodes yet, there are spoilers ahead as I share my thoughts so please be cautioned! Thank you, have a nice day, and stay safe!

(Disclaimer: Any similarities with other posts are purely coincidental. Moreover, if that does happen, I am glad that there are many who think so too because that increases the probability of the statement, thought, analyzation, or theory being somewhat true.)

______________________________________________________________

Oh.my.goodness.

If I were to summarize my reaction for Ep.9? it would be those. It was nothing short of thrilling and is a perfect stepping point before we get to the climax of the show. Be that as it may, I still can’t wrap my head around the fact that we only have a few episodes left before it ends. Oddly enough, it feels as though we just began due to the pacing of the revelations. Yes, it allowed us to answer some of our previous questions but at the same time, it created new ones as well. 

The first answer we were able to infer is with regards to Shigemaru Kambe. As we have gathered from the previous episodes, he was alive and supposedly went into hiding for the past 19 years after he killed his wife. Throughout that period, he was believed to be dead by both Daisuke and the world. This is with great exception of his mother who had known of this fact for a long time and even kept it secret to the point of trying to dissuade Daisuke from investigating further. Second, Daisuke's parents were both scientists who were researching an "element" called “adolium”. Such a thing was considered to be dangerous by Sayuri and despite her husband's claims that he will not use it, she completely did not trust him. This could only mean that "adolium" is something that people, powerful people, would want to have for their benefit. Unfortunately, this argument of theirs led to Sayuri leaving the house which prompted her husband to kill her because as he said, he has invested too much on the project to let it be for naught.  

Though we were able to answer the question regarding the culprit of Sayuri's murder, it raises the question of what is the true purpose of “adolium”? From the last episode, it was hinted that it had something to do with energy. When it was introduced head on, it was used in a way that caused several nearby electronics to malfunction. The weird aspect of that event is that the ship itself was unharmed, and it only specifically targeted those Shigemaru's group considered to be "enemies". This realization is alarming because it basically means that they have advanced in their research, against Sayuri's efforts to prevent them from doing so, and can now utilize the "element" in a destructive method. Now, what exactly will they use it for? I deduced that it would be applied in creating some kind of set of weapons. The reason I thought so is because of that episode with the president of a country from Central America. The one who visited to resign an agreement for further collaboration with the Kambe family. He was apparently affiliated with them when the latter provided resources for that president’s country’s “development”. A “development” that turned out to have caused or will cause harm to a community, as evidenced by an attempted assasination of their lives by someone who belonged to that group of people. One thing to note though is that there are similarities between the machines seen in episode 5 and 9 in that they both interfered with a specific set of electronics. Therefore, I think it is safe to assume that the machine in the earlier episode contained the aforementioned “element” as well. This theory raises new questions in how that person from that community got their hands on those technology, which seemingly belongs to Shigemaru’s group as backed by Daisuke’s discovery of it in Laboratory 3. It makes one wonder, is the family involved in some kind of civil war and profiting from it? No matter what though, we cannot deny the detail that the Kambe family provides resources, technology, and weapons to their “customers”. 

Moving on, another key aspect of the mystery is why the higher ups seem to be bent on not being involved nor further investigating the case of the Kambe family. I first thought that it is mainly because they are afraid for their own lives but looking back, that doesn’t seem to be all there is to it. With all the information we have been given, I have two, maybe three if I combine them both, thoughts or theories on this. The first one is that the superiors themselves have invested on this project and are benefiting from it as a whole. It is possible that they too may have a stake in it and will be used by them to acquire future advantages. The second one is that the ones on top contain Kambes or their puppets and alliances. I pondered on this because of the Kambe family picture and how Shigemaru has been described to be the eldest child.The latter seems a little far fetched because if that were the case, why would Daisuke not know about them? Unless, it is specifically being hidden from him as to continue the image that their corporation or conglomerate is “good”, a high probability. 

The last facet of this mystery so far is what they could want with Daisuke and the identity of the newly introduced characters as well as the location they are currently headed to. With regards to what they want with the former, I’m not quite sure. Daisuke obviously disapproves of whatever this “adolium” business is because of its contribution to his mother’s death and its evident dangerous nature. Shigemaru himself is aware of this, and yet why did he say that he has been waiting for Daisuke for a long time? Why did he instruct Frantz to keep him alive? With these set of questions, I could only gather three possibilities. The first one is that they could be trying to silence him about the matter at hand. They will probably try to kill him too or at least make it so that he would not want to further delve into the issue. Second, they will try to get him in on the business itself by reasoning with him as they might have supposedly did with the higher ups. The last one is that they will let Daisuke take the fall of whatever downhill event is bound to happen next, another high possibility. It cannot be denied that Daisuke is known by the world to be the head of the Kambe Conglomerate. Therefore, it would not be farfetched to think that they might be saving him for future use in taking the fall for the result of whatever they are planning to do. On the matter of the identity of the new characters, we have yet to know more. The only thing episode 9 told us is that Frantz is a multinational weapons merchant on top of being Thomas Matheson’s bodyguard. From that little introduction, it is no doubt difficult to hypothesize the extent of their role in the mystery. Nevertheless, I do have some ideas I would like to share. Frantz’s characteristic of being a weapons merchant aligns with the certainty we had that the Kambe family produces and sells weapons. It would then make sense for them to be related, but what intrigues me is his listed job as a bodyguard which could be some sort of coverup for his true job.  The question is, is he the boss or is he just a representative of his true boss? Additionally, is Thomas aware of Frantz’s involvement with the Kambes? Is he another leader of a country? or better yet, is he himself part of the masterminds or true bosses? We can only know for sure in the next episode. As far as I can conclude though, it would seem that Frantz is an underling, given his actions, of an even bigger persona and that the Kambes are profiting from discords and strife.

With everything they have given us, there are quite a lot of ways it can go. So in consideration of all these notions and ideas, we can only wait for future revelations, confirmations, and validations. To be completely honest, I cannot wait for this mystery to be further unfolded.

Predictions:

Based on a post (link) I saw earlier, it seems that Episode 10 will contain epic scenes. According to the source, the FKBU team apparently called in the director for Shingeki no Kyojin and Kabaneri Fortress to aid in this specific episode. As a result, they themselves are still in awe of how it turned out when they all worked on it together. Now given this information, it fuels my curiosity to the brim and I simply can’t wait for tomorrow. It seems to me that the scene wherein Daisuke and Haru fight side by side in the opening is about to come true. Imagine that sequence and the possibility of the background music being the OP Navigator, and we will get one hell of an iconic scene.  Moreover, I can’t wait to find out who are the other people involved in this scheme and what is “adolium” going to really be used for, because as far as we know, it has something to do with energy and interference. Additionally, we are already aware that the ship is headed for Panama, a famous country that is known for its transit through the Panama Canal. Is it their destination or is it simply a stop over? I guess we'll just see tomorrow! 

[razberryyum]

The Untamed/陈情令 Rewatch, Episode 13, Part 1 of 2

(spoilers for everything MDZS/Untamed)

[covers MDZS chapters 52, 53 and 54]

WangXian meter: 🐰🐰🐰+🐰🐰+🐰🐰+🐰🐰+🐰🐰+🐰🐰🐰+🐰🐰🐰+🐰🐰+🐰🐰+🐰+🐰🐰🐰🐰🐰🐰🐰🐰🐰🐰

(Each WangXian scene automatically gets one 🐰 even if they’re just thinking of each other; one scene can earn up to five 🐰 depending on the intensity of WangXian-ness. Each scene is separated by an “+”. In rare instances, certain WangXian scenes are so full of WangXian love that they warrant more than five 🐰...the last scene of this episode is a prime example of such an instance)

The last 10 minutes of this episode, starting from this moment, is probably one of the most giffed, vidded, screencapped, blogged, reblogged, tweeted, retweeted, etc scene in the entire show, so there’s really not much more I could say about it that hasn’t already been stated and echoed by many, many others. Suffice it to say I absolutely love it: I love how the scene was constructed and performed, and I am still amazed that it exists at all. It is perfect, adorable, hilarious, and simply precious. Even though it is still a few degrees tamer than its novel counterpart (I’ll get into that in the second part of the post), the scene still managed to fully capture the spirit of the original. It really is so damn perfect, thanks in large part to Lan Zhan’s sublime reactions. Seriously from now on, under “gay panic” they should just show Lan Zhan’s face while Wei Ying is taking off his clothes:

Strangely enough, this disrobing moment always reminds me of a WangXian scene that occurs much later, during Wei Ying’s second lifetime, which was left out of The Untamed because...well, there really is no bromance way to interpret it. It’s the scene in Lotus Pier when Wei Ying is up in the tree looking down at Lan Zhan, and he thinks, “if he catches me, I’ll....” For some reason, whenever I watch this moment, I instantly think of that scene, except in this case, I always imagine Lan Zhan thinking, “If he takes off his clothes, I’ll....” The sentiments and circumstances between the two scenes are hardly related, and yet I feel a similarity between them because in both instances, figuratively speaking, the person directly affected—Lan Zhan in this case while in the Lotus Pier scenario it’s Wei Ying—seems to be standing at the edge of an emotional precipice, and a little nudge is all it’ll take for them to fall right over and become overtaken by the emotions they were feeling. For the later Lotus Pier scene, Lan Zhan does catch Wei Ying, and I think that’s when he realizes his feelings for Lan Zhan. Whereas with this moment, I don’t know what would’ve happened if Wei Ying had successfully taken off all his clothes in front of Lan Zhan, but I feel that Lan Zhan was deathly afraid to find out himself, hence, his overreaction.

~~~

I love that Wei Ying pulled that stunt because he figured Lan Zhan was such a prim and proper fuddy-duddy that the idea of being naked or seeing someone else naked would've been enough to shock him into spitting up his bad blood. While that isn’t an unreasonable assumption, it doesn’t quite hold water since we’ve been seeing how Lan Zhan is around Wei Ying all this time and had been privy to his point of view leading up to this moment. As a result, I feel like there’s two realities going on at the same time: what Wei Ying thinks is happening and what Lan Zhan is actually experiencing, which is sheer panic because he already had feelings for Wei Ying but has been more or less keeping a tight control over his emotions. With Wei Ying’s in advertent act of temptation, his control was quickly slipping away. It’s no wonder he became so overwhelmed that he vomited up all that blood; it's like an anime’s equivalent of a nosebleed.  

Wang Yibo really hit it out of the park with his performance in this entire scene: I was truly impressed with how he so capably brought to life the spectrum of tumultuous feelings Lan Zhan was experiencing. While Xiao Zhan has plenty of opportunities to emote due to the nature of Wei Wuxian’s character, Wang Yibo naturally has the shorter end of the stick due to Lan Zhan’s stoic nature, so most of his emoting is usually restricted to just his eyes. As a result, chances for him to fully break out of that restrained façade is rather rare, and I think he really relished the opportunity, taking full advantage of it and gave it his all in the limited capacity that he was able to without getting out of character. His reactions really ran the gamut of emotions: there was pain (due to his injury), shock, confusion, indignation, the aforementioned panic...erm...vomiting, then gratitude, jealousy, displeasure, hope, annoyance, and finally sadness about Cloud Recesses and his family. No wonder he fell asleep shortly after, he must’ve been exhausted from emoting alone.

I think it's a significant point that Wei Ying mentions that Lan Zhan has never spoken to him as much as he had in the cave since I believe it is here that Lan Zhan has finally, truly fallen in love with Wei Ying. That’s part of the reason why he opened up to him much more than he has ever done with anyone else except for Big Brother Xichen. I’ll hold off on talking more about this until the next episode but I would definitely consider the Xuanwu cave as a landmark event in their relationship, especially for Lan Zhan. In the novel, he actually starts crying in front of Wei Ying because of what happened to his home and his family. Here in the show, while he did get teary-eyed talking about Cloud Recesses...

...he still obviously held back, not letting his tears actually fall.  At first I thought it was a shame that Team CQL made that change from the book since it was such a heart-breaking yet sweet moment, but since my initial viewing of this episode I’ve learned to really appreciate that choice. It means that the only times Lan Zhan has ever really cried was because of Wei Wuxian.  That’s just so utterly beautiful it makes me emotional.    

Still, the fact that Lan Zhan had such a moment of vulnerability in front of Wei Ying was a strong indication of how much their relationship has deepened. Even during their journey to the Xuanwu cave, there were a number of small yet significant moments that further illustrated the steady growth of their bond. As usual, they were constantly focused on each other, always aware of what was happening to the other person so that they could offer support. In addition to offering Lan Zhan a piggyback ride and then asking Wen Qing to slow down the procession for his sake, Wei Ying was generally just so attentive to Lan Zhan, bringing him water during their rest stop, which actually earned him a rare smile...

...and then when they got moving again, Wei Ying was right by Lan Zhan’s side to help him.

Even if Wei Ying’s attentiveness can be attributed to his considerate nature, what adds meaning to their interaction is Lan Zhan’s behavior in return, since he’s constantly going against his known reticent nature by exhibiting his concern for Wei Ying, such as when he worriedly calls out Wei Ying’s name after Wen Chao kicks him over the ledge:

It’s like once again, seeing Wei Ying endangered, Lan Zhan forgets all caution and his surroundings and just zeroes in on Wei Ying.  Even though he was seriously injured, he still raced down those ropes to the bottom of the cave so that he could help Wei Ying.  

Not to mention, while they were distracting the Xuanwu so that the others can escape, Lan Zhan pretty much sacrificed himself to protect Wei Ying, thereby worsening his leg injury.  

 Interestingly, in the original version of that scene, Lan Zhan actually got caught in the jaws of the Xuanwu so Wei Ying had to jump in to rescue him, which resulted in him carrying Lan Zhan on his back. In other words, Wei Ying did actually end up giving Lan Zhan a piggyback ride after all. I’m not quite sure why Team CQL decided to omit that detail. If it’s a censorship issue, carrying an injured person on one’s back seems a reasonable enough thing to do...and it’s not like there wasn’t a piggyback ride later on. If it’s a strength issue on the actors’ part, if Wang Yibo can manage to carry Xiao Zhan, I’m sure Xiao Zhan could have done the same to him, especially since he has a few inches of height on WYB. I really can’t figure out why they omitted the piggyback ride in the drama. Strangely enough, the donghua also left out the piggyback ride as well. Again, considering what they kept in the scene (Wei Ying is half-naked, Lan Zhan touches the brand on his bare chest), it is rather puzzling why a relatively harmless piggyback ride didn’t make the cut.

Continued in Part 2...posted

[hopeymchope]

So, I'm trying to understand this, from a person who has next to no knowledge on the series. What exactly is going on with Attack on Titan? And I'm more than willing to read a long rant if it means I get an explanation.

If you’re wondering why the tag for the manga blew up in recent weeks, that’s one specific thing - a character “death” (or at least, character-serious-injury) that’s got fans freaking out.

If you’re wondering why everything has been sucking for like two straight years of manga and people like me keep making very salty posts about it, that’s a whole other topic.

And that’s what I’m gonna cover in this rant: How Attack on Titan has been shitting its own bed for more than a year now.

Basic Setup: Attack on Titan takes place in a world where the remnants of humanity live in a walled city. The city’s walls protect them from gigantic, grotesque “Titans” who attempt to devour people on sight.

…but naturally, as the story went on, it got way more complicated.

Most of the problems with the manga began circa the time-skip (which is also where the Anime is going to catch up to once the current season 3 is finished). Rarely has there ever been a time-skip in fiction that’s been wonderfully received, but the four-year gap between “Return to Shanganshima” and the “Marley” arc has to be one of the worst.

But the whole crash-and-burn kind of starts right before the time-skip, when we first learn the name “Marley,” begin to learn the true origin of Titans, and uncover true enemy opposing our heroes via a forced flashback. For the purposes of this little essay, let’s just put all of the Marley-related information into one big collection - I’m not gonna separate the last couple chapters pre-timeskip from all the tons we’ve had afterwards. All things dealing with the aforementioned “enemy” will just go into one big fuckpile.

SO. The time-skip jumped forward fouryears into an arc that lasted almost a year without letting us see any of our established protagonists. Instead, we follow… the enemy I just mentioned.

And since Attack on Titan begins and goes for most of its duration without any clear enemies outside of “TEH TITANS” and “general assholes within the system,” this is where I have to put a spoiler cut.

A Rant on Titan

So the enemy of the characters we know so far is Marley, the actual source of the titans. The world isn’t destroyed at all, naturally. Our heroes just live in one isolated place on the planet, which is forced to be surrounded by Titans because Marley shoved them into that walled city and then created Titans on the regular.

Marley is a nation of………………

…*SIGH*…

okay, look. I could try to call Marley  a “Nazi Germany allegory,” but the allegory is so thin that they’re basically just incredibly overt Nazis. They’re a military-focused nation of incredible genetic pride where purity is celebrated and where one particular race - a group of both different genetic descendancy than them AND of different religious beliefs - are treated as inferior garbage. The Marley government sees “Eldians” as disposable. They are forced to wear armbands with stars on their arms (YES, REALLY) to identify them in public, and they also make them lived in fenced-off, separate communities.

Marley’s science experiments on Eldians (yup, they tossed that in, too) resulted in the creation of the TITANS. It turns the Eldians into mindless prisoners of their own bodies who grow in size, deform, try to eat people instinctively, and long only for their own deaths.

If they made a third AOT video game, it’d have to be something like this. …. So maybe we shouldn’t.

ANYWAY. During this Marley story arc, we mostly follow child soldiers. They’re of “low birth” because of their race. They chose to enter military service in exchange for having their families treated like regular human beings one day, if they earn their way to become titan-shifters. Nevermind that titan-shifters all die within seven years because of the power of turning into a titan - it’s worth it to raise their family’s status beyond just your regular Jews Eldians, right? Nevermind that they’d never really be seen as equals. Even those who have elevated their own rank by becoming shifters are shown to still be subject to some snark and disdain,but yknow - you were just born that way, so you’re shitty regardless, right?

Through this horrific scenario, we follow a few kids in particular - most notably Falco, who is gradually seeing reality and realizing how they don’t deserve to be treated like shit and that this is all a work - and Gabi, who is becoming increasingly militant and more zealous over time.

RELEVANT SIDE NOTE: Gabi’s character design is based upon a sketch Isayama once did of a gender-shfited Eren Jeager (Eren Jaeger is the main protagonist of the series). For that reason, you might be inclined ot think that Gabi is some kind of alternate/parallel Eren.

Except that’s fucking ridiculous, of course!

Gabi is shown to only care about her own rage against the people within the walls of “Paradis” (the sarcastic name for the walled city where all of our heroes come from) above ALL else. She doesn’t care about her family at all, never noticing her brother’s suicidal tendencies and pain even as Falco is acutely aware of it. The fact that her parents are pained by her following her brother’s dark path to becoming a shifter. She doesn’t notice or care. The more evidence that is put in front of her that the other side might not be as evil as she thinks? That just makes her want to commit murder MORE.

Oh, and she DOES murder people. And try to murder more. A lot. She even successfully murders a fan-favorite character - a character who shows her mercy by pointing a gun at her, seeing she’s only a child, and opting to let her live. Gabi repays this mercy by shooting that character in the back later and boasting excitedly about it to anyone who will listen for multiple chapters in a row.

She then tries to top that by attempting to murder that character’s little adopted sister, who is like, maybe 10 years old, tops? Gabi is then protected from harm by Mikasa and now seems to be on the path towards some kind of “redemption arc” because… uh…………..

………………..because Isayama is shitty?

By contrast, Eren struggles throughout the ENTIRE NARRATIVE to bring harm to people who betray him/those he cares about or those who try to kill him/those he cares about, but often runs into incredible challenges when fighting these douchenozzles. The entire time we followed Eren up until now, he always prioritized his family and friends above EVERYTHING. He would risk ANYTHING to protect them and his comrades in the Paradis military… this was true from when he was a young boy at the start of the story up through him being a young man at this point. And he is ESPECIALLY intense about protecting his closest friends, Armin and Mikasa, who he’s known for nearly his entire life. They grew up together.

That’s set in fucking stone for like 90 chapters, so we’re good. Yeah?

Oh, sweet summer child. Perhaps you were so unprepared for Isayama’s Nazi mallet that you didn’t see his secondary weapon coming?

See, the post-timeskip Eren treats his friends like shit. He lies to them, betrays their trust, runs off and starts a literal war on his OWN, and then tells them how much he hates them. Claims he always hated them.

So in the course of just a couple chapters, he goes from saying this:

To swiftly saying THIS:

Note that devastated look in her eyes. Wonderful.

And yes, he’s GOT to be lying, because I don’t think Isayama would juxtapose those two scenes so closely together in some unwitting fashion. But he’s doing so much damage to them by now that I honestly don’t even know if it matters?

Take Hange.

She’s the intelligent leader of the team, the one who always has a wild, unlikely plan. She’s a science whiz and comes up with longshot plans that always seem to weirdly… work out.

We’re told that, three years ago, she was presented a plan to overthrow Marley by Zeke - a fucking bastard who is clearly a member of the enemy, he’s lived with them his whole life, as a child he betrayed his parents to them and had them executed for being disloyal to Marley, and he’s killed COUNTLESS comrades of our heroes - and Hange decided Zeke’s plan was the only possible option and came up with no alternatives for four years. So she made them ally up with the least trustworthy person IMAGINABLE for a terrible plan,b because Hange’s… a stupid sucker now, I guess.

And why is it a terrible plan — aside from the fact that there is literally zero reason to ever believe anything Zeke says to you, since he’s the most evil fucker in the world? Oh, because it hinges HEAVILY around forcing another member of the team — Historia — into a pregnancy to churn out a baby they intend to use for the country’s gain.

Historia’s big character arc in “Attack on Titan” has been her coming to terms with her own identity and OWNING it. She’s been hiding under another identity or been controlled by other people much of her life. She finally comes out under her true name, declares that she’ll never leave in fear or be maniuplated ever again, and then—

… oh wait.. she’s manipulated into being barefoot and pregnant against her own wishes, because their greatest enemy asked for it.

There’s a lot to hate about the post-”Return to Shinganshima” Attack on Titan, in short. From characters becoming inversions of themselves to full fanatical Nazis being treated like redemption babies to complete destruction of self-actualization of other characters and the fact that, even if this is part of some larger plan being manipulated by multiple players (which seems likely), it still won’t really make up for much of the damage… and for that matter, how plausible would it even be?

But basically, there’s going to have to be quite an 11th-hour ass-pull to make this turn out decently in my eyes by now. And that’s not IMPOSSIBLE.

But it’s looking pretty unlikely.

[pass-the-bechdel]

The Middleman Full Series Review

How many episodes pass the Bechdel test?

100% (twelve out of twelve)

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

41.34% 

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

Seven.

How many episodes have a cast that is at least 50% female?

Four.

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

None.

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

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

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

Fifty. Seven who appear in more than one episode, two who appear in at least half the episodes, and one who appears in every episode.

Positive Content Status:

Casting aside—a series centering on a Latina Woman of Color remains notable—the series isn’t particularly interested in excelling on this score. And while there’s nothing huge bringing the score down, there’s a quite a few tiny things which do. (Average rating of 2.92).

General Season Quality:

Quite strong, both as a comedy and when appreciated on its own terms.  Understands the appeal of comic books and manages to replicate it more consistently and better than more traditional, and arguably more accurate, takes. 

MORE INFO (and potential spoilers) under the cut:

When I chose to revisit this series, I was afraid that the decade between when it aired and now would make the show less enjoyable than it originally was. Things have changed considerably since 2008, and not only has TV come to embrace superhero narratives of the sort The Middleman often makes reference to, it has also made considerable leaps when it comes to representation. Going back into it, I was nervous that what had once felt fresh and funny would now feel familiar, offensive, or simply unfunny.  Fortunately, no. While there are certainly things that feel more bothersome now than they did in 2008—for example, the series feels heteronormative in a way it did not before—taken as a whole, The Middleman holds up better than I’d hoped.

I read a lot of comic books. My father, who has who has been collecting them for roughly fifty years, instilled in me a love for the medium, and while time has increased my disappointment in mainstream comic books, and their consistent inability to make the most out of the toys they’ve created, my affection for them as a whole continues undiminished.  The Middleman, then, is right up my alley. It loves comic books too, and is actually better than many of them. 

The Middleman is,first and foremost, familiar. Its elements recall a million things. Wendy Watson has a lot in common with Buffy.  The Middleman would fit right in with the Doctor. The universe the characters inhabit plays by comic book rules, and knows that the audience is aware of them. Taken together, all of these things, could have very easily led to a very derivative package, which makes it all the more surprising that the series feels as singular as it does.

Part of the appeal of super-hero comic books is the way their diverse, sometimes contradictory narratives, told by various creators, interlock over years, and even decades, to create larger stories, which in turn help make the world’s setting feel large and interesting, and worth exploring even if it’s not through the eyes of the stories’ protagonists.  It’s an approach that requires a certain amount of time and looseness, and it’s one that has proven somewhat difficult to translate to the screen.

In a landscape that has become saturated with superhero narratives, The Middleman still stands out as one of the few which best captures the appeal of superhero universes. It’s one thing to tell the story of Supergirl; it’s another to tell the story in which Supergirl exists as part of a world that feels just as dense and weird and funny as she is.  Even the Marvel Cinematic Universe, in ten years, hasn’t quite managed it, at least not consistently.  

The Middleman, however, feels large. It feels dense. Its adventures may  be confined largely to a limited set of locations set within a single city, but nevertheless, the series manages, in twelve episodes, to convey a larger world and more history than other shows manage in three times the space and four times the budget. What’s more, it does so effortlessly and fearlessly. It gets that the audience is willing to buy stories of fish that turn people into zombies, or vampire puppets, or two werewolf administrations, and is willing to do so without trouble, as long as the stories are told with confidence and are bolstered clever writing and good characters.

Fortunately, The Middleman has those in spades.  

                  As a character, Wendy Watson is fascinating; like the series itself, she’s both very familiar and yet stunningly unique.  As mentioned, she exists in the same ecological niche as Buffy—snarky, clever, unconcerned with tradition, zealously determined to not let her job take over her life—while at the same feeling quite different in important ways, largely centering around the fact that the series isn’t concerned with making Wendy miserable. While Buffy’s destiny is considered a burden, Wendy’s job as a Middleman-in-training is not only something she got to choose (and can presumably abandon at any moment) but something that ultimately makes her life richer.  In fact, that Wendy is satisfied with all aspects of her life may be the most radical thing about the series: yes, she can have it all, and it doesn’t cause the world to explode.  That this is all true for a Latina woman of color makes it all the more notable, and important.

As a Puerto Rican of color, I really appreciate the depiction of Wendy’s Latinidad, which informs her character in subtle but defined ways.  She feels like my friends and I do, which is not something I can say about a lot of Latino characters.  Furthermore, I love that Wendy has friends and people who love her and are concerned for her happiness. While it makes perfect sense for her, as a Buffy analogue, to have them, that she gets to have them as a woman of color makes it all the more important, given the frequent explicit and implicit expectation that women of color be supporting characters in other people’s stories, without  wants or desires or weaknesses of their own. Wendy cares and is cared for; that matters.  

Another element that makes Wendy familiar is that she is a geek, one who feels considerably more authentic than that character type usually does. Not only are her interests more specific and varied than the norm—her reference pool goes beyond Star Wars and the X-Men—her geekery is not presented as an obstacle in her life,or something that prevents her from being socially and romantically successful. In a world in which loud, misogynistic, and often white elements within the geek communities would claim that they are oppressed because of their interests, it feels heartening to see  the show make a counter-argument. The Middleman understands geeks better than those who would most violently claim that label do, and that makes me happy.   

  Take all of these elements, add Natalie Morales’ consistently fantastic performance, and the fact that Wendy Watson is the honest-to-goodness protagonist of the show, and you have a character that remains a standout in the television landscape, even now.

Then there’s The Middleman. 

Now, I quite like the Middleman.  Not only is he responsible for many of the show’s laughs, the writing and Matt Kesslar’s acting manage to ground all his peculiarities and make them feel plausible, compelling and human, instead of allowing them to overwhelm the character.  At the same time, though, there are parts of him I no longer care for as much as I once did.   

In general, I find The Middleman hard to pin down.  Parts of him remind me of characters like Sherlock’s Sherlock—quirky geniuses who are allowed to run roughshod over other people’s lives because they are allegedly the only people who can do what they do (and, subtextually, because they are white and male). Early on, that impression feels borne out, as he does things like manipulating events to ensure a second meeting with Wendy, or suggesting that Sensei Ping, another quirky (if non-white) genius, should have free rein to be an ass.  At the same time, there is a refreshing lack of ego to him: as he’ll tell you, he’s just the Middleman, one in a decades-long line, and this is both a vital element in his characterization and the show’s overall narrative: if he could become the Middleman, there’s no reason why Wendy can’t. Together, these two elements feel somewhat hard to reconcile.

Another element that bemuses me about the Middleman is his sensibilities, which suggest a certain type of conservatism—he’s a fan of old westerns and their brand of rugged masculinity, drinks milk, foregoes swearing, styles himself in a way intended to honor Dwight Eisenhower, and expresses a degree of gender essentialism—and are therefore hard to square with his overall demeanor and actions, which suggest a generally more open character. It feels as if the parts of him that recall fake 50’s wholesomeness should define him in more fundamental ways than they actually do; instead they just exist, both being and not being a fundamental part of his personality, and feeling contradictory in ways I’m not sure are intentional. It’s not enough to ruin the character, but it’s the sort of thing that makes me newly skeptical. 

The Middleman spends most of his on-screen time with Wendy, and aforementioned hiccups aside, the series absolutely nails their partnership:  its evolution, from the moment of their accidental meeting to their reunion after Wendy is temporarily lost in a parallel Earth, is the one of the series most enjoyable long-term stories. They are, without question, one of my favorite screen duos ever. However, a large part of what makes The Middleman special is that this is far from the show’s only crucial dynamic. The Middleman may grow to be a crucially important person in Wendy’s life, but he is far from the only person, and that matters a lot.   

A tendency I’ve noted in television is that love and affection tend to be portrayed as finite resources, which can only be divvied among people in uneven slices—there’s the one single central relationship, and every other becomes peripheral. Exceptions to this are scarce: Nikita was one; this is another. Wendy not only has the Middleman, but she also has Lacey, and Tyler, and Noser, and the people in her apartment, and even Ida, and all of these feel as important to Wendy as saving the world; it is a key part of the series’ appeal.

Which brings us to Lacey.

As Wendy’s best friend and the Middleman’s love interest, Lacey is a far bigger character here than she was in the comic book the series is based on. She is also, thanks to the scripts and Brit Morgan, a consistent pleasure.  At the same time, rewatching the show, Lacey became another of my chief sources of unease. While I continue to enjoy Lacey and Wendy’s relationship, I now enjoy her relationship with Middleman considerably less than I once did.  The two characters together are electric,but there’s so much iffy stuff in the margins that it’s hard to actually root for them the way the show wants me to. In other words, it really bugs me that Lacey doesn’t care to know the Middleman’s name, and it especially bugs me considering the other characters she is romantically tied to.

It’s one thing for Lacey to be so smitten with The Middleman that she doesn’t care about his name—that can be explained away as a necessary conceit of the story. However, when she also shows signs that she instantly taken with the Middleman of 1969, and when the show plays around with pairing her with canonical-waste-of-space Pip, then it feels like something else is going on here.  Like with the Middleman’s quirks, it suggests something, but I’m not sure what that is, and it’s prominent enough to make me wary.  It’s almost enough to make me wish for her to get over the Middleman and actually got romantic with Wendy—at least, as long as they make a space for Tyler.

Of Wendy’s three core relationships, the one with Tyler is the most superfluous to the narrative, insofar as the narrative does just fine without him when he’s not around. And yet, I’m glad to have him around, in part because of how refreshing it feels to have a white male character confident enough to have no ego that needs defending. Given his and Wendy’s circumstances—he’s broke, unemployed, and struggling as an artist, while she has a job she enjoys and takes up most of her time, which also happens to be the job he could have had—it would have been the easiest thing in the world to have struggle with his insecurities, and to have him be the character in the relationship most in need of support. Instead, he manages to feel shockingly mature, and subsequently far more appealing than the usual love interest.  That the show feels no need to attempt to make him Wendy’s equal feels particularly refreshing.

The Middleman’s web of interconnected characters and relationships helps ground a series that could easily feel insubstantial or bogged down by either its humor or superhero elements in something real. While part of me wishes the series’ universe included more people of color in general, and more Latino people specifically (the only other one is Wendy’s prominent but perpetually offscreen mother) their presence would only improve what is already a very solid group. Overall, it’s quite easy to imagine the series working as a “proper” superhero show, in part because the characters work so well.

Not that I’d want a more serious The Middleman. A case could be made that it is precisely because it is not interested in being a Serious Superhero Story that it succeeds where many Serious Superhero Stories don’t.  It is because the series isn’t concerned about making a boy band made up of four Joshes five exiled intergalactic tyrants feel like an insurmountable threat (until the inevitable surmounting) that it can focus on making them entertaining and memorable and fun. It is because the series isn’t interested in making superheroics the only thing that matters that it can make it feel so vibrant and vital. It is because the series isn’t interested in filling its romances with angst that they are so appealing and important. No, The Middleman isn’t interested in that: it knows what it is, and what it is is a damn satisfying package, even after all these years.

[attract-mode-collective]

Exactly 79 Photos & Videos Concerning The Game Boy (plus other handhelds)

So... hope you’ve all been following me on Twitter, which is more or less the unofficial new home for Attract Mode. Mostly cuz Tumblr’s days are, alas, numbers, plus I haven’t warmed up to Medium as much as I had hoped to. Though I’ve actually spent the past two months republishing every single post that contains mainline Game Culture Snapshots, so it has remained somewhat useful at least.

Now, for a while there, I had been compiling every single thing tweeted. But because I’m now so damn active on that end… plus I’m busier than ever with other projects… I’m way behind with those digest posts, and the very idea of playing catch up legit gives me anxiety. Yet I have been sharing lots of cool things, which all deserve to be in the blog proper… and because a lot of them are specific to the Game Boy, I figure, why not just focus on that?

Like the above, which is a technique for producing full color photographs via the Game Boy Camera, and yet another thing that I can’t believe hasn’t made the rounds!

Sticking with Game Boy photography, here have a pair of mods that will greatly enhance picture quality. The first involves mounting SLR lens onto a Game Boy Camera (via ekeler.com)...

And the second has one shoving a Game Boy Camera into a SLR itself (via @MaxKriegerVG)...

As someone who was into video games as a kid, and also interested in photography, the Game Boy Camera was the first camera I was able to call my own. Am pretty sure this was the case for others as well?

I also remember seeing this ad in Nickelodeon Magazine (which I would eventually writer for, not too long later) and being absolutely gob smacked (via nintendroid.org)…

Though as much I loved Nintendo brand of FUNtography, I would quickly discover… as did everyone else I also assume… that taking pictures is serious business (via @PolandNintendo)…

Not only did I have a Game Boy Color, but I also had the Game Boy Printer (I still own both, for the record). Unfortunately my snapshots from Link’s Awakening have long since faded, but as with many things, you can find copies online (via gameandgraphics.com)…

Speaking of the world of print, coming soon is a handy guide to Nintendo handy game machine (via miki800.com)…

That one magazine ad featuring Princess Peach catch your eye as well? Well here’s a much better look at it (via suppermariobroth)…

I love handheld gadgets of all kinds, yet some of the popular ones confuse me. Like Hudson’s Shooting Watch; it makes no sense to have a gadget that can detect button presses without a game attached. Guess I’m not alone (via instagram.com/kazzycom)…

A realization I made while sifting through Game Boy related content is how popular the color yellow is with many. Cuz Pokemon? Anyhow, the final post from a blog that specializes in gorgeous photographs of gorgeous hardware, which I just brought up again very recently (via hard-aware)…

How your parents used to trade Pokemans online (via melonjaywalk)…

And no, Game Boys weren't the only things that one could connect to keitais ya know. And yes, Game Boys aren’t the only portables I’ll be showcasing (via anthony10000000)…

I own quite a few VMUs and am always looking to expand my collection… but nothing yellow, sorry. Instead, I want the one covered with dolphins (via anthony10000000)…

So my new favorites artist is Eri Kitamura, and not just cuz she makes pretty looking Game Boys…

She also makes pretty looking girls playing Game Boys (well, this one is technically listening to music)…

Was originally going to post the first thing from Eri that caught my eye, which is a Game Boy with a girl on it, but instead here’s a Game Boy with a girl on it playing a Game Boy…

Time for two more videos from the same individual responsible with the process for producing color photographs at the very top. And it’s what everyone has been waiting… specifically the backlit Game Boy Color mod everyone has been waiting for.

The process is detailed in this two-part video, and here’s the first one (it’s about 50 minutes long cuz spoilers: this shit ain’t easy)…

And here’s part two, which is ONLY 40-ish minutes long…

The author of the videos actually has a store, so if the process seems a bit too daunting, you can purchase a pre-modded unit for $250. Actually, this one is $260, cuz of the dual shells. Quite the price tag, yet somehow totally worth it (via instagram.com/esotericmods)…

Now might be a good time to mention how… remember that GBA with the GameCube finish from eBay a few months back? Well, I decided to get the one that resembles a Super Famicom, something I’ve been lusting over for years.

Well, here’s what the aforementioned seller had in his listing…

And this is what I got instead…

Yeah, that green shoulder button is not the right shade. After some complaining, I got the seller to admit that the one in the picture was hand painted; he didn’t know where it get ones that it’s exact color as on a Super Fami controller.

He also had a no refund policy, yet I bitched & moaned enough to warrant an exchange, for another Cube-esque model, one sans the stick. Cuz it’s comparatively boring to look at, here’s a version with the stick…

Again, mine just has the standard d-pad. As for my replacement… the colors of the A & B buttons are not an exact match, once again. But it’s close enough (am mostly just sick of dealing with that guy, aka johnnys_merchandise, whom you should all avoid btw), plus I have started to scour AliExpress for replacements.

BTW, my failure to obtain a modded handheld that channels another form of hardware has me wondering if I should go for something completely different instead (via instagram.com/wakuwakuisland)…

Up in the mountains, flower bloom amongst Game Boys & Game Boy Colors, whereas deep in the forest, you’ll find mushrooms and Game Boy Advances (via pxchinko)…

Some say memories are fuzzy, though for others, they're leafy (via lyosphe)…

I’ve looked all over for tinycartridge's original post, but no luck, so you can all instead have my personal copy of the earthy wallpaper that was shared years ago (and which I still to this very day)...

The Game Boy Micro, DS, and DS Lite are like family, and like siblings, there can the occasional squabble (via benkyo-es)…

@frankcifaldi: When I met this guy in 2003 and he told me he was going to make an extensive fan site about the Supervision, a Taiwanese Game Boy knockoff, I was like "sure dude." 15 years later he actually launched the thing??

Meanwhile, the Game & Watch Perfect Catalogue just came out, with the full low down on all 59 models. BTW, had no idea there were 59 in total until @ionadisco mentioned it…

How Game & Watches were sold in America; I fondly recalls this ad in-between the pages of Amazing/Spectacular/Web of Spider-Man (via suppermariobroth)…

And how Game Boys were sold in Japan, one day one apparently, which would explain this salesperson’s rather perplexed demeanor (via flashbak.com)…

Silly as it sounds, and as silly as he looks, the US version of Firebrand is nonetheless a warm & welcoming face from my childhood (via nintendometro)...

Mario dropping a knowledge bomb (via suppermariobroth)…

Here’s Peach seemingly kicking Toad’s ass in Super Mario Bros Deluxe, which I’ve been meaning to tweet for a while now, but now seems like the right time & place for obvious reasons (via nintendometro)…

A cute comic about someone finally beating a game after ten years, or at least I believe that's the case (you know, language barrier and all; via @desune593)

Sailor Moon seems to enjoy handheld gaming more so than in the arcades (via uglygreenjacket)…

It saddens me that ravages of time is robbing me of my precious memories, including the names of 90s anime, hence why I had to ask on Twitter who exactly is this (answer was Tenchi Muyo; via shxtfased)...

It’s SethEverman, just playing some pokemon blue…

Speaking of music, it again saddens me that I wasn’t about to make the trip to Japan to catch chiptunes at Square Sounds, and various associated venues. At least @bit_shifter_ took this great snapshot of Glomag at Cyberpunks Osaka…

Meanwhile, here in NYC, we actually still have record stores. And you can grab Josh’s latest release, his first in 12 years(!) at Rough Trade (via bit-shifter)…

Though back to Japan; attended Square Sounds would have also afforded me the chance to check out Tokyo Game Show, where I could have gotten that VMU shaped USB drive that was being sold at the Sega booth (via miki800)…

A few weeks before TGS, there was an earthquake in Japan, in northern island Hokkaido. Many were left without power, but one person was able to keep up with the news, thanks to an old DS peripheral that basically provides bunny ears (via kotaku.com)…

On a semi-related note, here’s someone watching old ECW VHS tapes on their Game Gear (via heavyelectricity)…

Sorry, but the only other thing I have that’s related to Sega’s Master System on the go is this gif from a pizza ranch salad dressing (yikes) commercial, which was cross-promoting Sonic Chaos (via sonicthehedgeblog)...

I have no idea why I'm so amused by this Getty Image of a Neo Geo Pocket that was confiscated at summer camp. Or perhaps no explanation is needed? (via hellomrkearns)…

Speaking of the Great Outdoors, here’s my buddy Steve enjoying some Mario Kart 8 in the middle of a forest (via instagram.com/vitaminsteve)…

And speaking of Mario Kart on the Switch, Bowser seems like a pretty cool dood to have a car trip (via suppermariobroth)…

The Switch is so beloved that people are doing fan art, not for any particular game but the simple the act of playing with it (via annazees)…

Granted, one of the best things about the Switch is all the different ways in which one can play (via kanekoshake)…

If you enjoy your Switch on the go and are looking for a way to store games… and are a diehard Breath of the Wild fan as well… plus if you have access to a 3D printer (via miki800.com)…

It’s a tribute to Star Wars… games… all of them… featuring Princess Leia focused on her DMG (via deviantart.com/robduenas)...

BTW, do you still have your Game Boy? If not, here ya go (via anthony10000000)…

When the realization hits that your Game Boy Color library is incomplete (via @Bootleg_Stuff)…

Back to my buddy Steve, who visited the Primark at the Staten Island mall and took pics of the game related apparel that, sadly, were no longer in stock by the time I was able to swing by. With the one thing I really wanted being this shirt…

This pair of Super Mario Land X Air Jordans is only $1,350.00 (via miki800.com)…

I’m sure you’ve seen him already, but for the sake of completion, here’s that grandpa from who rigged this bike with 11 phones to become a Pokemon Go master (via bbc.com)…

Yet another sign of our times, literally (via fuckdragonballz)…

This image features a PSP and a MacBook, both of which are from the mid-2000s, yet feels very late 1990s/early 2000s. Why? Those USB cables (via jcgraphix)…

And last but not least, here’s Paris Hilton with her DS in 2005 (via @ParisHilton)…

[6ix-dragons]

FTFI: 100 Years Quest; The THIRD Chapter!

(Be aware: spoilers for the latest chapter of 100 Years Quest, can be found below!)

“Huh, so they’re out at this place that’s close to the water, to find a Water God Dragon...hm.”

Me: (hums to the Inspector Gadget theme song)

“Hey, what are you doing, dressed in that kind of clothing?”

Me: Oh, me? Well, there’s something about the situation in this chapter that isn’t so right...so, I’m going to investigate it, myself!

“You...do realize this is a work of fiction, right?”

Me: Well, where’s the fun in dressing up as a detective, then?

Team Natsu finally sets out on their actual objectives...and things get quite more interesting, than what they initally are!

Now, before I get to this latest chapter itself, here’s a brief recap of what happened in the first two chapters: Team Natsu have set themselves out for the 100-Year Quest...which is exactly what it says on the tin—a quest that hasn’t been completed for 100 years. They’ve travelled to Giritina, where they meet up with the guild master of the oldest guild in the world, Magia Dragon. Said guild master, who can transform between dragon and human, gives them their objective: hunt down all five God Dragons in this continent. 

There’s also another story thread with three new members being introduced into the Fairy Tail guild...one of which, is a young girl who claims to be in love with Natsu—and, yet, she still falls under the suspicions of a couple certain characters, for something else. But, I’ll get to that one, too!

So, let’s get started on chapter #3, here. We find Natsu, and company, at the southern parts of Giltena, trekking across the Valeria Region. From there, they all come across (gasp)...walking, jellyfish-like creatures.

That’s not to say they aren’t dangerous, ‘though. I mean, sure, they may be cute, but they can also be a bit hazardous, if they’re handled without care—just ask Natsu and Lucy. Here’s hoping that no reprecussions can come from that!

Fortunately, Wendy comes to their aid, by blowing away those little gobbers into the air, with her Sky Dragon’s Roar! 

It is after that point, where we get a flashback to the last time we saw all of them, back at Magia Dragon. Erza tells Elefceria that Natsu was the one who defeated Acnologia...even ‘though it wasn’t just Natsu, who defeated him. ;)

Somehow, this surprises the guild master himself, upon realizing this revelation. Things...get a bit more sketchy with him, later on.

Anyway, the narration goes on to elaborate further about this quest. First, it clarifies, by stating that the five God Dragons had nothing to do with the Dragon King Festival that happened 400 years ago. Then, it claims that their existance was kept a secret among only a few members of the Magic Council. Finally, it concludes by explaining that the five dragons are reported to only make a move, when something significant occurs.

When I went through that part, there was something that definitely didn’t add up, right away. Why would there be a quest that involves going after dragons who had no involvement, whatsoever, in the Dragon King Festival...and so, only remained dormant for quite some time? There’s even more inconsistencies with this whole quest, too, based on the fact that Team Natsu weren’t the only ones from the guild, to go on this particular quest. 

Natsu himself wonders of Gildarts taking on Acnologia in the middle of that quest—despite said villainous dragon slayer having no relations with those God Dragons (as he was a participant in that historical event). Further to this, he mentions about the port city that he had to reach first—the same port city that all of Team Natsu are headed towards. It is only when Gray questions about why Gildarts decided to return back home. 

So, I mentioned that things did get more sketchy with Elefceria, too, right? Well, it has something do with the reward he proposed, upon the completion of this quest. In that same flashback, again...as he raises his arms up high, the guild master proclaims that he’ll grant one wish for everybody involved in completing the quest!

Sure, you can laugh at the absurdity of this ‘reward’—and more so, of what each of Team Natsu wants, with the one wish granted to them. However, this only adds to the wild inconsistencies of this guild master, and this quest itself. There is nowhere near that is mentioned in the original story, about Dragon Slayers/Dragon Slaying Magic having the ability to grant anything that one can desire. 

Okay. I’ve just went through first two chapters, again, and I’ve just found out one more thing that makes this whole quest veeery suspect. A single damning thing about this guild master. According to him, he mentions that he had taught Dragon Slayer Magic by himself. However, by my research into this, I can confirm 100% that it is total BS. Chapter 265 of the original manga showed that Dragon Slayer Magic can be learned by only two different  ways: being taught by an actual dragon; or, have a dragon lacrima implanted into their body. To say that he was self-taught in that kind of magic, is as ridiculous, as being self-taught in superb combat strategies (right, Mavis?)!

Sooo...either he’s lying up the ass, or he does have some sort of lacrima put into his body. We’ll know for sure, when this story does pick up. 

Speaking of the port city, Natsu and the gang finally reach Elmina, located south-west of their previous location. They’re there to seek out hints of the first God Dragon, Mercuphobia, who has been worshipped by the city’s inhabitants, in the past.

Meanwhile, back in Magnolia, we see two familiar figures...both who are in trench coats, and fedoras! Honestly, seeing Gajeel and Lily in those outifts really reminds me of this guy...and, this guy, as well!

They’re joined with Gajeel’s old friend in Juvia, who is alongside with his best girl. All of them are in town to investigate one of their newly-introduced guild members, Touka, with good reason. Like before, Touka somehow knew who Briar was—the member of Avatar who was caught a year ago, after she and the others were defeated by Natsu, and his friends. 

While Levy frowns at the idea of suspecting one of their own, Gajeel and Juvia set themselves off to find out the truth!

Look, I get that certain people don’t like the fact that this sub-plot is distracting from the main plot of the story. However, I’m personally okay with this...as long as it actually has something to do with the main plot, later on. I mean, it’s rather interesting to see other characters play a part in the sequel, other than Team Natsu themselves! Wouldn’t you agree with that?

Returning to Elmina, we see the aforementioned group roaming through the streets of this easy-going city, upon first glance. While they’re there, Natsu remarks that the walls of structures are dishevelled—in which Wendy notes that they may be in an old city. 

As they’re trying to find a place to stay around there, we see the final panels of this chapter: a pair of ominous-appearing figures looking down on the entire entourage, from high above. One of them is a lady who’s dressed like Juvia, but a bit more scantily. The other one, is a dude who has horns on his head (just like Seilah, from Tartarus), and facial markings resembling that of a certain Heavenly Body user! The chapter ends, with this fellow being addressed as “Water God-sama”. 

Alright, so who could these people be? Do they have something to do with Touka, and Briar? Maybe...maybe not. Is this guy related to Jellal, in any way? Again, maybe...maybe not. But, based on how this guy is addressed, by this girl observing next to him...I have an uncomfortable feeling that he may just as well be Mercuphobia himself!

This leads me to the Question of the Chapter: How will Team Natsu take on this Water God Dragon? 

We don’t know, for sure, how powerful this drake will be. Personally, I think Natsu and Wendy have more of a chance here, given the fact that they are dragon slayers themselves. Gray can also take on water-based entities, given his experience with one of them (wink wink)...but, he’s a Demon Slayer. The only other way, is if a certain celestial spirit mage ends up helping them to defeat this dragon. 

And, yes, we do get another hint of Aquarius potentially making a return in the sequel, as it was hinted by Lucy, when she thought about what her wish would be. I don’t know...what do you guys think? Leave your thoughts, by clicking on that speech bubble below.

Finally, aside from that, I actually do wonder if these God Dragons had something to do with God Serena himself, in the final arc of the original story. I mean, come to think of it, God Serena is—obviously—a God Dragon Slayer, who used Water Dragon Slaying magic once (albeit, in a lacrima)...prior to him being laid to waste via Acno. Maybe there’s something about it that would be revealed in the next few chapters to come, eh?

Now, what do I think about this chapter, overall? Well, as I mentioned it above, things just really got more interesting...in more than one way. There’s definitely something going on with this quest that makes it more suspicious than ever, and the sub-plot with Gajeel and Lily makes the feeling more the same. We’ll have to wait and see how it all pans out. 

Alright, so that is it, for this one. I want to thank those who have read this, from top to bottom. Click on the heart, if you like this post; hit that ‘Follow’ button for more of this content; reblog this to all of your friends, and...there’s gonna be quite a huge splash about to happen, between Team Natsu, and the Water God Dragon in Mercuphobia. The hope is, at the moment, our favourite mages will come out of this one well, but drenched. 

[caricature-of-a-witch]

Reading diary

Two titles in one entry this time, because I finished one of them on Tuesday and the other one on Thursday and read the Tuesday one in the middle of the Thursday one and I can’t be bothered to make separate posts about them. Long post ahead!

The book I read on Tuesday (when I had forgotten the other book at home) is “Women and Power” by Mary Beard.

I read the German version so I can’t really talk about writing style or anything, but the translation flowed nicely along and I enjoyed reading it. It’s one of the rather few non-fiction books I read, and it’s (obviously) nice and feminist and also quite comprehensibly so, to the point where I’d like to give it to pretty much every person who proudly proclaims they’re not feminists. (I don’t agree with every single point the book makes, personally - I’m sorry, but I really don’t see Medusa’s snake curls having anything to do with phallic imagery - but I do with most of it.) Mary Beard describes the history if women’s comparative powerlessness, starting as early as Homer’s Odyssey and the way Odysseus’ son Telemachos shuts up his mother Penelope, and drawing a line to the perception of women’s voices and “female” topics today, mentioning the phenomenon of mansplaining as well as going into the topic of why women’s higher voices are perceived as holding less authority than a man’s deep voice (spoiler: there’s really no good reason for that at all). She doesn’t offer one perfect solution (I’d like the book a lot less if she tried to do that, I think), but does make some good points, and the one that stuck with me the most is related to the aforementioned perception of higher (female) vs deeper (male) voices: women have been doing their best to appear less feminine in male-dominated fields (e.g. politics), by wearing trouser suits and even going so far as to undergo vocal training to give their voice a more “authoritative” timbre, and Beard makes quite clear that while that seems to be a temporary solution and helping to get women into positions of power, it’s just not enough in the long run.

There were other points of course, but I can’t really repeat the whole book here - if you’re interested, it’s only a good 100 pages long and can be read quite quickly, not least because some of the 100 pages contain only pictures and underlining captions to help illustrate the text. It’s a very fascinating read, and I do recommend it! (My mum’s gonna read it next and I think I’ll write a recommendation for it in the shop I work at.)

The second book, the Thursday one, is by Markus Heitz - unfortunately it doesn’t seem to exist in English (yet), but the German Title is “Des Teufels Gebetbuch” which literally translates to “The Devil’s Prayer Book” which is apparently an old phrase used for a deck of cards meant to deter people from falling victim to gambling and addiction and the like.

The book is a fantasy novel of roughly 630 pages plus background information on card games and their history/the author’s research. The main character is Tadeus Boch, an indepted recovering gambling addict. Through rather strange circumstances involving an illegal and deadly card game called “Supèrieur” he comes to possess a historical playing card, a nine of spades. The former owner, who entrusted him with it, died as a result of aforementioned Supèrieur (according to the rules, if you draw a specific card, you die, be it by your own hand or one of the other players’), and Tadeus soon becomes attached to the card in a rather unhealthy way - it “sings” to him, wants him to protect it etc., under specific circumstances, its lines and colours light up and start glowing in the most beautiful way. Soon, we’re following him and Hyun Poe, a Korean surgeon whose fiancé also died in a game of Supèrieur due to not being aware of the rules beforehand, on a rather wild chase around the world as they’re looking for the rest of the deck; Hyun to destroy it, Tadeus for less honorable reasons.

Every other chapter there’s an interlude with another character, most of which are also chasing the cards or in one case in possession of a lot of them as it’s her task to restore them (you do not want to know what those cards want in order to regain their power), and every now and then into the past, the year 1768 to be precise, where it quite quickly becomes clear a) what powers exactly were involved in the making of that particular deck of cards and b) where Goethe, in this version of history, has gotten a lot of ideas for his famous Faust.

The story is without doubt an interesting one, but I couldn’t quite get into it completely. The perspectives and settings change a lot and at times rather rapidly, and a surprising number of characters barely survive the chapter they first turn up in, making it impossible for me to become attached or, in many cases, even truly interested in them. Additionally, I kept having the feeling that there was subtle racism between the lines. I can’t quite pin it down, and I don’t want to say the book is racist, it just... felt strange, at times. On a positive note, there’s a lot of different people and nationalities to be found, since the plot takes the reader pretty much all over the world! I’m just not 100% sure it was quite unbiased. Then again, as a white woman who spends way too much time on Tumblr, I may not be the right person to judge that properly, especially when it’s as vague a feeling as I said.

So to conclude, if you have time on your hands (as well as an English copy or the ability to understand German), and fantasy thrillers are your thing, you might very well be interested in reading this book!

[armorbirdpress]

Armor Bird Reviews: Black Panther

Heyo, it's been so freaking long since I've done a movie review! But in the wake of all the positive reactions, hype, and feels surrounding the Black Panther movie, I knew for a fact that I HAD to give it a review after seeing it this past weekend. I’ve already posted this review on the PPC Board, so if you want to check it out, the alternative link is here!

Black Panther is a 2018 American superhero film based on the Marvel Comics character of the same name, and is the eighteenth film in the Marvel Cinematic Universe (MCU). Directed by Ryan Coogler, and written by Coogler and Joe Robert Cole, it stars Chadwick Boseman as T'Challa/Black Panther, alongside Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker, and Andy Serkis. As with any MCU movie, a lot of fanfare and attention has been drawn to this film, and I was dying to see it to determine if it lived up to all the hype; I am so very glad that we got tickets in advance to watch this movie, because otherwise all the seats would’ve been taken by the time we got to the theater - there were just that many people who wanted to see it. And just as well, because good golly, it is an absolute masterpiece. Spoilers under the cut!

Starting things off with the writing and characterization, I have to say that almost all the characters in the film were enjoyable and engaging to watch, and there were plenty of great moments from everyone concerned. T'Challa, despite being the obvious star of the show, actually feels kinda stoic compared to the liveliness of quite a few of the secondary characters which I'll get to a bit later, but he still has a compelling storyline, and while I was worried that he'd remain somewhat static throughout the movie, there were quite a few gut punches that ensured that he'd grow as a person and also as a ruler. The movie did a good job of demonstrating that he had big shoes to fill in a metaphorical sense, and also that even if T'Chaka had tried to be the best example that he could be for his son, his past mistakes would still come to light eventually and force T'Challa to reevaluate his worldview. This is especially apparent when it becomes known that T'Chaka, when he had donned the Black Panther suit, had been forced to kill the Wakandan traitor whose son would grow up to become Killmonger. It was a split-second decision driven by the impulse to save the life of the other Wakandan spy present, but the urge to keep up appearances for the sake of the nation ended up having far-reaching consequences that would've resulted in far more unnecessary casualties if T'Challa and later M'Baku and his tribe hadn't intervened. That kind of split-second decision is mirrored in the story in general, when T'Challa's lack of information regarding Killmonger's origin story almost costs him the throne and even his life, only being saved by the intervention of M'Baku and his remaining allies' delivery of the last Heart-Shaped Herb. Eventually, after fighting his way back to his own kingdom, he's forced to deal with Killmonger using the only remaining option left after the failure of diplomacy and civility, through violence and possible death. This history essentially repeating itself is one of the biggest contributions to T'Challa's character growth, and also his decision to make Wakanda a more publicly open nation willing to use its resources to aid the world at large in the end. It shows that he's realized how much impact even very short-term decisions can have in a sort of ripple effect, as well as the major setback of trying to lock Wakanda as a whole behind figurative closed doors: that sort of isolationism prevents you from interacting with the world around you and, like it or not, making the kinds of mistakes needed to move forward.

Naturally, since T'Challa sets a pretty high bar, the secondary characters and antagonists kinda have to settle for being second fiddle, but they all have traits of their own that help move the plot forward. The main antagonist, the aforementioned Killmonger, is interesting among the other Marvel villains in that instead of the typical "KILL EVERYTHING" or "take over the world" MO (or sometimes both) without many reasons other than "MWAHAHA I'M EVIL", he actually has a rather valid and understandable reason for his actions. The recent instances of black people being persecuted simply for their color, even in the modern day and age, are a strong force of motivation grounded in a sad reality, although the means by which Killmonger was planning to achieve that goal - by waging war on every other race - were undoubtedly going to cause as many problems as they'd solve if not more. Another interesting factor is how Killmonger's rule essentially divides up the entire nation; while Shuri (whom I'll get to later) is loyal to T'Challa through and through, and goes out of her way to help him and his cause, other characters like Okoye (initially) and W'Kabi simply serve the man in the throne whether or not he's truly fighting for the force of good. This actually threatens to tear the nation apart during Killmonger's campaign, and again, it's only because T'Challa and M'Baku's tribe join forces to stop him that things don't escalate into all-out carnage. As a wise man once said, hate begets hate - whether you think it's justified or not, the total extermination of people who are different than you, even if a few gave you grief in the past, is the wrong way to act, and only makes you like those very people who attacked you first. I have to give props to T'Challa for not falling into the same trap that his father did and offing Killmonger directly; instead, he attempted to show mercy, as well as a Wakandan sunset like in the tales Killmonger had heard as a child, but rather than spend life in prison with his reputation in shambles, Killmonger chose to essentially commit suicide and end the cycle. Even if he nearly caused an all-out civil war within the Wakandan borders, Killmonger is still a tragic figure, and that makes a big impact on all of us.

My favorite character by far, however, has to be Shuri. It's established very early on that she's not only a child prodigy, but also a youthful, spunky teenager with a wholesome sense of humor (and in at least three instances, a penchant for memery, trolling, and cringe-inducing puns on almost the same level as Chibi Yang). While she seems to be a light-hearted comic relief, though, she also plays one of the most critical roles in the story - rescuing the Heart-Shaped Herb that would later be given to T'Challa for his second wind - and her humor is offset by a dedication to her responsibilities as well as her intimate knowledge of the ins and outs of the Black Panther role as well as his loyalty to T'Challa regardless of the situation. It's probably this that leads to her being so important in helping T'Challa recover, and I'm proud of her for being both the heart of the movie (T'Challa, of course, being the soul) and a nuanced and lovable character in her own right.

The writing of the movie is also quite well done due to the points noted above and much more. Racism, prejudice, loyalty, and the impact of even the smallest things are themes that are prominent throughout the entire movie. I was very concerned that the sole major white character, Everett Ross, would turn out to be a villain (though thankfully that wasn't the case, and he gets an awesome support role in the climax that Han Solo would be proud of), and Ulysses Klaue IS a secondary antagonist, but it's interesting that ultimately, the conflict is waged by blacks, among blacks. This ties into the concept that there is no such thing as reverse racism - even if it's blacks persecuting whites, it's still way over the line if it isn't in self-defense. The conflicting solutions proposed by T'Challa and Killmonger - coming to terms with the outside world and reaching out to lend aid to it vs. only looking out for your own and forsaking all others to keep them from harm - are an uncomfortable mirror to a lot of real-world politics in recent years, but in true MCU tradition, it's the idealistic approach that wins the day in the end, although as expected for a conflict as intense as this, there are still quite a few casualties at the end of it all, and unlike many other instances in the MCU and beyond, most of these are impactful and placed tactfully enough to move the story forward.

I dont' even need to say that the graphics and visuals of this movie are absolutely gorgeous. Wakanda as a city is stunning, the various African landscapes breathtaking, and the vehicle design and choreography as masterful as a Star Wars movie. The costume and character design as well are splendid, and it is at this point that I'd like to call attention to the costume designer for this movie: Ruth E. Carter, who's also done work for such films as "Malcom X" and "School Daze" - plus she's African, and has done extensive research for this movie's designs, drawing from a wide variety of African cultures. Really, this entire movie is a feast for the eyes and absolutely worth seeing for that fact alone. My one gripe is that the war rhinos seen early in the movie and then in the climax are notably CGI, and could've been improved with some animatronic work like in the first Jurassic Park movie (or heck, they could even have used real rhinos, but IDK how much hassle that would've resulted in), but that's a minor quibble that doesn't detract from an otherwise spectacular feature.

I'm well aware that complaints about this movie have had to be filtered extensively on RottenTomatoes to prevent Internet Racism(TM) from marring the reviews unnecessarily, but that's a can of worms I'm not going into for the sake of my dignity. On my own terms, however, I do have one suggestion for improving the movie: instead of murdering Klaue just halfway through the movie, Killmonger could've just as easily pounded him into submission and forced him to work for him as a sort of Dragon (in TV Tropes lingo). T'Challa and Ross vs. Killmonger and Klaue would've been interesting to see, especially considering how threatening Klaue was with his cyborg arm and what it could do to both T'Challa and those poor innocent vehicles involved in the car chase in Korea. He'd have made an interesting secondary antagonist that could've opportunistically interfered with the warring parties and stirred up tensions just to tear down Wakanda out of spite. I'm not about to suggest an "Everett vs. Klaue" scenario - which was actually what Everett was planning in the first place when he entered this movie - but giving Klaue a bigger role before he gets offed would've made said murder more impactful and karmatic after all he's done. That's largely splitting hairs, though - I'm sure there are people who instead feel that Killmonger getting rid of Klaue early prevents competition. Who knows?

On a final note, here are two things I really want to see in future MCU films: 1) a movie with a predominantly Asian cast and setting, and 2) a movie starring Devil Freaking Dinosaur. I'll admit that both of these are kinda self-centered, but the first one in particular is probably more desirable at large because there aren't that many Asian characters at all in the MCU (Mantis from Guardians of the Galaxy Volume 2 and Colleen Wing from the Iron Fist TV show are probably the only ones I can think of off the top of my head, though I may have missed a few more), but one of the big things I'm noticing from the Black Panther release is that African-American and black children have come to look up to him as a hero in the same way that a lot of girls look up to Wonder Woman with the number growing since her own film release - so if the same thing could happen with an Asian superhero, that would be amazing. A quick look at the Marvel Comics online archives presents me with Shang-Chi, Master of Kung Fu, who has actually joined the Avengers in the comics and would make a very interesting and cool addition to their MCU incarnation. As for Devil Dinosaur, I don't even need to explain why he'd become beloved if he ever shows up in a MCU movie, even as a minor character... just keep him away from the palaeo-discourse and he should be fine.

All in all,

Black Panther

isn't a perfect movie, but it's very close to being one and I'm so happy for its success. While there are a few minor things I feel would've been worth fixing here and there, I don't see any obvious faults and certainly none that detract from how amazing it is. Do yourself a favor and give it a spin - I can promise that you'll be in for a visual and auditory treat from start to finish.

Grading Scheme:

96 - 100: A+

93 - 96: A

90 - 92.9: A-

87 - 89.9: B+

83 - 86.9: B

80 - 82.9: B-

77 - 79.9: C+

73 - 76.9: C

70 - 72.9: C-

67 - 69.9: D+

60 - 66.9: D

Below 60: E

Grades:

Writing: 9

Characterization: 9

Pacing: 8

Creativity: 9

Consistency: 9

Cinematography: 10

World Building: 9

Music and Sound: 10

Effects: 9

Engagement: 9

Final Grade: 91 (A-)

[reactingtosomething]

Reacting to The Good Place: “Dance Dance Resolution”

Eleanor’s Moral Continuity

The Setup: Find our reaction to the season 2 premiere of The Good Place here.

SPOILERS for episode 203 below!

KRIS: 

Well, that escalated quickly. (Said the guy who’s never seen Anchorman.) In The Good Place’s Chapter 16 — written by noted pun enthusiast Megan Amram (also on Tumblr) and directed by executive producer Drew Goddard (a Lost alum and excellent writer in his own right, who ran the first half of the first season of Daredevil and wrote the screen adaptation of The Martian) — Adam’s prediction about an alliance proves largely correct, Liz’s and my theory that Eleanor was actually retaining her ethical/spiritual growth proves (sadly) incorrect, and Eleanor and Chidi are confirmed as soulmates, even if Michael didn’t know it. PLUS: the returns of lava demon Todd, the Medium Place, and — thank you, universe — Janet’s reset button!

“Is that possible, Janet? Can you just chill out a little?”

“Dance Dance Resolution” goes Groundhog Day (I haven’t seen that, either, but I have seen the terrific Edge of Tomorrow) with an accelerated/abbreviated chronicling of Michael’s hundreds of attempts to engineer a perpetual torture machine that Eleanor won’t far-too-quickly outsmart. He hits rock bottom when the epically stupid Jason solves it first (“Yeah, this one hurts”). Eventually, when all the other demons go on strike and Vicky (f.k.a. Real Eleanor) brings him a list of their demands, Michael finds himself reduced to seeking advice from a man who died because he locked himself in a safe and thought he could still breathe because he brought a snorkel.

Meanwhile, in what might actually be the episode’s B-story (how did the rest of you read it?), Eleanor and Chidi overhear the truth from some of the striking demons on a smoke break, and flee to the Medium Place, where Mindy St. Claire is really tired of Eleanor and Janet showing up on her doorstep with various combinations of the other doomed souls. We get good gags out of Mindy being the only one who remembers any of the 14 previous visits, and hear a few of Eleanor and Co.’s failed plans to outmaneuver Michael. But this episode’s emotional power comes from Mindy’s revelation that Eleanor and Chidi have not only slept together several times, but once even confessed their love to each other. (“It’s like anti-porn.”) Shaken, Eleanor — who has just been really mean to Chidi, even for her — rallies the team for the 700-somethingth time (we see some versions where Michael gives up after just a few seconds) and delivers an ultimatum to Michael… but thanks to that aforementioned advice from Jason, he’s (still) one step ahead of them. He wants to team up. This seems to mean that Tiya Sircar’s Vicky has just become our season villain, which is a pretty glorious reversal of the dynamic she originally had with “Fake Eleanor.”

Surprising no one, I’m now even more invested in learning more about Janet, who is clearly so essential to the operation of afterlife neighborhoods that even through 801 resets Michael could never fully control her. (Does this mean that in “Tahani Al-Jamil,” Janet’s wild personality swings were also to some degree unintentional? I’d love that. They weren’t essential to making Chidi despair over the awfulness of his book and pushing him out of his comfort zone.)

Anyone have hopes, fears, favorite moments (I think I can guess one of Liz’s), or a lead on some coke for poor Mindy St. Claire? As a former fledgling Nietzsche scholar, I’m pretty happy that William Jackson Harper delivers what I’m convinced is only the third or fourth time an American TV show has correctly pronounced “Nietzsche.”

Click through for sports analogies from Adam, a philosophy digression from Kris, and a quality Twitter recommendation from Miri:

MIRI:

Well I’m officially done trying to predict The Good Place. (This is a lie, and I’m not even sorry. Feel free to mock me for how wrong I am in future.) We knew they would twist us again soon, but not this big this quickly. Damn, Schur & co. Just damn.

I have questions about Janet’s level of self-awareness. Or I guess accumulation/memory of previous resets? Her conversation with Michael as he’s about to reset her suggests she knows somewhat what has happened in the past. That may be due to him explaining it to her over the course of that attempt, but I’m not sure. Does Janet have the capacity to retain change even if she loses memories? Clearly Eleanor and co can, but Janet is not human. But is she a being? Does she have the ability to grow? (Sidebar: Perpetually in love with D’Arcy Carden’s performance. That sequence of falls!)

I genuinely love The Good Place’s relationship to absurdity. When you run 800+ scenarios, you’re going to get to some weird places and a two second farm reality joke is exactly what I never knew I needed from a tv show. They have a damn clam chowder fountain, which is insane but they play it as if it isn’t and that is what works so beautifully. Everything they’re doing is bonkers, but if enough people do the same bonkers thing with a straight face, it’s very hard to question it. That’s what worked in the demons’ favor in the first season, and I think what will work in Eleanor, Michael, etc.’s favor this time around. (I told you I was lying about the no predictions thing.)

Jumping back to the chowder fountain for a moment: Manhattan clam chowder would be more demonic to have around than New England clam chowder in general, but a (proper) dairy based chowder is more horrifying to have in a public fountain, so I believe they made the right call on that.

A few smaller thoughts to wrap up:

JUST realized that Mike Schur and Michael the demon have the same name and I don’t know what that says about Schur or about what Shur thinks of himself. It’s a good name in general, though.

I’m quite excited to see more from Vicky. She’s a really volatile mixture of blind enthusiasm and legitimate shrewdness, plus Sircar is just a joy to watch. 

How high is the demon to bad person ratio, y’all? Is it really this skewed or is this a gross misallocation of resources?

Highly recommend this delightful twitter

ADAM: 

A slight disclaimer: I have been a little busy with the move and without internet living like some early 90s sap. I'm currently at my local Starbucks writing this (Spectrum hooks everything up later today). Now back to the show.

It's hard God Damn work being this right all the time! I mean I figured that the team up storyline would happen later, but well played Mike Schur for just getting to the point (more on that in a minute). I watched the episode at a Holiday Inn Express in Kingman, AZ and I'm pretty sure Kris could hear me patting myself on the back from his apartment in Hollywood. It is a good feeling when you just nail a plot development or future storyline. I mean some could liken my figuring out the plot twist to Jason figuring out that everyone is was in the bad place. Okay, enough of the gloating time for more serious talks because I've got great news for everyone, especially Mindy St. Claire, I didn't forget the cocaine!

I will say that even though I called the team up angle, I did not expect it to happen at the end of episode two. The Michael storyline of nothing working and being blackmailed by fake Eleanor (or whatever you want to call her) did have a mid-season or end of the season storyline to it. After letting everything settle in now, however, it makes sense that Schur would pull something like this-this early on. If you look back to the end of season 6, and all of season 7, of Parks and Recreation he takes massive time jumps. Leslie had triplets and we never saw them except for short moments. He essentially did the same thing with “Dance Dance Resolution.” He showed that we can keep doing the same thing over and over again (ala case of the week) seeing how everyone figures it out. In a recent podcast interview he did with Andy Greenwald, he explained how he likes to dig himself a hole and figure a way out. This episode shows that he's crazy like a fox and like "The Good/Bad Place" anything is possible to happen. I like the fact that with this Groundhog Day kind of episode that Schur and Co. are saying that no matter the different variables that the outcome is the same. Ergo, even though these might be bad people they can still learn and grow to be good. Which then leads to the question of: What really makes a bad/good person? Kris, since you are the philosopher I look to you to answer that question. I will say that with the team up now happening that Eleanor and Co. will grow attached to Michael and vice versa (a bit of a stretch).  

Disclaimer: This portion is going to be heavy with sports analogies.

Eleanor, Chidi, and Janet have some very funny moments in this episode showing that they are getting more freedom to handle more of the comedy on their own (I touched on this last episode). The episode, however, truly belonged to Michael. “Dance Dance Resolution” felt like Ted Danson was playing iso ball. We never really truly got to see him shine, except only during last season's finale. This was his moment and he did not disappoint. He was essentially LeBron barreling down the lane where no one is going to stop him. His ability to set others up (his interactions with Janet and then Jason in particular) so they get their moment is great. How he can work in the scene is great and his comedic timing is on point that it just seems so effortless. I am curious to know how much direction is given to Ted Danson or if it's just give him the ball and get the hell out of his way.

I would say to Kris and Liz that you are both correct that Eleanor keeps her ethical and spiritual growth. The reason is that even though yes she does lose her memory every time there is a reset, if you look at every reset she still does the same thing. She seeks out Chidi for spiritual/ethical growth. While she may not remember what happens she always tries to do the responsible or ethical thing. The question may be that instead of wondering what Janet retains with every reset, we might want to start asking what Eleanor and Co. retain with every reset. The characters’ memories are wiped, but how much are they truly retaining? Even when Eleanor and Chidi visit Mindy St. Claire for the 50th or whatever time, she explains to Eleanor that that is the first time Eleanor has told Chidi that she loves him. Even though they have had sex dozens of times before she never said told Chidi that she loved him. That would mean that even though their memories keep being erased their connection continues to grow stronger. This is going to be a storyline that Eleanor and Chidi are going to continue to grapple with throughout the show because with them trying to fool everyone Eleanor and/or Chidi is going to get jealous (or try to make the other jealous) while they are with their "soulmates." I mean let's be real it will be Eleanor trying to make Chidi jealous by hooking up with her "soulmate" and Chidi trying to get back at her, but failing in a miserable yet funny way. I really hope they stay away from a Will They Won't They sexual tension between Chidi and Eleanor.

Finally, I would have to disagree with the notion of Janet knowing and or retaining information. I think that Janet is just an actual computer trying to understand how the world works. I think that with every reboot I would compare it to a hard reset if someone formatted their computer. In the season one finale Michael says they stole a good Janet and reprogrammed her. She may have a backup drive that Michael does not even know about, which then, said backup drive will eventually be used against him by Shawn to retire Michael. I would also like to see Tahani get some more run. She hasn't had as much space to play as the rest of the co-stars. She has mainly just been involved in the B, sometimes C plot or the occasional runner.

KRIS: 

Since now two of you have asked, my leanings as a former-almost-philosopher are Aristotelian, which is to say that A) I’m generally more interested in character traits — virtues and vices — than in hard universal rules or in what you could call the “moral math” of utilitarianism/consequentialism; and B) I tend to think one’s character is shaped by one’s actions (as Chidi has explained to Eleanor), and that therefore one’s moral sense can be — indeed, must be — trained. As my existentialism professor Iain Thomson once phrased this view, “Aretē is a technē. Virtue is a skill.” (The Greek root of the word “technology” is “technē,” which can translate roughly to “skill,” but also to “science,” or even to “art” in the sense that (an) art is a practice. Which is why the website name Ars Technica is a little strange.)

Virtue ethics, then, may be the main ethic of The Good Place as a show. It’s worth nothing, though, that in “Dance Dance Resolution,” Chidi for the first time identifies himself as a specialist not in virtue ethics but in deontology, i.e., ethics based on rules and duties. (This explains his interest in contractualism and Scanlon’s What We Owe to Each Other, and also why he was so excited to have meals with Immanuel Kant.)

Appropriate response to a Kant superfan I’M KIDDING (mostly)

I’m not yet totally sold on Adam’s read of what I’m going to call Eleanor’s moral continuity, but I like it. (I literally applauded alone in my studio apartment when Adam’s prediction came true.) This brings me to my biggest… I don’t know if “concern” is the right word? But like I said last week, I’ll miss watching Eleanor grapple with her past dirtbaggery, which wasn’t just hilarious but often moving, and often a mirror. Think of when Eleanor’s boyfriend wanted to boycott that coffee shop. Dirtbag-Eleanor decided that because perfectly aligning all of one’s actions with one’s principles is impossible, we shouldn’t bother trying. As a specific scenario, this is something we all struggle with. And in general, the theme of “How Do I Be(come) a Good Person?” is creepy-targeted-Facebook-ads-level Pandering to Kris.

Vox’s Caroline Framke observed that this season reminds her of how Community changed a lot in its second season, shifting from a show “about college” to something supremely strange and toweringly ambitious, all for the better. I definitely don’t object to The Good Place undergoing a similar change, as seems to be the case not only in this episode’s structural ambition but in the increased focus on Danson/Michael. But while I do love Danson (who is everything Adam says he is), maybe because this is actually the first thing I’ve seen him in, I’m less invested in TGP as a Danson Delivery Mechanism than I was in its being — by circumstance if not by design — a show about women and people of color trying to find (or make) their place in the universe.

More importantly, the increased Michael focus is also what signals that TGP is no longer primarily about being a good person — though the team-up suggests it may still be about building a good community. And that’s a Schurian theme I love, partly because it’s an antidote to the distinctly American ethos of radical individualism: Americans like to believe in superheroes, in the Great Man theory of history, in “pulling yourself up by your bootstraps” as the answer to everything, in the power of a single person to change the world through sheer will. But that’s not how the world works. It takes a village. This is indeed the point of Aristotle’s ethics, and of Aristotle’s Ethics, by which I mean the book Nicomachean Ethics, whose last chapter all but explicitly sets up his Politics, a work about how we organize communities to serve the ends of human happiness. An old classmate thought it was insane that political theory students read the Politics without necessarily reading the Ethics, and something like the reverse is also true: the goals established in the Ethics cannot be achieved without politics.

In The Good Place, Eleanor can’t become better if the world around her doesn’t provide conditions that make striving for goodness feasible. A key idea in philosophical ethics is that “ought implies can.” If a moral framework is going to make sense as a human project, and as something that can be enforced, following it has to actually be possible. In life this is what discouraged Eleanor from even trying to be conscientious about how she spent her money, and in afterlife it’s what Chidi agonizes over when Mindy reveals they’ve all been here before: “We are experiencing karma, but we can't learn from our mistakes, because our memories keep getting erased. It’s an epistemological nightmare!”

(For a much cleaner, sharper take on where this may all be going in a larger thematic sense, read Todd VanDerWerff on how he sees The Good Place as a self-conscious repudiation of Parks and Recreation’s optimism.)

ADAM: 

I think TGP is still about being a good person though. While yes there is a team up there still is the suggestion about what characters, mainly Eleanor, will do to figure out how they are good. Everything Schur has created deals with the optimism within not just people, but a community as a whole. This optimism is then brought forth by a conduit (Leslie Knope in Parks and Rec, Terry Jeffords in Brooklyn Nine-Nine) that shows everyone around them that they can either make a difference or can learn to be less selfish. 

Do you think that because Eleanor might retain some sort of "Goodness" that she then tries to make the neighborhood good? Do you think the Eleanor does retain some of the goodness that she has learned from all the resets (hence my theory on her telling Chidi that she loves him for the first time) that she, in fact, will help both Michael and the rest of the neighborhood become good? I don't see TGP as a repudiation to Parks and Rec's optimism, I see it as the optimism shining through the chaos within. Not to belabor the point, but even after all the 800+ resets Eleanor always seeks Chidi out to learn ethics/morality, as she feels guilty that she is not supposed to be in the "Good Place." She never deviates or goes down a different path. Couldn't you say that even in the chaos as a whole Eleanor and Co. still show resolve and that good can still shine through all through the chaos?

KRIS:

I'd like Lemon and/or Miri to take a crack at these questions, and I'll maybe come back to Eleanor when I close this out tomorrow morning, but I'll venture briefly that there's a distinction between the optimism of Parks -- Change for the better is inevitable, we're on the winning side of history -- and the specific, America-in-2017 brand of hope (or maybe that's not even the right word, but something hope-adjacent) that can be read into TGP, in which you try to change things for the better without assuming that you're going to succeed. In the case of Eleanor and Co., it's not like it can get any worse; there's nowhere to go but up, and thus nothing to lose by fighting even an unwinnable battle, but there is a toll on the conscience for giving up.

MIRI:

Point of clarification (because it matters to the questions Adam brought up, not just because I'm a pedantic ass)—I'm pretty sure this was not the time Eleanor said she loved Chidi. Mindy was showing her tape of another time. They overheard the striking demons only a few days into this reset, so they barely know each other this time. Which is why Eleanor was horrified to learn of the love—she doesn't feel that way about Chidi. Yet. And I think that goes to an important point—Eleanor's progress is not a straight line. She's evolved as a person overall, but she's still somewhat who she used to be and has her old memories. The circumstances of each reboot affect how she reacts somewhat. And that's realistic—no path to self improvement is simple or linear. She's going to have backslides and incremental progress. (Also I'd argue that she goes to Janet for help staying under the radar for her own safety and Janet brings her to Chidi. Eleanor doesn't go directly to him out of love or guilt. BUT she does find her way to him and is willing to learn from him over and over and over, which is what matters to me.)

I think that Eleanor's character has improved and that she retains some of that, but that the job is far from done—and that is the most important part. Each time she must choose to do better (not for the best reason to start, but still) and then work at it. Being good in a vacuum is easy and not particularly worthy of commendation. Eleanor is still on her climb out of dirtbaggery, she's just a bit farther along than in the first season.

Also: IT DID NOT OCCUR TO ME until Kris pointed it out that literally none of the non-demon protagonists are white dudes. That's amazing. I have come to expect Fremulon shows to actually look like the world (women, people of color, many things are garbage but not ALL things, etc). But damn, that is worth taking a moment to appreciate.

Also also, I would like to [again] direct you all to the twitter @nocontexttgp because it is a damn delight on my twitter feed and we all deserve that.

KRIS:

I wonder how much we should consider the question of Eleanor's moral continuity in the light of the sitcom "law" that your characters can't really change. Mike Schur and his collaborators (Dan Goor on B99, Greg Daniels on Parks) have pushed this law to its limits, but have they ever really broken it? Jake Peralta has grown up enough to be a worthy partner to Amy Santiago, but he's still definitely recognizably the Peralta of the pilot. Even the increasingly Woke Peralta is seen in season 1, when he punches out guest star Stacy Keach's old school detective for being homophobic. Leslie Knope started out kind of as a hapless Michael Scott clone, but she was never as outright awful a human being, and Poehler's sunniness lent itself to a different direction, so that Leslie became a hypercompetent moral authority, but she also retained her Too Much-ness and her blind love for and faith in her friends.

From the beginning Schur has been clear that The Good Place is intended as a heavily serialized show, so Miri's observation that Eleanor and Chidi seem to flee to the Medium Place relatively early into version 802 gets at a big question I have that this week's inevitable twist will probably prove I'm overthinking BUT STILL: Are we supposed to assume that Eleanor v802 has had roughly the same amount of moral maturation as version 1, that she’s had roughly similar experiences to what we saw last year? It seems like we have to say no, right? And if that's the case, this is on one level a pretty interesting commentary about network sitcoms: in a way it really doesn’t matter what happens to these people week-to-week, as it really didn't matter exactly who Joey was dating or exactly what Monica was yelling about on any given episode of Friends. But more specifically to the serialization of The Good Place, who/what exactly are we rooting for, if not for the Eleanor whose trials we followed last season? This reminds me, weirdly, of one of the big problems of Joss Whedon’s Dollhouse, in which the lead character was a repeatedly reset blank slate and we spent far too long knowing much more about her world than she did. (Echo actually figured out the truth by the end of the original pilot, but Fox wanted more weekly sexploitation, and forced the show into a procedural rut which eventually saw Eliza Dushku in bondage gear for like 30 seconds, apparently just for the hell of it.)

If Adam is right, then Eleanor's situation is something like "10 steps forward, 9 steps back" in every reset, and maybe last season did "matter" in-universe. But if Adam is wrong, then I guess what we're rooting for has to be in Eleanor's nature rather in her nurture -- maybe her fierce insistence on setting her own course, driven home as a fundamental drive with last season's revelation that Eleanor emancipated herself from her parents as a teenager -- and/or the very notion of moral perfectibility itself. Not perfection, but the potential for it. That is, we're rooting for Eleanor not because she becomes better but because deep down she wants to. I could live with that.

This isn’t relevant to my point, I just really wanted to include it

Lastly: I mentioned last week that I’m a little down on twist-driven storytelling as a concept or approach, but part of the reason it works so well here is that by going to the team-up so early — despite, as Adam said, having the feel of mid-season significance — the show is telling us it’s not “really” about the twist. Whereas something like Westworld builds really slowly and deliberately to a revelation that’s supposed to be earth-shattering, here the twist seems to be a means to a character-driven end, rather than the end in itself.

We’ll try to keep this up all season!

Facebook | Twitter

[aviwrites]

The Old Song

Author: @aviwrites

Fandom(s): Bendy and the Ink Machine

Warnings: Body horror, there’s a cult leader who tries to sacrifice the main character, some ink monsters running about

Prompt: Henry gets tied up.

Notes: H o l y  f u c k . I told myself this was gonna be a short drabble, but boy, was I wrong. Anyway, this is another test at writing creepy scenarios and an interpretation for that whole kidnapping scene near the end of Chapter 2, so spoilers if you haven’t played that far.

Word count: 2457 (holy fuck)

Fic/Link to Fic: [DeviantArt] [FanFiction] [AO3]

He shouldn’t have stayed in the studio.

He should have turned on his heel and left the moment he realized that Joey Drew, his old boss and friend, was nowhere to be found, even though he requested his visit in the first place.

And he definitely should not have turned that damn machine on.

But no, his curiosity had gotten the better of him, and he’d went through all the trouble to collect those office relics--sacrifices?--and fix the ink flow. And how was he rewarded? Why, with a chase from a demonic, three-dimensional rendition of the old cartoon character he use to animate and a fall through the floor to the basement, of course.

Exploring the underground music department had been...interesting, to say the least, what with all the satanic-looking pentagrams and alters to a cartoon deity scattered about and the massive expansion that must have cost Joey a fortune. And, yet again, his attempts to reach an exit out of the animation studio were thwarted, this time by a sudden, surprising blow to the back of the head.

And as he fell to the floor with a heavy thud, barely aware of the shadowy figure looming over him, Henry found himself remembering an old saying about curiosity and cats, and could feel the regret steadily growing.

When he finally came to, he was on his feet, slumped and supported against a wooden column that someone was currently tying his wrists behind. Henry blinked once, twice, and then shut his eyes tightly as he became suddenly aware of the pain that throbbed at the back of his head, where he had been hit with some sort of heavy object not too long ago. He would not be surprised if he was left with a nasty bump from that attack, but it was certainly not the worst he had suffered.

Henry took the opportunity to survey his surroundings now that he was conscious and his captor was still securing the bindings. As far as he could tell, he was still in the animation studio--the abhorrently dim lighting casting everything in sepia tones, the familiar dark stains and the tell-tale sound of ink dripping from some distant, leaking pipe was enough to tell him so--and the now familiar alters and a set of speakers not too far away from where he was standing signaled that he was still in the music department.

There was something like a set of wooden posts not far from where he was tied, supporting the aforementioned speakers and looking for all the world like some sort of gateway. Leaning against it was the ax he picked up shortly after arriving in the basement, and beyond it was a door akin to the ones used for garages. To his left was a closed door that seemed to lead into a recording booth, and on the wooden floor beneath his feet, there was a pentagram painted in the accursed, black ink, the sight of which startled Henry. He straightened, but most of his movements were restrained by the ropes tied behind him.

“There we go now, nice and tight,” an eerily cool voice said from behind him, and it was only then that he registered that his captor had stopped fiddling with the bindings. “We wouldn’t want our sheep roaming away, now, would we?”

The captor revealed himself then, stepping around Henry to lean in his face. The old animator pulled himself from the masked figure, reeling from the acidic scent and what he could only assume was the smell of rubber ink lingering on the other’s breath.

“No, we wouldn’t,” the man before him concluded, and Henry choked back a gasp once his mind connected the voice to a face.

Sammy Lawrence had always been an odd character in Henry’s mind. Even during the studio’s golden days, the music director was reserved and mostly kept to himself, and usually ventured out of his office only to complain when he was particularly upset about Joey Drew springing up an unexpected deadline on the employees. Most of the other artists in Henry’s department weren’t too keen to interact with him, but while he did not know him well enough Henry himself had always regarded the man with respect. Sammy was clearly talented at what he did, and he’d be damned to say that he didn’t at least tap his foot while listening to those cartoon tunes while he was working.

But that had been the Sammy Lawrence back then. The Sammy Lawrence now looked like he’d gone through a horrific transformation and was no longer recognizable. His skin was a deep, dark black, dripping in some places like some sort of sludge--to his horror, Henry realized that it was ink. The only articles of clothing that he was wearing were a pair of pants and suspenders that resembled the same kind Boris the Wolf wore in the cartoons (but it looked odd, stiff like cardboard), and the head of one of those wretched, life-sized Bendy cutouts, re-purposed as a makeshift mask despite its fading paint and broken hole in a few of the teeth the grin sported. Sammy had always been a little imposing--he held a vertical advantage over most of the other staff members, and Henry lacked quite a bit when it came to inches--but right then, with the dim lighting and the way he loomed over the old animator, he appeared downright terrifying.

And if those recorded tapes scattered around the studio were anything to go by, he was just as insane, too.

“I must admit, I am...honored you came all the way down here to visit me,” Sammy continued, unhindered by Henry’s shocked and horrified expression. “It almost makes what I’m about to do seem...cruel. But the believers must honor their saviors. I must have him notice me.”

Henry swallowed past a lump in his throat as he slowly understood what that meant.

There was an odd, hesitant silence as Sammy stopped his monologue to lean further into Henry’s face, his head now in a confused tilt. If he didn’t know any better, Henry would have said that the music director was frowning underneath that mask.

“--Wait,” the silence broke at last, “you look familiar to me. That face…”

All at once, the old animator felt the urge to yell at the figure before him that barely resembled the man it once was. They were co-workers, for god’s sake! Sure, thirty years was a hell of a long time, but certainly not enough for Sammy to completely forget about a head animator, right? Unless his current body horror really was doing worse things to his mind, and he really was beyond saving. Henry opened his mouth to explain their relations to each other--but was immediately cut off by a faint, distant clanging in the pipes, and Sammy stiffened and straightened as he snapped out of the moment.

“Not now, for our lord is calling to us, my little sheep,” he raved. “The time of sacrifice is at hand! And then, I will finally be freed from this...prison.” He paused as he frantically waved a hand as though to gesture at the horrifying transformation his body had taken. Flecks of ink flung from the limb (Henry cringed as a few came too close to his face), and drops fell from his arm and onto the floor. “This...inky, dark...abyss I call a body.”

Henry swallowed, trying to hide the fear as he attempted once again to reason with the man before him. “Sammy--”

Another clang interrupted him, but this time it was louder and followed by a chorus of banging in the pipes that seemed to be progressively getting closer. The old music director waved his hand again to his masked face, an ink-dripping finger hovering over the broken teeth of the cartoonish grin.

“Shhhhh! Quiet!” He pointed excitedly at the ceiling as the eerie noise continued, and Henry could feel the fear bubbling in his gut. There was no mistaking the grin in Sammy’s voice. “Listen! I can hear him...crawling above. Crawling! Let us begin. The ritual must be complete. Soon he will hear me…” And then he leaned in close once again, repeating a line Henry had seen painted in ink on the walls of the music department that sent shivers up the old man’s spine:

“He will set us free.”

Sammy walked off towards the door to Henry’s left, leaving him alone with a crushing feeling of dread. The old animator struggled against his bindings in an attempt to break free. He had to get out of here. He had to get out before that cartoonish ink demon found him, tied up and vulnerable. He did not want to know what it would do to him if it found him, and definitely did not want to stay long enough to find out.

But the ropes tying his hands back were tight.

It didn’t stop him from trying.

There was a ringing as the speakers before him came to life, and Sammy Lawrence’s voice spoke through the metallic boxes in that eerily cool tone of his. He was chanting some kind of rhyme about sleeping sheep, and Henry recognized the lines from a song from one of the old episodes, except the words were wrong. They were twisted, dark, not at all a rhyme meant for kids. But Henry couldn’t afford to pay much attention to what the music director was saying. The garage-like door not far in front of him opened and he struggled harder, half-expecting the monster his captor was trying to summon to come barreling through.

But it didn’t. The clanging in the pipes became louder, coming closer and closer until it was practically overhead, and it continued making its way through the pipes that passed through the room Sammy entered into, and after a moment it stopped. The music director’s voice suddenly became frantic through the tinny speakers as a new sound carried through it, something Henry was afraid to call growling. He struggled even harder with ropes tied around his wrists.

“No! My lord! Stay back! I am your prophet!”

With a final pull, the ropes snapped and came undone.

Sammy let out a blood-curtling, fearful scream at the same moment.

The first thing Henry did now that he was free was reach for the ax once again. Now armed, he charged through the entry before him that opened during Sammy’s chanting, not waiting around for that monster to find him. He continued down the hall, only letting himself slow down once he was certain that he made enough distance. It was quiet now, as quiet as it was upstairs when he first arrived to the studio and as quiet as it was when he traversed through the music department, but Henry still held his ax before him wearily as his heart pounded in his chest. He kept going, kept walking…

A light down the hall caught the old animator’s attention.

He stopped.

It was an exit sign.

Henry almost collapsed in a heap at the sight, the relief almost killing him. At last, a way out of this animation studio from hell! The only thing separating him from the door to his freedom was--

--A room entirely flooded with ink.

He swore under his breath as he examined it. Whatever the room’s old purpose was was now lost to the black liquid. It now served as a makeshift lake that Henry wagered to be at least calf-deep. The scent was unbearable, but if it was the only way out…

Henry sighed and approached the room cautiously, the ax still held in front of him like a lifeline.

Before he could set foot in it, though, the ink erupted like a geyser, and from the spray the demonic, lanky, monstrous form of the old cartoon character he used to animate emerged, grinning menacingly at him. Henry gasped and stumbled back, scrambling in order to sprint back down the hallway again. How did it find him so soon? Wasn’t it at the music department just moments before?

He spared a glance over his shoulder as he raced away, barely catching the oddity that was its awkwardly twisted leg. He didn’t allow himself to think too much on it just yet, but if it was enough to slow the monster down, even just a little bit, he was glad of it.

The old man bolted down a new path, slamming the door shut as he reached a different area of the studio. Henry locked it with a board of wood, pressed his back against it, and waited. Something slammed against the other side of the door, loud and heavy. It rattled the door on its hinges, and then it slammed again, and then a third time, but somehow the wooden board held. Henry heard the monster lean against the other side and pant like it was trying to catch its breath, and then it sauntered away.

He let out a heavy breath. He was safe.

For now.

For now, he better figure out where he was and where the nearest exit was. Henry, still clutching the handle of the ax in a death grip, looked around. There were a few shelves stocked with what looked like old merchandise (they were lined with Bendy plushes and cans of bacon soup and other odds and ends), but there wasn’t much else to help him save for a sign--”53 Vault,” it read--hanging above the doorway straight ahead. With nowhere left to go, for going back out was simply out of the question, Henry resigned himself to moving onward.

There was a clatter and a clunk as a can of bacon soup rolled from beyond the corner and into view. Henry felt himself tense up, and, suddenly realizing he wasn’t alone in whatever part of the studio this was, readied the ax like a weapon.

“Hello? Someone there?” he called out to whoever was out there. “I know you’re in here. Come out and show yourself.”

And the other obliged, cautiously stepping around the corridor to meet him, and Henry felt the shock strike him immediately. The tight grip on the ax slackened and he felt the urge to pinch himself, because there was no way what he was seeing was real. It couldn’t be, because he’d seen the same figure on the metal slab upstairs, dead, with its chest open and rib cage exposed. It couldn’t be. It just couldn’t.

But it was.

Standing before him, as though he had been pulled off the concept sheets and perfectly rendered in three dimensions, was the co-star of the old cartoon Henry used to draw for.

“...Boris?”