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applestorms · 1 year ago

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GOOD OMENS.

CLENCH UP BITCHES WE'RE DOING THIS. SPOILERS SPOILERS SPOILERS READ WITH CAUTION my hands are still shaking from finishing season 2 approximately 13.420 minutes ago so everybody clam the fuigk up/down. we're getting IN to this one. 10 sections.

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okay, before i get into anything specific, i just wanna say: this series has had some of the best writing i've seen in a tv show & it's really fucking gratifying to watch. this season in particular had some really clear, distinct themes that were evolved upon and executed pretty much perfectly imo, to the point that i almost feel like i can guess what a good deal of season 3 is probably gonna look like (see section 12). this is great!! it means the writers are really paying attention to what the story is doing & what the characters are feeling/going through at any given moment in the story, & it just makes the series that much stronger on a rewatch. this season in particular really hits that sweet spot for me of being overt & clear w/ its themes w/o treating its audiences like idiots, it just. works.

i'm not going to touch on season 1 as much here since it's not as fresh as s2 for me rn, but hopefully this post can help bring some additional analysis/reflection to the new season. not sure how much of this will be totally crazy wild & new, but perhaps some interesting points will come outta the process. hope you enjoy the read!! there's 13 sections so feel free to skip around.

1. aziraphale as the beautiful execution of a flawed protagonist (ft. crowley's pining)

one of the best parts of this season by far comes from the character writing, particularly for the main two & especially for aziraphale. aziraphale was my personal favorite to watch for this entire season actually, he & crowley are both such a fucking mess but aziraphale in particular hides it in such a fascinating way to me. it's not just like watching a car crash, it's like sitting on a park bench watching a man drive a bus into a stoplight, like full on crunch the vehicle in half squish, and then just get out & carry on walking like nothing is wrong & he isn't dripping blood & scraping broken bones across the concrete.

on a broader scale, there is something incredibly appealing about how aziraphale & crowley are presented, even at a very base level. even w/o the fantastic acting of michael sheen & david tennant specifically, it's a pretty common thing that fandom will default to shipping Narrative Foils, & these two are the epitome of that. a demon who can't stop being a nice guy & an angel who keeps cutely being an asshole- this is a great base to work off of, & again the execution thus far has been excellent.

what i like about aziraphale in particular is how complex his character ends up being while still fitting into a very particular role. while crowley to some degree fits into an already pretty popular & well-loved character model (that of the grumpy nice guy), aziraphale has to hit a couple of very important & precise traits, being both outwardly very likeable & endearing while simultaneously constantly fucking up & doing increasingly egregious shit. i really can't commend michael sheen enough for his acting in helping to get the balance right- it would be STUPIDLY easy to make aziraphale the most obnoxious character to ever grace the screen if performed or written incorrectly, the kind of outwardly-kind asshole that does horrific shit w/o reflecting since the show runners seem incapable of seeing the character for what they are & it all just ends up driving viewers up the wall (e.g. emily in paris).

what i think makes aziraphale work is the fact that he is just genuine enough in his actions that when he does something legitimately horrible, it's both so subtle you almost don't even pick up on it, too distracted by the emotions you feel in following his perspective, & just motivated enough that it's easy to write him off w/o thinking any deeper. as much as crowley calls aziraphale out for being a bad magician, i think it's spot on that the one thing he is quite skilled at is misdirection. you spend a lot of time in this show following very closely with either aziraphale or crowley's POV, but in s2 especially the contrast between those two views is quite overt. while crowley's perspective is often a lot quieter, more reflective & also overtly anxious as he throws himself into stressful situations purely for the sake of supporting az, aziraphale's POV is always very loud & chaotic as he runs around, finding pubs & fighting demons & doing whatever the fuck else he wants to at any given moment.

the main flaw of aziraphale in this season is, imo, selfishness, a direct contrast to crowley's continual self-sacrifice when it comes to aziraphale. in both cases though, this is (pushed to become) a flaw that i think ultimately leads to their inability to connect at the end of the season. but in order to understand that more, we're going to have to take a closer look into the circumstances that have thus far shaped both aziraphale & crowley's characters.

2. denial as a defense mechanism: heaven & hell as life threatening danger

if there's one thing s2 has not forgotten when it comes to a&c, it's the circumstances of s1 that led them to their current emotional/mental states.

slight tangent to lead back into this point: in my work as a librarian, i end up dealing w/ a very particular set of clientele when it comes to the kinds of people that regularly use a public library. parents w/ young children, older gentlemen & ladies looking to escape the more extreme weather, and (for my city, at least) lots and lots of people who no longer have stable housing. since an often forgotten about goal of a public library (well, to the general population) is social services, as a part of my training i've recently been working through a book on what is essentially trauma-informed customer service, which has led to a lot of insight.

one point in particular that i want to highlight here is the idea that traumatic instances are both common & intensely significant in how they can change a person's behavior. defense mechanisms that may make sense in the context of a traumatic event will often stick w/ people even as the context they're in changes & the instincts are no longer useful, instead making the individuals' life even more difficult.

if there is one trauma that defines a lot of the current problems that a&c are going through, it's the fear that originates from the constant surveillance and, in turn, threat of complete eradication that comes from both heaven & hell.

significantly, crowley & aziraphale both respond to this threat in distinctly different ways: where crowley clings to the idea of escape, of creating a place where it's him and aziraphale against the world (alpha centauri), in part idealizing aziraphale as both his only friend ("friend") & the only person he could ever truly trust (crowley also likely has some trauma from the fall but we'll get to that), aziraphale viciously denies that they even have a relationship, all the while simultaneously relying on crowley heavily to do a lot of his dirty work for him. (see this post for the endgame twist on that idea.) it's significant to me that a good chunk of aziraphale's earliest morally dubious actions involve lying- since he's been doing it for so long, it's probably one of the easiest things for him to write off as not that bad, so it's natural that he would default to it as a defense mechanism here too.

to clarify, crowley does engage in denial too, though it's obvious from the emotional climaxes of both season 1 & 2 that he is much less committed to it, likely doing it for the sake of easing aziraphale's mind and/or giving himself something to fall back on so he doesn't attract too much attention from the people that can really hurt them. overall though, these are both basically just fight/flight responses- crowley ultimately wants to run away from or fight everyone that can hurt them (& betrayed him by letting him down in the past) and aziraphale ultimately just wants to deny that the problem even exists.

if we see aziraphale's later stated goal of, "Let's change heaven for the better," as an evolution off of his earlier mindset, this is also basically what their final argument in ep6 comes down to: crowley wanting to run away and aziraphale wanting to go & fight for change. what's so aggravating about this conversation is that they also want the exact same thing: EACH OTHER. (idiots.) (maggie & nina were spot on, of course. it's not just nightingales missing in that silence.) this is not even to mention the fact that they are utilizing these defense mechanisms not just in an attempt to protect themselves, but ultimately to protect one another. think about that one late at night if you wanna get up the motivation to key mr. gaiman's car.

it's also interesting to note that in s1 crowley basically wins this argument, getting the chance to settle down (albeit, still under pretty questionable circumstances) as he & aziraphale (supposedly) create their own little corner of the world away from everyone else. it still doesn't work though as neither of their solutions really get at the core of the problem, which is 1. the horrific bureaucratic systems of heaven & hell that Don't Give a Shit about People at all, and 2. their own unspoken fears & feelings (romantic & otherwise).

3. good, evil, & narrative foils: crowley edition

since i extrapolated on aziraphale's character in section 1 and a&c's relationship in 2, i think it's only right that i look into crowley more for 3.

for all the pain & agony & tears that it brings, i really do think that ep6 is the best ep of s2. specifically, i think that ep6 is the one that shows the primary issues of a&c that have been plaguing them throughout the season (& even previously in s1) the most overtly, and this is especially true of crowley.

there are two things that aziraphale gets wrong about heaven in their final argument: 1st, the idea that heaven is necessarily better than hell, & 2nd the idea that crowley would ever want anything to do w/ it again.

i've seen some people talking about crowley like he's the voice of reason this season, but i don't necessarily agree, or at least not entirely. he's completely right when he says that heaven & hell is toxic in their final argument, yes, but i don't think his motivation in saying that is purely from observation either. remember that point i mentioned earlier, about crowley also having trauma from his initial fall? where aziraphale naturally trusts people to a fault (see: gabriel, but also picking up shax, the graveyard, etc.), crowley is plagued by a complete inability to trust anyone around him, & it's my opinion that a lot of this comes from the trauma of his initial fall.

the one exception to this is, of course, aziraphale, who we can see attempting to be a friend to crowley both before & long after his fall, but aside from him crowley Does Not trust anyone else around him & honestly for good reason. while we can write off hell as just being Like That, even if crowley didn't initially want to fall (as is heavily implied in a few flashback scenes), he certainly doesn't want to be dragged back into a supposedly great position that he knows he could lose again at any wrong comment. this is also (in part) why i think crowley reacts so strongly to aziraphale's "Nothing lasts forever," comment- after going through the horror of losing his divinity & all the stress of the last few seasons, the one thing crowley probably wants is stability, & he's been relying on aziraphale as the source of that. you're both doing the dance for this one, boys.

to reiterate: don't forget the graveyard scene when it comes to crowley doing absolutely anything for aziraphale to the point that it hurts him, both in terms of the supposed punishment he got from hell (that az skips over real fast in his narration) & how aziraphale continues to deny both the reality of their relationship & how much his denial hurts crowley.

4. beelz & gabe the weirdest couple imaginable. good for them. good for them. also: heaven & hell as two equally controlling/toxic sides of a bureaucracy

the Big Bads of the last few seasons took more of a backseat for this one which makes sense considering the focus on a&c and all of the parallel couples, but i do think the one point that was emphasized for them is very important, and that's the ways in which both heaven & hell parallel each other as shitty bureaucratic pyramids of power.

if we consider this meme to be true, i think crowley really is right when it comes to his analysis of heaven & hell, though we're probably just gonna have to wait until s3 to see the exact route the show decides to take.

a big running thread w/in either of these two groups is the fight for promotions, both in terms of people clawing their way up to get more power & in terms of people being replaceable. crowley & gabriel getting kicked out of their positions is just a vacancy of power to the companies that are Good Omens Heaven & Hell, and there is a very clear parallel between shax & michael & their desire for control. what's notable is how that parallel might also now extend to aziraphale what w/ his new promotion. all very fitting concepts to cover in a post-covid, writers-strike context, which i have seen our resident mr. gaiman posting about.

5. yuri on ice, hannibal, & the beauty of acknowledged romantic tension

if there is ONE thing i am disgustingly grateful for in this show it's the fact that we finally have some concrete follow-through on the romantic tension between a&c that permeated through s1. there's only so many times a man can call his best bud "Angel" completely unironically before it gets fucking stupid (cough cough dean winchester cough). but also, to put it in the words of another text post around here: I love how the kiss was awful.

even if there wasn't a kiss, the fact that this fucking entire season fucking revolved around love & featured all kinds of parallel couples should be enough to clue you in on the romantic tension between a&c, if you somehow were blind enough to miss it before. that being said, i'm really glad that the kiss was executed the way that it was, essentially summarizing all of the tension & anguish that had been built up over the last few seasons in an explosion. the state of aziraphale & crowley's relationship hurts more because they kissed, because the tension finally overflowed & it still wasn't enough to stop him from getting in the stupid elevator & running away again.

sorry had to take a break to aggressively listen to the better call saul theme song again. anyways, while i know there are some other shows that have set precedent for this in acknowledging the romantic development between their leads, i can't stop thinking about two in particular in comparison to good omens: yuri on ice, for the literal cinematic parallels between the kiss, and nbc hannibal, for the creator acknowledgement & slow lead up to the climax.

what i am desperately hoping & praying for w/ good omens is season 3, since it feels like all too often when we finally get a good, Gay:tm: show it's always this big, flashy thing right at the end that everyone freaks out about & adores (around these parts, at least) but is never evolved upon. i think gomens has a good chance since we've got more precedent now, the creators/actors/etc are more open about it, & the season is clearly unfinished w/ a ravenous fanbase, but something something supernatural trauma i'll trust it when i see it. can't always believe these corporate fuckers. at the very least though they probably wouldn't write this kind of ending if they didn't think they had a good case for another season, so.

ok, a couple shorter sections cause i'm undoubtedly gonna run out of space if i keep at this pace:

6. the resurrectionists was a really good arc that i enjoyed a lot

exactly what it says tbh, the writing for this arc in particular really stood out to me.

i mentioned earlier that s2 has some really good character writing & i think that's in part because it's necessary as a kind of transition season, reflecting on the chaos that happened w/ the first go at armageddon & setting up for the next apocalyptic event that is likely planned for s3. it's for this reason that i think the resurrectionists arc is really strong, establishing in particular all the flaws of aziraphale's character that i went over previously in a very interesting way that still manages to weave into the previously established, albeit quite sparse flashback timeline established in s1. the morally dubious nature of grave robbing for the sake of science & medicine is the perfect context to put characters like a&c in, and the more overt look into class w/ a character like elspeth works really well in helping to ground the more abstract social commentary associated w/ heaven & hell.

7. ramblings about sequels & whatnot

it can be really difficult to write a sequel, especially when the first go at the story cleaned up its plot so well by the end, but where s2 is strongest imo is in establishing the ways that crowley & aziraphale still need to grow.

i almost think that this season had to end horrifically tragic, in a similar way that i think book 2 of the simon snow series wayward son had to end on a pretty dour note. in order for 1 & 3 to have decently high notes, 2 just often has to be pretty miserable to balance it all out.

this is also why i think the maggie/nina storyline is so important overall. not only do those two establish the most overt romantic parallel to a&c, helping to transition the story from s1 & set up for ep6, but they also end on a distinctly hopeful note that's in direct contrast to the scene that comes immediately after they leave. the parallel plants at least the tiniest seed of hope that a&c can sort their shit out if given some time & communication, similar to maggie & nina. it also makes a lot more sense in establishing why crowley chooses that moment of all times to bother w/ a love confession- i genuinely don't think the kiss would work if m&n didn't have a little sit-down intervention w/ him beforehand.

8. SPECULATION: aziraphale vs. crowley apocalyptic fight, dissolving of the current organization of heaven & hell, affirmation of the beauty of humanity & morality?

a list of my speculation about what may or may not happen in s3:

apocalypse part 2 only this time aziraphale & crowley are actually gonna be fighting each other & it's going to be fucking agonizing to watch especially in direct contrast to s1

there's probably going to be some sort of attempt to get crowley into an equal/parallel position to aziraphale in hell. whether or not he actually decides to take this position is kinda up in the air, but either way he's going to fight it at first out of a hatred of both sides. if he does eventually agree it'll be under some sort of condition to save aziraphale, and/or a fake out trick that also is to save aziraphale.

i just don't think i can see a happy ending where heaven & hell stay in their same structure. w/ such big characters as gabriel & beelzebub just fucking gone into the middle of nowhere there's gotta be some kind of re-establishment of the two sides & their relations. the only way it might not change is if the Religion Lore gets in the way, but w/ the established politics of this show & mr. gaiman i can't see an ending that just allows the status quo to continue on exactly as horrible as it's been.

crowley back in his apartment? (plsplspls.) also something really heart-wrenching & emotional related to the car & the bookstore after a&c have been separated from them because of course. personally requesting additional exploration of the car as a symbol of crowley himself/able to be influenced by aziraphale e.g. scooting towards az, yellow is so pretty, etc. etc.

more flashbacks, maybe more from crowley's pov this time? like something to do w/ that period where he was supposedly being punished for helping aziraphale, more about his experiences w/ hell & the fall, etc.

something something affirmation of the beauty of humanity & the world, ft. a&c bonding over their mutual love of it again. they were each others only real friend for how many thousands of years, if they're gonna be fighting OR attempting a romantic bond that's going to be significant.

when the actual romantic reconciliation happens is kinda up in the air, but it depends on what the Big Bad ends up being, an external force of heaven & hell or a&c themselves. personally, i think that heaven & hell are just gonna keep getting weaker but w/ aziraphale in charge maybe that'll change (or maybe it'll be the catalyst lolol). if it's external they'll probably get together earlier in the season, if it's more internal probably not til the end, though there might be a momentary reconciliation for the sake of fighting something else.

i'm a bit more up in the air about this one, but maybe something more w/ satan & god as the top of the pyramid when it comes to heaven & hell? good omens is all about that kind of contrast so it might make sense. this also assumes that s3 is the presumed end of the series, which may or may not be the case.

if this does end up being the end of the series: i really, really, really, would not be surprised if crowley & aziraphale end up fully human. it's quite the obvious answer but it just makes so much sense for their characters, w/ their love of the world & whatnot. then again a lot of their relationship has also been related to immortality, but also then again there's a lot of stories out there about immortals hating their long lives & wanting to just settle down like normal people so. ehh. oh speaking of settling down,

9. they're NOT married, that's the PROBLEM: thirteen seconds.

thirteen. full. seconds. of the Most Awful Kiss. known to contemporary tv.

they're not married that's th eentire fuckigngggng proble m.,,..,,..,.

10. "I forgive you."

this is such a nonsensical line it makes me so absurdly angry. what the fuck are you doing aziraphale. well, presumably the exact same thing crowley was trying to do by kissing you, but i digress.

bonus edit, i thought of this literal seconds before falling asleep & now i can’t get it out of my mind: crowley needs aziraphale for stability, aziraphale needs stability to have crowley. mic drop

#i had to keep taking breaks writing this to listen to the better call saul theme so i could calm down #gomens #good omens season 2 spoilers #good omens #gomens 2 meta #also if you somehow end up reading this mr. gaiman: yes i do sneak your books onto the displays at the library whenever i can #as it should be 😌#astronaut rambles

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socialisthedgehog · 1 year ago

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"Barbie" Review (Comedy, High Concept)

For years I have bemoaned the state of the modern theatrical climate. The shameless IP gravedigging in aim of profit has reached a point to where even the general public has grown tired, but this year, two saviours seemingly emerged in the form of Barbenheimer. I love seeing people excited about going out to the theaters and passionately supporting (semi) original, artistically inspired work, but in this case, despite all my visceral and emotional enjoyment, despite the endless parade of marketing and internet buzz, I struggle with the execution and branding of this one. I greatly enjoyed the viewing experience, but I question how much of this was earned and how much gained by force, and how much potential was lost in its style.

This is a film by and for women, so naturally there is a crucial element to it that I could not truly understand, but I don’t think I am alone in the sentiment that this film was not radical nor transgressive. For all its well intentioned concepts and jabs, it exercises its ideas firmly within broad capitalist filmmaking, only offering us glimmers of something truly insightful or bold. Misogyny is observed at the absolute surface level through cartoonish setpieces and didactic, heavy-handed dialogue talking down to the audience. As much as I can’t stand this Adam Mckay style of writing, I feel this approach could have been effective in moderation.

The construction of Barbieland, particularly the opening ten minutes or so, is nothing short of spectacular, both in concept and design. The Barbies occupy a pink paradise, a perfect bubble where they believe they have solved all gender issues for the world with the success of their brand, but one day Barbie begins to have doubts and thoughts of death so she must travel to the real world. This sequence demonstrating the perfection of Barbieland and then twisting it (Truman Show - style) is colored in beautiful camp, delicious set design, and a dance sequence so joyous it instantly won me over. Emotionally at least, I was along for the ride, and excited to see the contrast between Barbie’s colourful naivete and the dull brutality of the human world and all that could be explored there. So you could imagine my disappointment when this opportunity is promptly squandered in favor of more blatant setpieces and borderline insulting dialogue.

On Venice beach, Barbie doesn’t make it a few seconds without getting her ass slapped by some guy. Ken talks to a businessman off to corporate work who says, “Oh no it’s still the patriarchy, we’ve just gotten better at hiding it.” And on and on. With this endless barrage of cartoonish stand-ins, the dial of believability both emotionally and logically is pushed so far, separated from reality so extremely there is little hope in caring for the boilerplate characters pushing the main events (the mother and daughter archetypes) And it isn’t as if any valuable commentary is happening in place of this missing core.

And so I am massively conflicted towards Barbie. Every bone in my body wanted to love it in the theater, but I cannot ignore the glaring issues with its script and design no matter how dazzling it may be in the moment. I can’t help but feel that this massive opportunity was only realized to half of its potential; held back by misguided direction. I don’t think I will stop thinking about it for a long time, but I do not want to revisit it anytime soon.

#barbie #barbenheimer #margot robbie #ryan gosling #film #film critic #film review #movie review #movies #barbie movie #2023 movies #film analysis

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cinemadaydreams · 1 year ago

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A Monster of a Tale

In 1999 there was a movie that captured the balance between borrowing from another older story while also capturing an original idea within its own movie. The movie was Galaxy Quest, a loving parody of the hit Star Trek series but also contained in the film an incredible idea - 'what if the show was seen by an alien race as real? What followed is what I believe is one of the better modern comedies and reimaginations of an old idea.

With Bomani J. Story's film The Angry Black Girl and Her Monster, I could not help to think - this is exactly what Galaxy Quest did. How Story executed this film should be seen as an example of how to bring new life into an industry that seems to be more interested to be, as Bilbo Baggins would put it, "butter scraped over too much bread". Let's face it, so many of the films marketed to us as the audience are breathtaking visually but leave you for want of air on the gut-level of quality storytelling. Story's movie is a fresh breath of cinema.

First, how he incorporated the Frankenstein novel is as sharp as a tack - and I don't mean the movies, if you've read the original 1818 novel, you'll see the difference - and does not hold back from the incredible weight of tragedy that saturates the gothic novel. This is the story that has inspired other fantastic cautionary tales in the science fiction universe - from Jurassic Park to Terminator. Story's astute use of Shelley's themes, ideas and story arc is a sight to behold, particularly for a film at this budget.

The second point I want to give is how well the dynamic works within the family onscreen. With dialogue that is smart and well-paced, it would have been easy to fall into the trap of making a movie about 'ideas' rather than an 'experience' (something I often gripe about with friends about modern movies - it's a movie we're watching after all, not an op-ed newspaper piece). Story does well to avoid this, making this story about family and then weaving themes within the family and local community experience. With the genre in the wheelhouse of tragedy, Story spares no emotional expense at reminding you as the viewer, with brutal and at times grisly violence to prove a thematic point - death spares no one, not even those we love most. Mary Shelley knew it well in 1818 with a life lived that seemed even more dramatic and tragic than her novel, and Story tapped into that in a way I can only describe as a palpable 'mood' whose residue lingers like a cold biting wind on an autumn's night. When I watch this film again, I plan on making it a fall tradition for anyone willing to watch.

I'll wrap this review with this one thought - I hope big studio executives and heavy weights watch this film, and not just for the sake of supporting independent cinema in theaters. Hollywood is in desperate need of bigger films taking emotional risks, not simply visual ones. It's been a long time since I've seen a film like The Angry Black Girl and Her Monster where the writer/director is able to balance an old idea and firmly place it in a context where it comes to life in a whole new way. And unlike Frankenstein's monster, it does not seem sewn together in pieces. This is a tale whose director knows the true depth of a story and its timeless relevance and makes it a living breathing thing that is whole and well-made. How fitting, considering this guy's last name. I can't wait to see what he does next.

#angryblackgirlandhermonster independentmovie bomanijstory cinema frankenstein

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leylslikes · 2 years ago

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jan 2023: final fantasy x (2001)

i'm on this little kick of revisiting properties that made me Feel Something when i was a kid and convinced me to go into media production in the first place, and at some point i realized that for how much i love and know about final fantasy ... i only ever played most of x-2, a chunk of ix, and the vincent spinoff that made me so motion sick i couldn't even get five hours in.

so! i picked up the x/x-2 remaster.

for a game old enough to drink in the states, the mechanics aged surprisingly well. the turn-based combat requires more prep than execution and is thoughtful and methodical, the sphere grid you use to level is really rewarding to traverse, and i love the melodrama of the summons. i did get a little annoyed with the sheer volume of random encounters, but you can always call tidus and flee.

the story is poetry to me, though. it's earnest in a way that i think was too cringe/goofy for 2001 (everyone's latched on to that damn laughing scene but it WORKS IN CONTEXT, i SWEAR), and i think it has to be earnest for the sake of its own narrative.

without spoilers (because i do actually want people to play this 20-year-old game), it's a story about a boy thrown out of time joining a young summoner on her pilgrimage to save the world from a creature called sin. this is the cycle of spira: there is a calm, and then sin returns to wreak havoc all over again. thematically it's a story about what happens when people refuse to let go and pass the torch, and the corruptibility of the human spirit. it's also a sweet little romance between two young heroes, and what love and hope can do to break a predestined cycle of divine tragedy.

would recommend to: people who love stories about dismantling norms, romance, found family, and earnestness.

some spoiler-y callouts for things i particularly loved under the cut

the hymn of the fayth. it fucks, hands-down, no questions asked.

i love the way the turn-based combat and the whole golden path through the temples supports the ritualistic nature of the pilgrimage.

SPEAKING of the RITUALS, the final battle with yu yevon, where you cycle through all your aeons and take them down as he possesses them, lives rent-free in my head. it's on rails! you can't die! it's literally just there to complete the ritual of the encounter and close out the emotional arc of the summoner's pilgrimage! and then yu yevon isn't even a human, he's that weird tick-looking thing because he is so far gone, his humanity is so eroded, all that remains is this drive to survive and the ghost of an idea that only he could solve the sins of spira.

the real final battle was with jecht. and it fucking owns. the metal soundtrack, the fact that tidus can derail his overdrive, it happening in a fucked up version of the zanarkand stadium. compliments to the chef.

auron is the saddest man in all of fiction. his sending made me bawl. what an arc. in a world where the villains are the ghosts of men who refuse to let go of their megalomania, he simply finishes his quest and says "it's been long enough." tearing up thinking about it!

i like the little post credits cutscene. it was enough for me. i would have been happy with that.

again: i LIKE the laughing scene. it's GOOD. i'm PRO.

the budding friendship between kihmari and tidus is everything to me. when tidus gets slightly behind the group on mt gagazet and seymour's melodramatic ass shows up? kihmari runs in and says "save some for kihmari???"

anyway it's a good game and on steam go play it

#final fantasy x #video game

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clouds-of-wings · 1 year ago

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I would actually argue that great art accomplishes both - it is skillfully done and has some kind of deeper meaning. In that regard, the image on the left is perhaps a bad example since it "only" looks pretty (apparently, I haven't looked at a zoomed in version), and also the idea that art in general is somehow worse today is not true. There are people who make art that is both intelligent and skillfully executed today as well. But I suppose the meme is more about what is seen as "high art", what gets into reputable modern art museums, what the "elite" values. And the stuff that is stock-market traded and which I sometimes get ads for (link is in German but you can see the artwork and the current value, about 23k€).

I don't want to be mean about abstract art, but I really haven't seen any so far that sends any kind of deep message. The meaning that OP sees in the painting on the right is - forgive me - a meaning that could be found in any kindergarten level book. It's not particularly sophisticated or thought-provoking. I follow some contemporary artists like Herta Burbe and Erik Johansson (NOT saying those are the best or most intelligent in the world, but they appeal to me and are the first that come to mind since I see their work in my feeds a lot) who do representational art of different kinds and whose caricatures/photomanipulations, respectively, often have meanings that make "Things aren't always what they appear" look like the platitude that it is by comparison.

To me it's really hard to see anything particularly deep in the abstract or experimental art that is hailed as such. I don't say this as someone who's simply too close-minded to appreciate this art form, I hope, and I have explored my own emotional reactions to abstract art on my blog before (x), but visual allegory can only be as complex as the things that you are able to actually show visually. If all you have is coloured blobs, it makes it really hard to say anything particularly intelligent. If you have all the phenomena of the material world at your disposal, you can create much more meaning because you have more to recombine and play with. Then, the more skill you have, the better your message comes through and the more attractive your work looks.

An additional problem (maybe this is a bigger problem than the one I mentioned above) is that the more abstract your art is, the more varied will be the things that people read into it. Which can be a good thing, but at a certain point it's questionable whether there is still any actual communication happening between the artist and the audience or if everyone just reads something random into it that was on their mind anyway, like with a Rorschach blot. That would, once again, make it hard for that artwork to have any kind of message.

I would really love to be wrong about this because very simple-looking abstract art that ostensibly is super deep is of course popular among people who see themselves as modern art connoisseurs and/or scholars, but I haven't really found anything that disproves this viewpoint. Art is of course more than just an intellectual exercise, but since this is what this post is about and what OP claims is the point and the great thing about the painting on the right, I dare focus on this aspect for the moment and say - actually, from what I've seen, representational art tends to be far better equipped to make complex, interesting statements about life, and additional skill seems to also broaden the palette of what you can express with your art.

So somebody on my Facebook posted this. And I’ve seen sooooo many memes like it. Images of a canvas with nothing but a slash cut into it, or a giant blurry square of color, or a black circle on a white canvas. There are always hundreds of comments about how anyone could do that and it isn’t really art, or stories of the time someone dropped a glove on the floor of a museum and people started discussing the meaning of the piece, assuming it was an abstract found-objects type of sculpture.

The painting on the left is a bay or lake or harbor with mountains in the background and some people going about their day in the foreground. It’s very pretty and it is skillfully painted. It’s a nice piece of art. It’s also just a landscape. I don’t recognize a signature style, the subject matter is far too common to narrow it down. I have no idea who painted that image.

The painting on the right I recognized immediately. When I was studying abstraction and non-representational art, I didn’t study this painter in depth, but I remember the day we learned about him and specifically about this series of paintings. His name was Ad Reinhart, and this is one painting from a series he called the ultimate paintings. (Not ultimate as in the best, but ultimate as in last.)

The day that my art history teacher showed us Ad Reinhart’s paintings, one guy in the class scoffed and made a comment that it was a scam, that Reinhart had slapped some black paint on the canvas and pretentious people who wanted to look smart gave him money for it. My teacher shut him down immediately. She told him that this is not a canvas that someone just painted black. It isn’t easy to tell from this photo, but there are groups of color, usually squares of very very very dark blue or red or green or brown. They are so dark that, if you saw them on their own, you would call each of them black. But when they are side by side their differences are apparent. Initially you stare at the piece thinking that THAT corner of the canvas is TRUE black. Then you begin to wonder if it is a deep green that only appears black because the area next to it is a deep, deep red. Or perhaps the “blue” is the true black and that red is actually brown. Or perhaps the blue is violet and the color next to it is the true black. The piece challenges the viewer’s perception. By the time you move on to the next painting, you’re left to wonder if maybe there have been other instances in which you believe something to be true but your perception is warped by some outside factor. And then you wonder if ANY of the colors were truly black. How can anything be cut and dry, black and white, when even black itself isn’t as absolute as you thought it was?

People need to understand that not all art is about portraying a realistic image, and that technical skills (like the ability to paint a scene that looks as though it may have been photographed) are not the only kind of artistic skills. Some art is meant to be pretty or look like something. Other art is meant to carry a message or an idea, to provoke thought.

Reinhart’s art is utterly genius.

“But anyone could have done that! It doesn’t take any special skill! I could have done that!”

Ok. Maybe you could have. But you didn’t.

Give abstract art some respect. It’s more important than you realize.

#reblogging from here bc op deleted the post #art stuff #if someone wants to argue with me plz be as civil as i am kthxbye

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morgana-ren · 3 years ago

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Shigaraki ask game: 38 and 34

I Love game 😘😘

Seeing you cry and handling you being mad at him?

Well, early in the relationship as well as his arc, the overall answer is not well.

It's frustrating. He doesn't understand. He's never had to cater to anyone before in terms of emotions. His universe is Tomura-centric; Everyone has to walk on eggshells around him and not vice versa. Suddenly having to take someone else's feelings into account isn't something he particularly cares for.

In fact, the only reason he likely does it at first is because he hates the circumstances surrounding it: He doesn't like that you won't look at him. He doesn't like that you won't talk to him. He doesn't like that you won't do what he asks and he hates that you won't fuck him.

You've suddenly shut down and turned cold and it's an inconvenience to him. He expected you to get over it by now, since it wasn't a big deal and all. You're being such a drama queen. Do you enjoy making him miserable? Is that what this is about? Why are you being like this?

He wants everything healed up and tidy but doesn't want to put in any of the work. He's going to throw his own fit in turn, since you can't be mad at him if he's mad at you.

When that doesn't work, he'll likely revert to whining.

If that doesn't work, there's every chance he'll start getting forceful.

If you want to work through things with someone like him, you're going to have to take a lot of the first steps and take a lot of hits to the dignity. You're going to have to lay out in exact detail why you're upset and hope he gets it, because there's every chance he'll just go "That's stupid. You're upset for a stupid reason." and refuse to change. You need to put it in terms that either he can understand and respects, or you're going to have to hope he loves you enough to do something about it despite the fact he doesn't necessarily care.

As for seeing you cry, he doesn't like it, but it doesn't translate to "I don't want them to feel like this" in his brain. He immediately becomes defensive and tries to shift blame by calling you sensitive or just flat out denying responsibility. On some level, he knows he's done wrong, but he's just not wired to see it and try to change it.

He will, after some time, give you an apology in the way of cuddling up to you or being a little softer with you. Maybe he'll offer to bring you food or he'll ask you to play a game with him. He wants to soothe it over and have it be over and done with. He doesn't like you being miserable, but he's stubborn and still, in many ways, very immature.

If someone else made you cry, that just adds to his pile of reasons to execute them mercilessly. It's kind of a "my toy, my rules" type of deal. No one else gets to hurt you or else all hell breaks loose. He's more than eager to take the opportunity to unleash gratuitous violence on your behalf.

If he's dating you (of both of your accord), he does care about you. He's just piss poor at showing it. It takes exponential patience to try and carry on a semi-healthy relationship. The more he matures and grows, the better he gets, but early Tomura is hard. He's used to being given whatever he wants, and suddenly he has to work around someone else. It's foreign to him.

#Shigaraki x reader #Morgana and friends #all this being said it depends on your dynamic with him #if your his captive or his pretty pet or something it's obviously a little different #he still cares enough to keep you around but you're there for HIM to use #it takes a lot of masterful manipulation to be able to coax change into him

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jostenneil · 4 years ago

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I would like some shoujo recs! I haven't read any in a longtime. I don't mind if they have love triangles or love quadrangles as long as the dynamics are good.

i’m sorry for getting to this late! and i hope it’s okay to rec some josei as well, the only difference between shoujo and josei strictly speaking is the age demographic, otherwise both traditionally cater towards women (not that other ppl can’t read these obv!)

princess tutu (anime) - this is one of the greatest pieces of shoujo i’ve ever been exposed to. it centers on a rly clever and cathartic adaptation of the swan lake mythos, and what’s most interesting about it is its focus on storytelling. the primary tag line of the show is “may those who accept their fate be granted happiness. may those who defy their fate be granted glory”. it’s all about the characters making choices and realizing their own ability to write the story that follows, rather than remaining shackled to the insidious story penned by the primary villain, drosselmeyer. the relationships are complex and dark but also rly healing in the long run, and the ballet aesthetics are exquisite!

kanata kara (manga) - this isekai manga centers on noriko, a girl suddenly dropped into an alternate world where she’s referred to as “the awakening”, fated to awaken the monstrous sky demon. everyone in this world is bent on getting “the awakening” first to use it to their own benefit, but noriko is actually found by the sky demon, a boy named izark, and they start to travel together through various countries while on the run. the rly charming point of kanata kara is that noriko doesn’t magically know the language of the world, she has to learn it entirely from scratch. she’s also someone who works rly hard to be useful and a source of solid support for izark and the friends she makes, and i think that coupled with the narrative message of each person having their part to play in the betterment of the world is rly inspiring to read about

akagami no shirayukihime (anime/manga) - shirayuki is a girl with rly vibrant red hair, and the prince of her country wants her as his concubine bc of it, so she decides to run away to the neighboring country. there she meets the country’s second prince, zen, along with his friends at the palace, and she makes a new living for herself as a palace pharmacist. it’s a rly sweet manga that i appreciate for delving into the behind the scenes part of court politics, particularly bc we tend to think that fantasies imply battles, but that’s not necessarily the end all, be all of relations between countries. there’s also a wonderful focus on shirayuki’s work as a pharmacist, and how her knowledge of plants and medicinal herbs helps her support zen as he works to become a prince more involved with his people

legend of basara (manga) - this series focuses on a post apocalyptic japan ruled by an oppressive emperor. a child of prophecy is fated to be born into a village and save the country, and when twins are born, the villagers assume the brother is the fated savior. when they grow up, however, one of the emperor’s sons, the red king, kills the brother, and so his sister, sarasa, has to pretend she’s the one who died so she can carry on the revolution as her brother, else all hope is lost. all of this is tied in with the fact that in her rare free time, sarasa happens to meet a boy named shuri, who is actually the red king! neither of them know each other’s real identities or that they’re the ones facing each other on the battlefield, so it makes for a rly angty romance, coupled in with excellent political commentary on privilege and oppression. shuri has one of the best antagonist to protagonist developments i’ve ever seen, and sarasa is a great example of a character vested with so much responsibility, who wants to bring her people to freedom but also be just a normal girl

honey and clover (anime/manga) - this is one of my all time favorites! it follows some university students attending art school and their day-to-day life as they struggle to create, maintain relationships with each other, graduate, etc. i think chica umino’s works in general can be exemplified by her portrayal of every day life, and how it’s not so mundane and actually carries a lot of emotion. there’s so much catharsis present in this work for me bc it really reaches out to people who feel lost of purposeless or alone in their lives and feel like they have no reason to continue creating or moving forward. i think it also has a rly realistic portrayal of romance in the sense that its focus is on how characters grow through romance rather than whether they end up with a certain person. esp if you’re a college student, i think it’ll rly resonate with you

kobato (manga) - this was serialized in a seinen magazine for some reason but i think most ppl agree it feels shoujo in delivery. it’s probably my personal favorite clamp work. the floral aesthetics and artwork of angels is absolutely gorgeous, and it features a rly endearing story about a girl, kobato, who must collect “healed hearts” in a bottle in order to return to a certain place. i can’t really reveal what i most enjoy about it without giving away serious spoilers, but there’s that classic clamp execution of the binding nature of contracts and weighing the things we want against the things we must do, which makes for some rly heartfelt, angsty progressions. mostly i just love seeing the narrative unfold kobato, as she starts off as is this seemingly naive girl who we come to realize is actually hurting deeply inside

lovely complex (anime) - this is a classic so if you’ve already heard of it i wouldn’t be surprised but nonetheless it’s probably my favorite in that area of early 00s shoujo romcoms. the story follows risa and otani, who are known as a comedic duo in their high school bc she’s unusually tall and he’s unusually short. there’s lots of gags and kidding around, but ultimately the story delves into how both of them subconsciously fall for each other despite treating each other like gag men at first. there’s comedic love triangles and plenty of miscommunication galore, but i think it takes these shoujo tropes and puts a rly refreshing twist on them that drives you crazy in a way that’s actually very entertaining. the infamous bear curry gag has practically been immortalized in shoujo fandom

yumeiro patissiere (manga) - this is another one most people have probably heard of BUT, that’s usually bc of the anime. the manga is actually much shorter and different in some ways, and at the end of the day i think i prefer it, esp art wise as the charm in matsumoto’s art style is just impossible to replicate anywhere else. it follows a girl named ichigo, who has a very sensitive taste palate and is spontaneously selected to attend a patissieres academy, despite the fact that she can’t cook for shit! she’s placed in the a-level class alongside the academy’s three genius students, commonly called the “sweets princes”, and they befriend and gradually help her hone her skills until she’s at a level where she can compete with them on a team. all in all it’s a rly endearing story about perseverance, hard work, and the desire to make ppl happy with the food you make for them (kitchen princess is also a predecessor to this series that i think may even have heavily inspired it and i would recommend it, too! it’s just a little on the darker side in terms of dramatics)

this is just the start of a list tbh but these are some of my all time favorites that came to mind! do let me know if you try out and enjoy any of them, i would love to hear about it ❤️

#princess tutu #kanata kara #akagami no shirayukihime #legend of basara #honey and clover #lovely complex #yumeiro patissiere #not really but that's the only tag i can think to put it in #mine:recs

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actuallyadhd · 4 years ago

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Hey!, so I’ve been thinking I might have inattentive ADHD. Like, I have many symptoms (I think), but I’m not sure if at the same rate that people with ADHD. I mean, I experience them but maybe as everyone. I still haven’t had too much trouble (except with lack of motivation, some executive dysfunction, daydreaming a lot, not paying attention, rejection dysphoria, and I think I may suffer from sensory overload sometimes but I don’t really know how to know what those are...), but I think that as I have anxiety (most likely) and as I’m a teenager and live with my parents, the symptoms are like hidden with schedules as I don’t decide when to eat. But I’ve noticed when I’m alone, I skip some dinners, have late meals... And also, online classes hasn’t helped with my attention span.

It’s weird, because I’ve always been the best or one of the bests students of my class, not behaving bad. Being “a pleasure to have in class” and all that, and for what I’ve seen, it’s not typical. And symptoms have appeared, or at least I have acknowledged them (that’s most likely), this last year. Except for fidgeting (that’s always been there), daydreaming and many times not being able to pay attention.

What I’m scared of is that when I get older and live alone, I’ll be a complete mess. I already deal with anxious and depressed thoughts, I don’t want to have it harder. And I can’t really ask my parents for help since they very anti-psychologists and therapists, and I think I cannot be mentally ill. So they always say I’m very lazy, which hurts me because I can’t help but be always really tired or restless (so I don’t know if this is procastination and I’m just lazy or actually ADD). But then again, is just the typical teen hormones and anxiety, or ADHD?

And anxiety doesn’t help with thinking I’m just faking this... I’m sorry I rambled, but I can’t really explain it well. I don’t even know what I would get from this, but I think it could help me to know what is wrong.

Thanks!

Sent March 23, 2021

This is a tough one. As you say, there are a lot of different things that could be going on here. It’s particularly rough when the people you need to help you seem like they’d rather just make value judgments. So I’m going to make a few suggestions that might help you, and you can see what sounds feasible to you.

So first I’m going to recommend talking to your parents in terms of what it feels like to have the struggles you do. You said you’re tired a lot, so if you’re getting enough sleep you can definitely mention that. Tell them that you’d like to see the doctor to talk about how you’ve been feeling, so you can find out what’s going on. If you’re sure they will resist any mention of mental stuff, just talk about things like low iron, which is not something you should supplement without talking to a doctor first.

The four biggest things that impact our functioning and emotional state, regardless of whether we have ADHD or not, are sleep, diet, exercise, and stress levels. If even one of those is off, things get harder.

Sleep. You probably need more sleep than you’re getting. If I recall correctly, adolescents require (on average) a minimum of 9 hours of sleep per night. If you’re not getting that, you might benefit from making adjustments to your sleep habits. (Side Note: If anyone would like a post about sleep, please let me know and I’ll see what I can do!)

Diet. It’s important to eat a healthy diet with lots of vegetables and protein in particular. Some people find that a low-carb diet is great for them, while others find that they really need those carbs. To me, what matters is that you get enough protein. There are a lot of important things that protein does for your body and your brain!

Exercise. Cardio is best, but it doesn’t have to be high-intensity or anything like that. The most important thing is that you do something every day. A simple 15-minute walk can help your brain more than you think! On top of that, when you find your focus really lagging, a 5-minute active break can be a huge help in resetting your brain so you can get back to work.

Stress Levels. This is hardest to control. It’s important to find ways to lower your stress levels when possible. It’s been a really rough year, and stress levels are high for everyone. I recommend finding a couple of simple, screen-free activities that you can do to relax in the lead-up to bedtime, like colouring or taking a hot bath. I also recommend exploring stimming, as this can help relieve stress in the moment and can also help you focus if you’re unable to take that active break I talked about up above. Things like fidget cubes, knitting, and playing with Silly Putty can be really great for this.

I hope some of these will help you, and I’m sure some followers will have more suggestions. Be sure to check the notes on this post!

Followers, you’re up! Do you have any more suggestions for this anon?

-J

#adhd #actually adhd #asks #anonymous #questioning if adhd #parents

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itsclydebitches · 4 years ago

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RWBY Recaps: Volume 8 “Creation”

Happy Saturday, everyone! Oh man, oh man, oh man. I think I'll need to steer clear of the general RWBY tags this week, simply because I know the sort of responses I'll see to this episode. From smug celebration at Ironwood's downfall, to bad takes about what makes us human, this episode is a petri dish of sensitive material handled insensitively.

Let’s unpack it, shall we?

We open on an action that feels like a summery of the last three volumes: a grimm attacks an airship from the front, no doubt killing its pilot, while the other grimm conveniently ignore our heroes, no masking in sight. The group looks a little sad at the destruction around them, but ultimately ignore it because they have bigger, heroic things to do. I could write a whole, additional essay on how the huntsmen code — to protect the people — has been warped and abandoned by our protagonists in their effort to do what they think is right. It's a tale that might have been compelling if only RT knew they were writing it.

We get a shot of Atlas drones unloading the bomb before one is taken out, presumably by Qrow and Robyn. Segueing to Ironwood and the Ace Ops, they're waiting for Penny to arrive, the former carrying a massive gun presumably capable of capturing her. Despite the horror we saw on their faces last episode at the realization that Ironwood would kill Marrow for speaking up, it seems that now the Ace Ops are entirely in agreement with these measures. A week ago the implication was that they fell back in line out of fear, but now Harriet talks passionately about "putting down" the group if they were stupid enough to accompany Penny. "The General gave his terms." Vine sighs at this, but doesn't actively disagree. He's just "retracing the steps that led us here."

So, congratulations on introducing four new characters, not bothering to develop any of them, killing one off while ignoring Qrow's hand in that, and having the other three become all, "Yeah! Mass murder is a perfect solution!" off screen. Marrow is the only one with something resembling development and, as covered in these recaps, that's been pretty badly executed too.

Ironwood sends them to deal with Robyn and Qrow after Winter reappears to "assist" him. That gets quotation marks because most viewers at this point have realized that she's who our two birbs spotted in the elevator. Winter isn't on Ironwood's side anymore, she's just skillfully clearing the field for the final attack. Indeed, we get a moment where she hesitantly brings up the bomb and Ironwood responds that he hopes she's not going to try and talk him out of it. No. Winter doesn't think that's possible. This was her final attempt at peace.

One of the reasons why I think I'll stick to my own blog for a while is because the fandom has a tendency to paint broad personality traits as evil when applied to some characters, yet simultaneously heroic when applied to others, when really it's about how that those traits are used. What I mean is, I've seen a lot of Ironwood critical posts that emphasize how stubborn he is. He thinks he's right and he won't back down. He wont listen to others. He's going through with this plan and if anyone tries to stop him? That's their mistake. Totally evil, right? Except, this is the exact same behavior Ruby displays, particularly in Volumes 6 and 7. She was stubborn about stealing from Argus and continuing the fight to the point where it endangered her and her teammates, to say nothing of the rest of the city. She refused to listen to Qrow, or Ironwood, or the Ace Ops, loudly announcing that she was right about, well, everything. If they didn't agree with her, the options were to leave the group entirely, or fight her. The actual difference here is that the writers have taken Ironwood to an extreme, one that's incredibly easy to understand as bad because it is bad: bombing Mantle has no defense. Ruby pulls the exact same nonsense, it's just not to that same extreme and her actions are followed by scenes that are meant to make us forgive her: a sad look because she didn't mean to get a city attacked by a leviathan grimm, a cry on the staircase because she didn't mean to risk the lives of an entire kingdom... even though she did. Ironwood is the bad guy because he's been written to take specific, OOC actions like shooting unarmed kids. He's not the bad guy because when other characters go, "Don't do this" his response is, "I have to." Because that's been Ruby's motto ever since she "had" to use the Lamp to rip Ozpin’s life story away. RWBY introduced those extreme actions of shooting the youngest in the group (for no reason) and threatening to bomb a city (for no reason) or shooting a councilman (for no reason) because when you remove those you've got a man who looks exactly like our hero. Ironwood's arc has been peppered with these confusing, unpersuasive actions because if you just keep the story as him stubbornly keeping to a plan he thinks will save the world, you're left with the reminder that all Ruby has done lately is stubbornly keep to plans she thinks will save the world. This moment with Winter just highlights how ill thought out Ironwood's descent has been because he does everything Ruby does... with a few, tacked on, “and randomly shoots people!” moments to ensure we understand that he’s definitely evil. No comparison to our heroes here, folks!

Ironwood is a bad guy now. That’s certain, but he was made that way so the story never had to grapple with the question of what that means for Ruby if we really start condemning things like lying, secrets, stubbornness, or endangering others for the greater good. Well then damn, if we strip away the hypocrisy then she might not be a good person after all. Or the people she’s simplistically labeled as bad might not be the devils Ruby claims they are.

But that’s a level of nuance RWBY would rather pretend doesn’t exist.

All of which is highlighted by Ironwood’s reaction to "Penny." He sighs and sags over the gun, immediately putting it aside. With his hand on her shoulder, Ironwood tells her she's "done the right thing." Precisely the same way Ruby would lower Crescent Rose and give someone a smile when they decided to fall in line with her.

Which, of course, is the moment when Emerald reveals herself, dispelling the Penny illusion and revealing Team JNPR The Second behind her. She gives a quip about it feeling "weird" to do the right thing before disappearing.

From there the action picks up fast. I really enjoyed this battle simply from a choreography and energy standpoint. It gets the blood pumping, Ironwood's hand-to-hand is spectacular — especially that moment against Ren — and the group actually displays teamwork for the first time in what feels like forever, all of them needed to land a hit on Ironwood. As always, out of the context of the rest of the show it feels and looks great. My primary issue is that we get this fantastic fight against Ironwood. Not Salem, not Cinder, not Watts (like last volume when Ironwood was still a hero), not even Emerald as a means of transitioning from murderous villain to the group's best bud. No, what's arguably the best action sequence in the volume thus far goes to beating up the guy they betrayed from the start. There's no catharsis for me here, only frustration as we watch Ironwood stand in shock as Winter powers up Nora — who's fine now, I guess — and she slams her hammer into his face.

It never should have come to this and when a good character is done so dirty, their downfall doesn't evoke the emotions the writers are looking for. Watching Ironwood fall doesn't generate feelings of victory, or even tragedy at a course of events others were powerless to stop. It's just frustration at watching years worth of bad writing, sprinkled with fantastic ideas that never go anywhere.

Oscar gets a few hits in, Ironwood snatches his cane, and just as he's about to throw a punch, Winter arrives with the most dramatic sword slash I've ever seen.

Ironwood's aura breaks and he falls, unconscious. We cut to an image of a droid's head separated from its body, one of Robyn's arrows through its skull. That doesn't have meaning or anything.

I suppose I should be grateful they didn't rip Ironwood's arm away during the fight, or outright kill him, though I'm still expecting him to die before the end of the volume.

Hmm. Wouldn't that be something? If after Salem's arrival, freezing cold, a Hound attack, grimm soup, a giant whale, a massive army, and a hack ending in self-destruction, the one character who actually dies is Ironwood.

It's looking more and more likely.

Honestly, beyond all the obvious, what's so frustrating about this fight is that characters are only now using their impressive abilities to their fullest. Emerald creates an entire fantasy of what's happening and then straight up disappears, but she only does a half-assed version of that when fighting against Penny. (And really, she put more effort into helping the heroes she just joined over Cinder, the woman she's been obsessed with since the start?) Marrow refuses to use "Stay" against a group they wanted to peacefully arrest because that's just too horrible an act, I guess, but he'll do it on his own teammates the second Qrow and Robyn don’t want to fight.

This is what I mean when I say the rules of the world bend to assist the protagonists in absurd ways. It's not nearly as egregious as Amity suddenly being up and running, but the fact that characters become substantially more powerful while fighting for the protagonists than they do against them is still a significant problem.

So Ironwood is down and out. As much as I hated watching that and didn't necessarily want more, am I the only one who felt like it was... a bit lackluster? I mean, the action was great, yes, but relatively short. There was no dialogue, such as another delve into the moral questions that led to this fight in the first place. There certainly wasn’t any hesitance against fighting a former ally. (Again, we’re meant to believe that the Ace Ops won because they just couldn’t bear to fight the group seriously, but every former ally here is capable of wailing on Ironwood without a single pause or pained look?) Ironwood just skillfully blocks for a while, is blindsided by Winter's betrayal, and then falls unconscious. Given that we learn he and Jacques will be evacuated after the rest of the kingdom, it's possible he'll escape somehow and we'll get a fight 2.0, but if not that feels like a rather tame end to the guy forced into the antagonist seat. Plus, what was the point of having Qrow frothing at the mouth to kill him this whole volume? I never wanted that to happen, I'm glad it hasn't, but I'm nevertheless left to ask why we bothered with that eleven episode side plot if we were going to erase it with one sentence from Robyn about Qrow being better than this. If that's all it took, let them work through Qrow's irrational anger while sitting around in a cell.

Winter tells the group to move onto "phase two" which is when we're treated to a flashback. We return to the ending of the last episode, with Ruby realizing that opening the vault is an option. Jaune, all smiles, goes, "We never considered using what's inside!"

This is what I mean about no consequences! This is what I mean about it all being a meaningless circle that ends with undeserved praise for the group! We started this horror show with Ironwood going, "We don't have a plan to protect the people, so I'm going to take what people we do have to safety" and the group going, "We don't have a plan either, but we're going to stop you implementing your plan because it's not perfect, risking a kingdom's worth of lives in the process." Now, the group has used two plans, one of which two characters knew about at the start and another they could have devised with the information they had. Oscar and Ozpin's, "We have an all powerful magical blast in our cane" and the group's "What if we used the Staff for something other than raising Atlas?" are both things that could have come up in the office debate. These were both always on the table! Instead, Ruby grew furious over the mere thought of cutting their losses, betrayed Ironwood again, attacked his people, denounced him to the world, and then two days later goes, "Oh wait! We could do something now that we could have easily done before if we hadn't made a needless enemy!"

Everyone realizes how much worse they made things, right? Turning against Ironwood, bringing everyone left in Mantle directly under Atlas, sitting around while an army was devoured, drawing it out until Penny was hacked... all of it would have been avoided if the group had thought and discussed things for a few minutes, not jumping straight to violently resisting what Ironwood came up with first. "We never considered..." Ruby says. Yeah, you didn't, except that's not something to smile about. The group made the situation a thousand times worse with their reaction when they could have just magically evacuated the kingdom from the start. “Maybe we could use it to save Penny and get everyone in Atlas and Mantle back to safety." Nothing has changed! They had this ability the whole time! Nothing about the last twelve episodes led them here, they just randomly thought of it after RT had padded the volume with needless drama. Considering that they're heading to Vacuo now, we could have just made this the finale of Volume 7 instead: big fight with Ironwood, revelation, get everyone evacuated while Salem attacks, leave her behind, then Volume 8 begins in Vacuo with the group knowing Salem is out there looking for them. This entire volume has been pointless. What did they accomplish?

Oscar got kidnapped and beat up, Nora was scarred, Ruby and Yang realized horrible things about Summer, and the whole world is panicking about a witch. Good things are... Ren and Ruby unlocked some semblance stuff? Weiss loves her brother again after he proved himself useful to her? Great work, team.

So this one moment makes everything they've done up to this point useless and, of course, once thought up the plan goes off without a hitch. Note that the summary of this episode says, "It's risky, dangerous, and nearly impossible — but it's the only plan they've got." Nearly impossible? That's a whole lot of talk for a plan that was implemented perfectly.

There is, admittedly, one snag, but one that is likewise made meaningless just seconds later. We'll get to that.

We see Winter call Weiss who also smiles at hearing from her sister. Obviously interactions like the group's with Emerald are the bigger concern, but it's still an issue that no one reacts as they should to people reappearing in their lives. Rather, RWBY continually confuses audience knowledge with character knowledge. We know Winter is on their side now, but Weiss hasn't a clue. Last she saw, she and Winter were agreeing to head down different paths. She has no reason to think her sister isn't loyal to Ironwood, so why isn't the group treating this call with suspicion? What if it's Ironwood trying to mess with them through a presumably safe party? I swear to god, with any consistency in the story this group would be dead ten times over because their decisions are so stupid. Oscar decides to believe in the guy currently beating him to a pulp, the group decides to trust a villain over a flawed ally, and now they see Ironwood’s second calling and are like, “Great, big sister Winter is checking in!” There’s a difference between a hopeful story filled with second chances and characters whose reliance on the narrative bending to assist them makes them come across as insanely naive.

None of which even touches on characters forgetting that other characters are presumably dead. Ironwood shot Oscar off the edge of Atlas, but doesn't react to learning he was kidnapped, or when he shows up to the fight. Thanks to Marrow's comment, Winter thinks YJOR have perished in the whale, but also has no reaction to them appearing to help with this plan. Absolutely nothing is followed up on.

We then get a flashback within the flashback (fun) of Winter — shock — not arresting Marrow. It's precisely as I assumed, with Marrow angrily asking why she hit him and Winter responding with, “Because you were about to get killed if I didn’t do something!” As I said last recap, I feel like I should let the marginalized groups lead this discussion, but I do want to add that no matter how well intentioned — or strategic, as I mentioned last time — the imagery itself is still harmful. No matter the context, we were still left with white woman Winter putting her knee on black man Marrow's back to arrest him, and it’s an image that everyone in the U.S. should be familiar with the horror of. Far more of a problem than the (presumed) ignorance of this scene is, I think, the choice to make Winter entirely unrepentant. I think some of this discomfort could have been alleviated if RT had written Winter as apologetic, contrite that it came to that and asking Marrow to understand that she only did it as a means of assisting him. Asking his forgiveness. Instead, we get this

So what, the only emotion we have room for is gratitude that Winter beat him up? Yikes.

As a lighter side note, I find the animation here unintentionally hilarious. Winter's assistive device makes her shoulders look too high, making this gesture more, "Woman exaggeratedly pouts about not getting ice cream for dinner" and less, "Woman sternly closes off during a disagreement about saving lives and betraying their general." Gotta find our humor where we can, right?

What's intentional, but far less funny, is the needless animation to show us that, yes, Marrow is peering at Winter calling Weiss. Oh, the shenanigans.

The elevator opens where Qrow and Robyn spot them. "Speaking of help," Winter says, as if she has any reason to believe Qrow didn't kill Clover. He and Robyn lower their weapons a bit, as if they have any reason to believe Winter and Marrow aren't still loyal to Ironwood. Would it really be so hard to have Winter immediately throw up her hands in the face of their almost-attack, blurting that she's not their enemy and needs their help, please listen? Again, RWBY can't remember which characters know what, let alone what their motivations and reactions should be.

We then enter the third part of the flashback where everyone piles into the Schnee dining room and discusses doing the things they could have done from the start. I'm metaphorically banging my head against that table. In RWBY's favor though, we also get a long shot of Jaune continuing to boost Penny’s aura.

Though it's only one of many issues, just the other day I asked, "Hey, why has Jaune always needed to hold onto the person he's assisting, but now suddenly he can touch Penny once and the boost remains?" It still doesn't explain why he was letting go before/why him needing to boost her continuously didn't put a hard time limit on their plan — not that Mantle's hour limit meant a thing — but at least they're showing more of that here.

Oscar notes that Atlas has enough gravity dust that it won't fall immediately when they use the Relic, but they will have to move fast to ensure no one is underneath. Yeah, like all the civilians you put there. He also cautions that the Staff isn't a "magic wand" that they can just wave to make all their problems go away... even though that's precisely what they're going to do. Ozpin gets some lines that aren't apologies or followed by attacks — hallelujah! — about how the Staff's spirit is a "character" and requires that you be able to precisely explain anything you want him to make. Blueprints, examples, a firm knowledge of how this will be accomplished — all of it is required to actually get what you're after. That's a cool limitation. It's just too bad we didn't know about it episodes ago, forcing our heroes to find ways to meet those requirements. Instead, they already have everything ready to go the moment they learn about it: Penny has her own schematics and Whitley apparently has knowledge of the entire kingdom after sending some ships out. Normally I'd go, "Really?" but I'm still just struck by how much good he's done compared to everyone else in this room. Your show is seriously broken when the side character the writers didn't even want the audience to like until a few episodes ago is more active, mature, and sensible than the heroes.

From there we see the group implementing the plan. They fly up through the hole Oscar left, straight to the vault. Penny opens it without any trouble and Ruby uses her speed to grab the Relic and stop time, halting her self-termination. I do like that combination of skill and their knowledge of how this magic works. That felt like a smart move. What's interesting though is that the Relic appears to stop time in the entire kingdom. We see people in Mantle and Atlas slowing to a halt too. I assume no one remembers that happening after time restarts, otherwise people would be freaked out by suddenly being frozen in place.

Wouldn't that have been cool though? The group often takes a while to use the Relics, either deciding what they need, or watching Jinn's information, so what if you had a population that blinks and suddenly, from their perspective, half an hour has passed? How long might Ozpin have sat on his knees after Jinn told him he wasn't able to defeat Salem? How long was that space frozen? We could have had a world built around rumors and fairy tales. Not the random stories Ozpin brings up to make a point and that we never hear about again, but tiny details that foreshadow these revelations. A Beacon where the kids tell each other spooky stories of people suddenly losing time, once a whole day. The wives, sisters, daughters, and nieces who disappear, or wake up one day with horrifying, unnatural powers. We see magic influence the world around it, but we've seen very little of the world reacting to that influence. The one time I can think of is Blake reading a book about "a man with two souls," the fiction clearly inspired by knowledge of Ozpin. And indeed, it felt great to recognize that as a significant detail and then be proven right years later as the lore was revealed. We could have gotten so much more of that if RWBY was better planned out.

I'm getting off track though. As time stops we see a series of images: Ironwood being led to a cell with Jacques, Penny succumbing to her hack, Team JNPR The Second preparing to contact the kingdom about what's going on. Then everyone is distracted by the giant, blue, buff Ambrosius who comes out of the Staff.

...there's a lot of innuendo in that last statement lol. At least RWBY is committed to the crazy design they chose? I was never particularly comfortable with the image of characters gaping up at a giant, naked woman in chains, so it's nice to balance that a bit with an equally giant, naked dude in chains.

From here things get confusing. In all honesty, I'm not sure if this is another moment where RWBY is trying to pass off a retcon as the group being brilliant, or if I, as an individual, simply didn't follow the logic. I won't bother to rehash the slow, meandering way that Ruby reveals their plan — that certainly didn't help with the clarity. Not in an episode where we didn’t even know these rules ahead of time — but it boils down to this:

The moment they have Ambrosius create something new Atlas will start to fall. Two of his creations can't exist at the same time.

He needs clear instructions about what he's making in order to create it.

The group has brought him Penny's schematics so that he understands how she's built.

They want, specifically, "a new version of her... using her exact robot parts."

They can't just create an exact duplicate of Penny because that would carry the virus with it.

They can't create an exact duplicate without the virus because that Penny would cease to exist as soon as they used Ambrosius to make an evacuation plan instead.

So they essentially want Ambrosius to create a new Penny by removing all the robot parts from the Penny that currently exists, carrying the virus with them, and leaving only the human parts of Penny behind: her aura/soul. Then, the purely robot version is destroyed when Ambrosius creates something new.

Except... this new Penny, this human Penny, still needed a human body. That's what Ambrosius created and that's the snag I don't understand. They want a version of Penny that's just her aura, just her soul, but that soul still needs something to be housed in. Ambrosius himself notes that. At first I thought the group would just have some wisp-like version of Penny they'd have to find a new body for — perhaps leading to a new one for Ozpin too — but she's just... given a human body when he takes the technology away, something she absolutely didn't have before. That is Ambrosius' creation. That is what should have disappeared along with the removed parts of Penny, leaving only her soul — what Ambrosius didn't touch — behind. Instead, the plot oh so conveniently has Penny get a new body for free and it's untouched as they move onto the next task.

Ruby drops a casual line about Ambrosius not being able to kill, or destroy, or something, which I think is meant to be the justification here. The rule (which, again, we JUST learned) about not killing anyone supersedes the rule of two creations not allowed to exist, allowing Penny to stick around. But even if that’s true, it’s a load of bull. What, does the magic think no one in an entire city might die if the floating mechanism is removed and it plummets to the ground? Ambrosius didn’t say, “Sorry, can’t stop floating Atlas because thousands of people are still here and they’ll die if I create something new,” but we’re supposed to believe the group skated by on, “Sorry, can’t destroy the last creation like everything else because there’s a single person still using that body and she’ll die if I create something new”?

Seriously, did I miss something? Or is this another, "Amity is ready because the group needs it" situation? The rule of creations ceasing to exist is bent because the group needs to have their friend around. Ambrosius is certainly enthusiastically complimentary, saying how "smart" the group is and that they've "done their homework," but I'm not so sure. It feels like a moment where the show is (once again) insistent that the group is far more talented and brilliant than their actions actually imply. It's only the rules of the world twisting and turning that allows for their success. To say nothing of how the episode dropped all these rules on the viewer in a ten minute info dump, ensuring we didn’t have any time to think about them before the deed was done.

It doesn't add up for me and honestly, even putting that aside? I hate this. I absolutely despise it. Look, if it turns out this really does make sense then props to the group for coming up with that plan. Our snag aside, the rest is a legitimately well thought out wish. I don't have a problem with the execution so much as the message. I've been saying since Volume 7 that RWBY has done Penny a disservice in terms of her "real girl" narrative. Whereas before we had a firm message that you don't need "squishy guts" to be human, to be real, Volume 8 continued to carry us further and further into the idea that it is necessary. That Penny's body is entirely inhuman, something to hate, but at least her soul is human and good. That's what the virus arc taught us: your terrible, technological body might be betraying you, but hold onto the parts of you that are really human. I hated that too, but I never thought RWBY would go this far. They made Penny fully human and went, “THIS is the version that always should have existed.”

And this isn't just me reading into the implications. It's right there in the text. Blake says that they're looking for “Penny, the girl who’s always been there underneath." Meaning, underneath the metal. The girl exists trapped in the robot body. Yang holds up her arm and says that the metal is only "extra," it's not really who you are.

That gets into two perspectives on disability that RWBY just doesn't have the nuance for: what's an integral and celebratory part of one person's existence can be seen as something separate and discomforting to another. Though there are many people with disabilities who would happily cure themselves with a magic Staff if given the chance, there are just as many who say no, this is a part of my identity. I don't want to change, I just want the world to accommodate my existence. However, RWBY takes a hard stance here, saying that any metal in your body is intrinsically bad. We didn’t use to have this take, but now the show has embraced it. Blake says the real Penny is trapped in there. Yang's words implies that she'd get rid of this "extra" bit of her if possible. Mercury with his metal legs is the enemy. Ironwood with half his metal body is the enemy. Whereas once difference was truly accepted, now it's shunned and fixed whenever possible. Those who can't be fixed, like Yang, must simply deal with the lot they've been dealt, reassuring themselves that the metal isn't really them. But Penny? Penny they can fix.

So they do and the very first thing Penny does is hug Ruby, exclaiming, “Do hugs always make you feel this warm inside? Wow. More!” and proceeds to hug all the others.

What's the underlying message there? Penny didn't understand hugs before this moment. She never experienced the "warmth" of them while an android, despite the fact that here warmth is entirely metaphorical and has nothing to do with a literally cold body. RWBY really went and said that the "real girl” android was never actually real at all — not as real as she could be — because it's only when she's given "squishy guts" that she understands the true happiness of a hug.

Wow.

I mean seriously, wow.

Never-mind that, you know, we've seen that happiness and warmth since she was first introduced.

RWBY is really rewriting all the core themes introduced in Volumes 1-3 and it sucks. The show is absolutely the worse for it.

To say nothing of all the other disservices to Penny's character here. There's all this buildup about whether she'll still be the same Penny once the wish is complete, but of course she is. We wouldn't want to have Penny struggle when she becomes something other than what she's always been, would we? After all, it took Yang an entire volume to work through the shock of a metal arm, but taking away a metal body for a human one is in no way traumatic. Having a normal, human body is intrinsically a good thing! Of course Penny accepts it with nothing but smiles. Becoming human is celebratory, but becoming more machine is a horror.

She gets to watch her body self-destruct, glitching out and collapsing in front of her. But again, nothing to unpack there that can't be covered with a hand over her mouth.

There's no discussion of whether Penny still has the Maiden powers, or whether a wish like that would mess with the transfer in any way. How did the group know this action wouldn't register as a clear-cut death, forcing the power out of her and into someone new? Obviously they couldn’t know, but no one even thought to bring it up?

And the entire time they're formulating their evacuation plan, there's no talk of whether these portals will appear before everyone currently alive in the kingdom. I mean, if they do then Ironwood and Jacques can just waltz through and escape into Vacuo. If they don’t, then Maria and Pietro don't necessarily have a way out. We still don't know if they're stuck floating in Amity, or if Amity crashed, or if they made their way back to Mantle or Atlas. More importantly, the characters don't know. I have no problem with RWBY keeping that a surprise until the finale, but I absolutely take issue with Pietro's daughter walking through a portal, seemingly not to care whether her father is going to make it out too.

It's been the same with Qrow and his nieces' relationships. The show is good at insisting that these families love each other because they hug and smile while on screen together, but when shit is actually going down, none of them care about pesky things like disappearances, arrests, or “The last time I saw you, you were with an old woman on a damaged station after a villain attack, potentially stranded in deadly cold if life support failed.”

So yeah, this entire arc with Penny has been a disaster. From throwing away her framing subplot, to giving her a virus that did absolutely nothing, to giving her the Maiden powers which she's also done nothing with, to erasing her android status for a “She's really human now” message, Penny has been done dirty by the show these last two volumes. Not nearly to the extent Ironwood has, but still. At this point I wish they'd just kept her dead dead. Why do I want her back when that resurrection produces no reaction, her conflicts lead nowhere, and one of the core things that made Penny Penny has now been magically erased?

I've been saying for weeks that killing Penny off and keeping Penny around each had serious downsides attached, yet I never expected RWBY to do BOTH.

Also, I'm warding off any, "But Pinocchio was made into a real boy too" defenses. RWBY is not Pinocchio. Penny is not Pinocchio. I thought the allusion was going to be the Pinocchio inspired girl heading into the whale, not the show forcing the exact plotline — down to a blue, magical creature — onto a character whose entire journey has been about accepting herself as an android. Congratulations, RT. You just obliterated years of work.

Again, if you'd like an example of how to do this far better:

As Penny's character falls apart, Atlas shakes, alerting Jaune and the other that a new wish has been granted. Jaune pecks at the screen and realizes "That did, uh, something…?” but doesn’t realize that there's a giant, red "LIVE" up in the corner.

Jaune tries to warn the entire kingdom about their plan, but what he actually says is

“Atlas is falling, but — !”

And then the communications cut out.

Watts, perhaps?

Our heroes are really good at saying things that make large populaces panic, huh? This is the one (1) snag in their "impossible" plan, but as said above, it doesn't amount to anything. We get a shot of Nora, horrified at the thought of kingdom-wide communications being down, but literally seconds later Team RWBY has made portals appear that everyone can walk through. So... why do we care about communications? More importantly, why does the show try to make us care? So much time is spent getting the viewer invested in problems that never come to mean anything.

Including the problem of Salem herself.

Because the group successfully creates that evacuation plan. This is it. Everyone is leaving while Salem still reforms.

Yang asks if they can use the vaults themselves as a single point for everyone to go to and Ambrosius agrees. So everyone is going to pile into the Vacuo vault that can only be opened by an unknown Maiden? They're going to put an entire kingdom's worth of people, including their enemies, into the vault where the Relic of Destruction is? Yeah, that's great. Prior to this — like if this had been the plan at the end of Volume 7 — I would have 100% agreed that these risks are better than death by Salem/grimm/cold. Now though, Oscar as axed Salem for an unknown length of time, the cold is having no impact on the civilians outside, and the grimm only attack background military personnel that supposedly no one cares about. They couldn't have spent another few minutes (especially with time stopped!) to figure out a means of getting to Vacuo that doesn't involve revealing and providing access to the location of a super secret vault? To say nothing of what they're going to do if Salem wakes up and snags one of those portals for herself. Two kingdoms for the price of one!

But that's what they're going with. Weiss gives Ambrosius a schematic of the kingdom, I guess, and he makes branching pathways appear with numerous portals for everyone to step through. They'll enter through one and, when they exit another, will be in Vacuo. Easy peasy, right? Especially since Ambrosius doesn't seem to have any limitations about how often his power is used. Is it three creations every 100 years like Jinn? We're not told, at least not to my recollection. However, I was expecting there to be a waiting period, that they'd fix Penny, go to evacuate the kingdom, and learn that sorry, I can't make another creation just yet. It feels like the sort of shit move these beings would pull — "Don't cry to me when it's not what you wanted" — it would have been another commentary on the group's insistence on putting friends over the people's safety (like demanding the Ace Ops not bomb the whale because of Oscar), and crucially, would have kept the action in Atlas. Isn't that what this volume is? The battle for and potential destruction of the Kingdom of Atlas? We have two episodes left and, unless something unexpected happens, we're moving that action to Vacuo. Why?

Meanwhile, Penny's corpse is just chilling in the background 😬

While all this is going on, Winter reassures Jacques that he and Ironwood will be evacuated too, though she makes it clear saving him was Weiss' idea. It checks out, considering Weiss is the one who turned her father's arrest into a joke last volume. Winter still takes his abuse seriously.

The group prepares to leave with a celebratory, "We did it!" from Weiss. I'm still banging my head against that dining room table. Before they can pass through the portal though, Ambrosius leaves them with one, dire warning: "Do not fall."

In any other story a line like that is a neon sign announcing to the audience that someone will absolutely fall, and maybe they will, but RWBY has dodged consequences so often I wouldn't be surprised if this was merely another way to string us along. Remember all the hype surrounding Salem? The cold combined with her army and magic? How she was going to decimate Atlas and leave our group broken in a Fall 2.0?

I mean, we still have two episodes left. Forty minutes of content. Salem might still decimate them, especially since something has to happen in the finale. But god, it's a problem that we've come this far without a payoff. Salem randomly decided not to attack anyone, was stopped by a weapon added in solely for this purpose, and now the whole kingdom is being evacuated with a plan the group could have used at the start. This volume really is meaningless.

“We go to vacuo and hope we’ve thought of everything” they say as the camera zooms in on Cinder's smiling face. For the second week in a row.

Bingo time!

Winter betrayed Ironwood, the group used the Staff of Creation, and I'm axing Maria on behalf of Pietro. You can't have the guy's daughter become human — after he was killing himself to give her his aura?? — and magically walk to Vacuo, not knowing if he's even survived since she last saw him, and expect me to think he hasn't been forgotten. Same with Maria. Has the group mentioned her since Amity cut out, notably for reasons they couldn’t explain? Of course not. Did they care to find out what happened? Of course not. I have no doubt they'll both re-appear in the next two episodes, Pietro crying over how perfect his girl is now and Maria congratulating the group on their actions, but we're still marking it.

This is the ugliest thing I’ve ever created, I hope you all are enjoying it :D

Another week, another couple feet added to the hole we’re digging. I know I keep saying I have no idea what's going to happen next... but I have no idea what's going to happen next. A Vacuo ending was not in the cards, not outside of them miraculously showing up in ships. Maybe they have been on their way to Atlas (somehow...) and will arrive precisely when everyone has left! Anything is possible at this point.

See you next Saturday, everyone. Hold on until then lol. 💜

#rwby #rwby spoilers #rwby volume 8 #mymetas #rwby recaps #rwby creation

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hazeleyed-fay · 3 years ago

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So I cant find the post that initially got me thinking about this, but on the topic of Julie making Luke a better writer:

We see 2 Sunset Curve songs that Luke wrote pre-Julie. Now or Never and Bright. He edited Bright a little before he gave it to her, and we only hear it in full when she's performing it, but I think the core of it was basically unchanged. Now or Never and Bright are both good songs, they're fun to listen to and they're technically well done (by which I mean that the technical aspects are all well-executed). But they're also..... kinda generic?

Like not in a bad way necessarily, but the theme of both is kinda that "Life is awesome"/"I'm awesome"/"Don't underestimate me" teenagerness that's kinda default in a way -- music I wrote in my tween/teen years had the same vibes. And I kinda think that you end up with that vibe when you're feeling a lot but you don't really know how to express it in a way that will connect with other people. We know Luke was feeling a lot because we also see Unsaid Emily, which he wrote pre-Julie but notably not for Sunset Curve to perform. Unsaid Emily is for himself and his mom. Given the time to think about it, he knows what he wants to say and knows how to say it in his song. And Unsaid Emily turns out great, in that gutting, punch-to-the-heart way.

Basically, Luke pre-Julie had the potential to write great, emotional songs, but he shied away from writing those songs with the intention of performing them. For performances, he focused on less heavy themes with a broader, more general appeal, and on hyping up audiences and encouraging people. (btw we see echoes of this a bit too in the scene on the beach where the boys end up playing This Band Is Back -- Luke's trying to cheer them up, focus less on what they lost and more on what they still have as opposed to processing their grief because then there would be Emotions and our boy does not know what to do with sad people.)

Julie-and-Luke songs are a whole different breed to Luke's pre-Julie music. There are a lot of similarities, what with Luke, Reggie, and Alex's involvement, particularly in the level of energy. They're not writing slow ballads or swingy showtunes. It's still the same style of music, but the big difference to me is the amount of emotion and emotional nuance in Julie-era music.

Finally Free is also about breaking out of the mold -- but it's triumphant and celebratory and inwardly-focused where Bright was defiant, more about making your own mark than about being true to yourself.

Edge of Great is also about envisioning the road ahead -- but it's hopeful and about the faith and wonder at the future where Now or Never is an insistence that life isn't gonna stop you from doing what you want.

Pre-Julie, Luke's songs are pushing back against an undefined opposing force (and like, his parents on some level) but he doesn't really put any of his own feelings into them. He's angry, and the anger is where he's drawing from but it doesn't actually inspire him.

But with Julie? Julie's songs dig deeper into her feelings, and I think she writes them for herself more than for others (esp. compared to Luke's pre-Julie music). She doesn't shy away from grief or fear (Flying Solo, Stand Tall) but she always turns it around by the end of the song, makes the song about growth rather than about the sucky parts of life. Flying Solo is inspired by her fear of losing Flynn, but the song itself is an ode to friendship. Stand Tall has a definite basis in how Julie thought she wasn't going to be able to make music without her mom, but it reaches everybody else because it's ultimately about overcoming obstacles and loss.

(and not to make this too sappy, but julie's the reason that luke can connect with people in the end -- not because she makes him visible but because she shows him how to actually use his emotions in his music. luke helps julie get back on her feet after her mom's death, and julie convinces luke to wear his heart on his sleeve instead of trying to hide it every time it falls out of his pocket)

#jatp #julie and the phantoms #julie molina #luke patterson #jatp meta #but its hidden under a thick layer of purple prose oops #for someone who can barely play any instruments despite having taken years worth of lessons #i sure seem to think i know a lot about music #playing instruments is like riding a bike in that i always think i can pick it up again quick #and people always say that i should be able to #but alas i cannot do more than bluescreen #story of my life

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dangermousie · 3 years ago

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Inside the torture chamber was eerie. The brutal burly torturers were severely torturing Su Yi; they were trying to force him to yield. When they heard the King arrived, their usual aggressiveness suddenly was quivering in fear. Wan Yan Xu was known for his equally rewarding and severe punishment. It seemed that five days had passed and his frail looking enemy had yet to be weakened.

I am seriously amused because I keep thinking “author, shame on you! If this novel was written by Meatbun or Tang Jiuqing or Song Qian Cheng, we’d get chapters and chapters describing the tortures and/or the mental agony of MC, yet we get a measly couple of sentences. Are you even trying?”

Anyway, because I want something gonzo and brain-dead, I decided to read War Prisoner properly. You know, the one where the beautiful general gets defeated and captured by enemy king. In real life, that would lead either to execution or the enemy kingdom acquiring a new general, but this is an old school danmei, so the King’s plan appears to be: MC defeated our army and killed my father, so now I shall: (1) defeat his army and capture him, (2) offer him to be my general instead and when he refuses torture him, (3) decide he’s hot and unbendable so it’s noncon time (4) fall in love and get married.

Ummmmm. One of these things is not like the other, one of these things does not belong. (1) and (2) make complete sense. (3) make sense if you are a particular kind of unhinged I can buy in a number of absolute monarchs. (4) is...well, I am not sure this the kind of revenge the dead dad is angling for, but it could be just me.

Anyway, there is a lot of potential for a meaty (ha! Maybe even meat-pillary?), problematic, epic angstfest of the type I adore but alas, as is shown by the few sentences above, this author is not the type to do that and instead of being deeply moved by whatever emotion, I am just kinda “ehhh.”

Got to say, because the author tends to skim over a lot of things, the fact that our paragon of nobility, Su Ye, refuses to surrender and become the King’s general makes me wonder if he took a bad head wound. Author reiterates over and over that the King of Su Ye’s country is utterly useless and awful (he took the money that was going to be paid to the army in the middle of war and used it to build a palace) and the King ML is, except for his rapey towards MC tendencies, an exemplary King - his kingdom is happy and prosperous and well-run, he treats all the conquered people fairly (and bans his soldiers from harming any citizens in cities they conquer), he even treats all the captured soldiers well except for our poor MC. Hell, he has other formerly enemy generals working for him. Why Su Ye, who knows his own King is useless and this King is a good King and who is not related to his own King refuses to switch is beyond me. I mean, because I have a brain that can make conjectures, I can say it’s because he’s too proud and so refuses to bend out of that principle, or that he’s patriotic to the Kingdom not the King (though no differences between the two Kingdoms are described) but it’s not fleshed out at all other than “my principles won’t let me surrender,” so I am all HUH? (He doesn’t even dislike the King ML on a personal level.) Same as to why the King starts fancying him - one moment he’s all torture time hope he goes over to my side and next “oooh, he’s hot I want to bang him” which - huh? Since when?

Is this a good novel? Hell no. But I am entertained and I don’t want anything too emotionally involved atm.

It is interesting how different my emotional response is depending on how emotionally involved I get. I am sure you saw me ranting about ML of FPYQ and feeling intensely sad for the MC of that novel initially, and if you think about it, ML of that novel never raises his hand to MC and even before they are exclusive, treats him fairly for a member of his household. But the people in that novel feel real and the situations feel real and so my emotions get involved and I am judging them the way I would people I know. In WP, our ML captures, tortures etc our MC and I am “I can’t muster much energy to hate anyway, I am rolling my eyes instead” because nothing about this novel feels quite real or particularly involving. My emotions being involved strongly even if those emotions are negative is a sign of quality, ironically (it’s pretty significant that I was angrier at MLs of Thousand Autumns or FYPQ than of any other danmeis and objectively ML of the latter hasn’t even done anything bad by period standards and the former has but he’s far from the worst.)

Anyway, back to this gonzo nuttiness.

#cnovel #war prisoner

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bellygunnr · 4 years ago

Text

Of the Same Steel and Temper

John regarded Dr. Halsey calmly as she revealed the information he already knew-- Project MJOLNIR was entering its final stage, and he was a player in its execution. He doesn’t even smile as she continues to talk, only resting his holographic hand on the hilt of his holographic blade, allowing bits of his code to fritz together as he ran operations elsewhere. He was rather proud of his latest bit of detective work. Infiltration was his specialty.

Not that he enjoyed it, but he did like showing off his prowess in all tasks.

“I’ve already selected my teammate,” John announces, cutting off Dr. Halsey.

She stops short, raising an eyebrow, but expression otherwise unreadable.

“And who have you selected, John?” she says patiently.

John unsheathes his blade with a flourish and points theatrically at a picture frame on the corner of Dr. Halsey’s crowded, messy desk. In the picture, a single woman stood at attention while an Admiral-- Stanforth, he notes-- pinned the UNSC Legion of Honor to her chest. Her expression was relatively schooled, but a mischievous brand of fire shone in her eyes, permanently captured in eternity by the photo. He didn’t have to look at the other citations and medals weighing on her chest to know that she was well-accomplished.

A moment passes. When Dr. Halsey doesn’t say anything, seemingly unable to recover, John forges on.

“Master Chief Petty Officer Cortana-117,” he says, weighing each word carefully, “is a highly accomplished and experienced Spartan. I’ve taken the liberty of researching her thoroughly and I like what I’ve seen. As I speak, I am already calculating our compatibility and… find them within acceptable parameters.”

“It seems you have made up your mind, John,” Dr. Halsey says slowly. “But are you sure?”

“I do not dwell,” John says seriously. “She seems to know how to take action. I can appreciate that in a body.”

“But you know she excels particularly nowhere in terms of physical or mental prowess, yet is the most willingly to undertake risks. She got that medal by attacking Covenant head-on and saving Marines in the process.”

“I am aware. Again, that is something I can appreciate in a body, Dr. Halsey.”

John had wandered off from his holopad to stand inches away from Dr. Halsey’s face. His sword is back in its sheathe, hands clasped firmly behind his back. Under the lights, his ancient Spartan armor glitters emerald green and fire yellow, body rapidly shifting between the two colors.

Despite his level best efforts, his emotions tended to reveal themselves. He was tense and excited but most of all, determined. He would have Cortana as his teammate.

“And what of a mission if she were to become compromised? What would you do if she could die?”

John immediately tenses, his holographic form flashing a brilliant ruby red. A second later, it washes back into his neutral dark green, swirling across his stout frame in ragged bands of hue.

“I don’t think you should ask me questions you are not prepared to answer yourself, doctor,” he replies, affecting a flat tone. “You insult me.”

AI and human stare at each other. Dr. Halsey seems flustered, her thoughts visibly racing behind steely eyes. She cuts one last look at Cortana’s photo before allowing her demeanor to shift, conceding defeat with just a tip of her head.

“Very well, then, John. You can have her,” Dr. Halsey says. “Now, what of the rest of the mission?”

---

The differences in the new model of armor ranged from subtle to obvious. It was definitely heavier, but the modification of her neural implants made the weight negligible. If she was feeling generous, she might even say she was moving faster in this armor. There was also the addition of the shielding-- a shimmering electric layer that reminded her of oil spills on pavement. Iridescent and full of color, but dangerous.

But there was one more thing-- the second major change they had given Mjolnir. So far, it hadn’t come up at all, overshadowed by the shields. The shields were fantastic (as long as she didn’t slip and fall), but it was high time they moved along.

She cocks her head wordlessly at Dr. Halsey. In reply, Dr. Halsey withdraws something from her bag.

“Your own neural lace has been upgraded to better interact with the armor, as you may know,” she starts, “but it also it interface with an AI. A layer of memory-processor super-conductor has been added between the reactive and bio-layers of your armor.”

Cortana nods once. “The same stuff found in an AI’s core?”

“Correct. Your armor will be able to carry an AI-- the same kind that starships house. John will be able to interface between you and the suit. His primary objective will be to provide intelligence support while you’re on the field.”

“What does that entail?” Cortana says, tilting her helmet.

She liked AIs. They were useful and often had personality. She wasn’t sure about sharing her armor with one, however. John wasn’t even impressive name-- who went to all the trouble of making an AI just to name it John?

“John has been outfitted with the best of ONI’s computer infiltration routines and software. He is also equipped with Covenant translation programs. He’s also quite resourceful, but his specialty is, essentially, spywork,” Dr. Halsey replies.

Hm. So this John would be the AI they brought with them, should the upcoming test go well.

“How much… jurisdiction will he have over the suit?” she asks cautiously.

“None. You will have full control of it at all times. John will only be reading and translating the link you have between your brain and the suit-- and improving upon it, so expect that whatever you’re feeling now to be multiplied.”

Cortana liked the sound of that. Real-time intelligence data and greater physical performance? She would be unstoppable. Provided they got along, of course. But everything Halsey was telling her just raised more questions, but before she could ask, Halsey started talking again.

“I’m afraid we only have a small window of time. Please, kneel down so that we may insert the AI into the suit.”

Obediently, she takes a knee, bowing her head to expose the chip’s slot. There’s a moment of hands flicking something open, then a rush of ice water and pain jolts the back of her neck. The sensation trickles like water down the length of her spine before dissipating, leaving her strangely… the same.

Then the AI spoke, and everything was different.

“Hello, Master Chief,” a deep voice said. It was slightly raspy and reverberated in the suit’s speakers.

“Hello, John,” she answers, eyes wide. “Got enough room in there?”

“Not nearly enough. It will do… Thank you for asking.”

Oh. Well, at least he was honest. It was probably difficult to jam the processing power of a starship into the fractional space of her Mjolnir, though she had to wonder how he was compensating for it.

“Let’s begin the test. The conditions have been changed to involve combat-- not ideal, but it should provide ample opportunity for you two to become acquainted. The “win” condition of the test might be familiar to you, Cortana.”

“Ring the bell?” she guesses wryly.

“Indeed. Be careful, and be wary, Master Chief. I hardly need to remind you to be prepared when ONI is involved, but I will say it anyway. You are also authorized to neutralize any threats to accomplish the objective.”

Then Dr. Halsey leans in, voice low, worry lines etching deep into the contours of her face.

“Some would like to see you fail this test,” she says. “See that you don’t.”

“No, ma’am,” Cortana agrees.

Dr. Halsey nods once, then turns on her heel. Just before exiting the tent, however, she looks over her shoulder to stare into Cortana’s face plate, flanked by technicians.

“The second I leave this tent, you must count to ten. After that, make your way to the obstacle course where the bell will be located. And be careful,” she adds, voice firm. “Good luck.”

Cortana resists the urge to salute Dr. Halsey in jest. Instead, she shakes her body out, getting the feel for the armor one more time. As she wiggles her fingers, she hears the metallic clack of weapons from outside the tent.

Her HUD shimmers. The proximity tracker immediately lights up with yellow blips that turn red on the next cycle.

“Assume that all units are hostile,” John says. “The targets are equipped with MA5B assault rifles. Be prepared for my participation.”

“I hope you participate,” she says dryly. “What do you think about this? We’re engaging our own soldiers.”

Eight.

“We’ll win, but I am more excited to see how you handle this,” John says, a hint of emotion slipping into his gravelly voice.

Nine.

Cortana flicks her eyes across the walls of the tent, noting the surprisingly clear silhouettes of soldiers moving outside. She didn’t enjoy facing off against UNSC personnel, especially when they weren’t Spartans, but she never had a choice. Her apprehension only spikes when the shadowy figures become real, breaking into the tent with guns already brought to bear.

Shock troopers. ODSTs, to be exact.

Ten.

The center Helljumper opened fire on thin air. Cortana dove from her elevated platform before his finger could depress the trigger, but she didn’t target him right away. She ripped the rifle out from his port-side buddy’s hands and winced at the unmistakable sight of a shoulder dislocating. Still, she cracks the butt of the rifle across the lead’s chest before turning on the third, suddenly aware that she was in “Spartan Time.”

To her, the third trooper was moving in slow motion, still caught in the throes of reacting to his companions’ defeat. She rips his gun out of his hands and shoves him to the floor, biting back a sigh at the sensation of ribs cracking.

This suit was definitely a step above the last mark. If she didn’t want to hurt them, she’d have to restrain herself even more.

“That’s an odd notion,” John says suddenly. “You have been ordered to neutralize the targets. Why not kill them?”

Cortana frowns as she bustles out of the tent. Immediately, her motion tracker updates with seven more yellow blips that flash red. If she had to hazard a guess, John was forcing the suit to acknowledge the troopers’ FoF tags as ‘foe.’

Interesting.

“John. I think that might be murder.”

“We do need every soldier available,” he concedes.

The tracker’s blips appeared to be concentrated in another on-site tent. On the far side of the tent, she witnesses an ODST peek around the corner for three full seconds before abruptly withdrawing. A thrown grenade replaces them.

Cortana shoots it out of the air. It detonates in a shower of shrapnel and flame, jostling the tent with the shockwave and shredding holes into its roof, but not catching it alight. She’s cutting an entrance into the tent before the smoke and flak has even cleared.

The troopers are facing away from her, rushing for the exit in uniform, slow motion fashion. To her surprise, one twists around and opens fire, bullets pinging across her chest.

She slings the knife she’d been equipped with into his gut. Shielded or not-- and the shields did their job well, turning the impacts into tickles-- she didn’t take kindly to being shot. His buddies she pursues out of the tent, bringing the butt of her rifle to bear on the back of their skulls.

They drop instantly.

“Unconscious, not dead,” John chimes as she whips around to face the other four troopers. “Thought you’d like to know.”

“Thanks,” she says shortly.

More bullets ricochet off her shields. The meter in the corner of her HUD blinks as it diminishes uncomfortably quickly, still un-replenished from the last round of projectiles. Not eager to damage the armor, she rushes forward, grabbing the closest trooper by the torso.

Effortlessly, she tosses his frame into his allies before grabbing up his gun, crushing the barrel. Her HUD wavers as a bolt of alarm flits through her, gaze drawn to the grenade the furthest ODST was trying to arm.

She lets her boots fall onto the arms of the first two troopers, determinedly not thinking about the state of their bones. She also does not think about how the alarm wasn’t her own, instead focusing on snatching up the final two soldiers by their chestplates and tossing them aside.

“Shoot them,” John hisses into her ear. “They’re not neutralized if they’re conscious or functional.”

“What do they have to gain by fighting me? I threw them forty meters!” Cortana exclaims. “I don’t want to hurt them, John.”

John doesn’t say anything but he does mark their position as nav-points on her HUD. She pointedly ignores him by stripping one of the downed soldiers for their grenades, which she promptly attaches to a magnetic hardpoint on her armor. With that done, she takes to the outer edges of the immediate area, making herself as hard to locate as possible.

The obstacle course is achingly familiar by the time she reaches it. It was an endless expanse of tough gravel, just over ten acres of the stuff. She remembered having to cross it bare-foot multiple times alongside her siblings; she could almost feel the ghostly sensation of rocks stabbing her soles.

Before she could step off, however, John speaks, low and urgent.

“Throw a grenade at the field.”

“That’s-- why?” Cortana asks, bewildered.

“There are Lotus mines and that’s the best way for me to calculate the layout. UNSC Engineers try to randomize the pattern, but humans are predictable creatures,” John says impatiently.

Well, it was as good as reason as any. She pulls a grenade from the stolen bandolier and arms it-- and holds it for three full seconds. With a controlled flick of her arm, she chucks it at the ground, watching it bounce once and explode.

Two Lotus mines explode in a geyser of gravel of dirt in reply several feet apart from each other.

“Give me a second,” John says. “Okay. These are rough estimations, but they shouldn’t get you killed. As you were, Master Chief.”

A graph flickers to life, overlaying itself perfectly across the gravel expanse. Yellow flower-like symbols join it in an affixed pattern, telling her what to avoid. That was… extremely useful.

“Don’t like that they’re using anti-tank mines,” she says, gravel crunching underfoot. “Seems a bit much.”

They make the trek across the gravel field in three minutes.

“Thanks, John. That’s really helpful,” Cortana says, making her sigh of relief productive.

“...There’s radio chatter on D band,” John says, his voice oddly pitched. “Encrypted and encoded, but it’s from the nearby airfield. I don’t like it.”

“That sounds exciting…”

But they had bigger things to worry about. After the gravel field was the long, narrow strip of mud and razor wire. It would be interesting to see how the armor’s shields fared against the constant scrape of barbed line. She doubts she could hunker low enough to avoid it entirely.

...If she didn’t get shot to hell first.

“Chain guns, 11 and 1 o’ clock,” John says, almost as soon as she notices them. “I advise evading. I do not feel like dying today.”

Crawling through the razor bed probably doesn’t count as evading, she thinks dryly. She’s glad for their incredibly slow rotation and similarly slow rate of fire at least. It meant that at least one was deactivated by the time she took off sprinting for it, firing at its power lines with her rifle.

There were two chainguns at the far end of the route, clearly meant to create a field of crossfire should she crawl. She’s silenced the one closest to her, but its cousin’s 30mm rounds punch into her chest, threatening to drop her shield into zero with just a handful of impacts.

She silences it by kicking the first chaingun into its chassis, toppling them both.

“Elegant,” John remarks once the residual firing stops. “I am going to investigate something. Don’t get shot.”

Cortana feels the AI slip out of her neural lace. To escape the sudden gaping emptiness, she charges into the rest of the razor-lined trenches. It gave her a few moments to reflect, too. John was an interesting AI. Not horrible to work with, if a little bossy. And vague, too.

If this didn’t feel so high stakes, she’d be arguing more.

Ice water rushes down her neck the same instant she comes up on the next stage of the obstacle course. Years ago, when they were all very young, the Spartans had dubbed this portion the ‘Pillars of Loki.’ It was a nightmarish network of smooth poles of wood-- razed trees-- interspersed with traps and danger. She’d seen the kind of damage the traps could cause.

She wasn’t keen on taking any of them on.

“The airfield is launching an aircraft,” John announces, his voice edged with anger. “A Skyhawk.”

Fuck.

“Language,” John says sternly. “Do you have any ideas? I calculate roughly 30 seconds before contact.”

Well, the best way to avoid traps was to go around them, right? She stares into the crisscross of pillars and deadly vegetation for a couple seconds too many. It would leave her too exposed to try skirting the borders of the field, but maybe climbing onto the poles…

Yeah, that would work.

Cortana scales the nearest tree with a certain lack of finesse. Her armored fingers leave indents in the hard wood and her boots gouge out chunks of bark and flesh from the pole, but she’s standing atop it with-- 15 seconds to spare.

A timer was now ticking down in the corner of her visor.

“Don’t know if that’s helpful, John,” she mutters.

“Bandit inbound,” John replies. “Ideas?”

She launches herself from one pole to the next, taking a diagonal route across the Pillars of Loki. The Skyhawk was an atmospheric fighter that specialized in close air support. It’s complement of four 50mm cannons and anti-tank missiles made it a terrifying and formidable ship, and against her?

Mjolnir, augmentations, AI assistance…

Well, she was as dead as any Covie soldier.

“Contact!” John barks.

The air thrums violently around Cortana as the aircraft bears down on her position. She kicks off of the pillar, free falling just as a spray of bullets sunder the air. Trees shatter into pieces behind her and the world blurs as she tucks into a roll, hitting the ground.

The Mjolnir’s gel layer absorbs much of the impact, but it still hurts.

“Eleven seconds! Goal: 300 meters!” John barks again.

“You’re yelling,” Cortana huffs, climbing to her feet. “No need to yell!”

Once again, a timer was ticking down on her HUD. Nine seconds and going. She was no Kelly, but how hard could a three hundred meter dash be?

Nothing achievable when it was rockets she was facing. The eight-seven-six seconds must be the Skyhawk’s turn time. Maybe she should run for cover.

“No time! New timer! About face!” John shouts, his voice so intense that it drowned out her own panicked thoughts.

Dirt and grass sprays with the force Cortana applies to twist herself around. Her HUD pulses red once before yet another timer pops up, accompanied by the silhouette of a missile. John’s presence inside her mind and suit is suddenly overwhelming.

“When the timer hits zero, the missile will be on top of us. Deflect it.”

John had a knack for sounding like a drill instructor. Or a suicidal admiral. Firm, commanding, unshakable, and slightly tyrannical.

The Skyhawk was hovering nearby. Plumes of white smoke erupt from its left wing as it lets loose a Scorpion missile. Cortana grinds her teeth, feeling a lurch as her brain overclocks into Spartan Time once again.

Three.

Cortana nearly falls over as the Mjolnir’s shields are ramped to their maximum settings.

Two.

The Skyhawk is bearing down on them, outpacing its missile.

“Now!”

Cortana jinks to the side, slapping the fuselage of the missile and sending it off course.

It still explodes several meters behind her. The resultant explosion knocks out her shields and launches her ten meters into the air. Darkness overwhelms her and several internal systems start wailing.

“Run like hell.”

She didn’t have to be told that twice, but her body is shaking violently as she hauls herself back to her feet. Her initial few strides are wobbly, growing steadier in fits and bursts. The goal’s nav-point is blurry and out of focus.

Oh, she was bleeding!

Cortana uses the bell’s tripod to stop her forward momentum. It collapses underneath her and crumples like a tin can, unable to stand up to a half-ton of armored Spartan.

She’s rewarded by the crackle of Dr. Halsey’s voice in her ear: “Test complete. Withdraw, Colonel Ackerson. Magnificent, Master Chief, but please don’t move. I’m sending a recovery team.”

She picks herself up from the bell. Despite its crushed state, she can tell it’s the very same bell she rung some thirty-odd years ago.

“We did it, John!” Cortana laughs. “That was… exhilarating.”

Gingerly, she sets the bell back onto the ground, panting and bleeding inside of her helmet. She probably broke her nose but that was nothing compared to the sense of peace she was now feeling. Whatever this had been, she had conquered it.

“I couldn’t have done it without you, either,” she says softly. “Thank you, John.”

“...Thank you, Master Chief,” John replies. “It was a pleasure working with you.”

Yeah, it was, wasn’t it?

#halo #master chief #cortana #role swap

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