#and when there were consequences for the characters. and payoff.

[higuchisora]

Seeing as they clearly didn't know what the hell to do with Jinx/the political repercussions of her bombing the council in season 2, I'd like to explore the possibilities of how Zaun would've reacted to this that would've made way more sense than what we saw.

1. Jinx becomes an extremely controversial figure.

Few are neutral to her. This would be largely because, outside of knowing she blew up the council, no one actually knows WHY. What were her motives? Were they politically charged? Was she trying to start a war? What exactly was her goal? It was never really stated that she was infamous prior to this, but I recall in season 1 act 2 that when Vi went looking for her, people knew OF Jinx, and that she worked for Silco, but weren't really aware of any further details (ex: Babette, who knew Vi when she was younger, heard of Jinx but didn't even know that her and Powder are the same person). So those that are aware of her connection to Silco- who objectively did make many of their lives worse with Shimmer- wouldn't be happy. They'd be scared of what will come next.

Those who don't know/don't care might fill in the blanks with their own guesses, maybe that she's some kind of activist- which would split them further into the subgroups of "Oh fuck the enforcers are gonna kill us and it's her fault" and "Finally, a war!" The second of which I'd argue would actually be a very small group. I could imagine the Jinxers being seen by the rest of Zaun as crazy radicals who don't know what they're getting themselves into/are gonna drag the rest of Zaun into danger. I think it would cause a LOT of infighting. Like a civil war inside another civil war.

How Jinx would handle this would be.... interesting. Especially if the Jinxers start making moves on their own. She never really shows much interest in activism- she works for Silco because he's her new dad, and while she doesn't seem to DISAGREE with his opinions, it doesn't seem she's all that invested in actually working to make it happen beyond just wanting to help her dad. His death seemed to take her interest with it.

Now, they could either lean into this, and make people question her motives/actions because of her clear disinterest, maybe increasing some of the controversy around her (no follow through on her action, letting Zaunites suffer the consequences, etc.), or they could make her actually take a genuine personal interest in it. But that, I think, would take a bigger arc that might be more work for arguably less payoff when considering you'd probably have to change a great deal of her character to do it, especially when you could probably achieve similar plot points/outcomes even without her intentionally becoming a political figurehead.

2. Zaun becomes fractured politically/other "symbols" of Zaun

This can be in tandem with idea 1, actually, but can still be it's own idea. Basically, after the fall of the council, and Silco's death, Zaunites are terrified. They've been run so far by Vander, Silco, and then some vague council-like oligarchy of Chem-Barons, who could be interpreted as functioning like very large gangs. The Chem-Barons have always been around, but with Silco's sudden death (and no one who was primed/expecting to replace him), this leaves a massive power vacuum that the Chem-Barons and smaller gangs are scrambling to come out on top of.

The fear of the unknown and the extreme instability would lead to people desperately throwing their lot in with whoever they think would be a better/less dangerous leader, and by extension, political symbol. Season 2 shows a bunch of new people joining the Firelights. In that case, I can imagine that before long, several new potential leaders surface, even if they didn't expect it. Namely, Ekko, Jinx, and Sevika.

Ekko because as I said, people were apparently coming to his base in droves. They don't tell us Jack shit about the Firelights besides the fact that A) Ekko leads them B) they don't fuck with Silco OR Piltover C) Piltover thinks they're terrorists and D) they look rad as fuck. That being said, considering Ekko's Everything, I think we can all gather a general picture of what the Firelights are about. Plus his cool tree would be a great symbol (@srslylini for the idea) of growth, healing, etc.

Sevika, because those that knew her as Silco's second might be hoping for some kind of stability with her. Even if they didn't like Silco, it's better the enemy you know and all that jazz. They'd feel safer with someone who at least seems to know what they're doing, even if Sevika herself has no interest in becoming a leader. I think some would just naturally gravitate towards who they see as "second in line". This could also be in connection to Jinx, as she could possibly been seen as someone who could "rein" Jinx in (again, most people don't actually KNOW Jinx, they just know OF her and that she worked for Silco and was volatile. Think how Finn referred to her as Silco's "attack dog").

Speaking of Jinx, she'd probably be treated similarly to idea 1. Extremely polarizing. Her followers would be seen as crazy, like she is. They'd be seen as warmongers and/or people who have no idea what they're getting themselves into. They'd basically be seen as the stereotypical "young rebels". The average Zaunite would see the average Jinxer as a young, angry, maybe idealistic radical who doesn't understand the cost of war. I'd argue that, again, they'd probably be the smallest and most controversial group just because most people don't necessarily WANT a war, even if they're willing to fight for it. And the suddenness of the bombing would've scared even some of the rebels who DO want war, because they weren't prepared. It wasn't a PLANNED attack, so both Zaun AND Piltover are basically caught with their pants down, which would also bring some ire from the other Zaunites.

There's another option for a faction I'd like to explore, also thanks to srslylini (thank you icon), but it takes a bit of setting up.

In a hypothetical situation in which Vi did NOT become an enforcer, I think it would happen like this: Vi hangs around in Piltover at first out of guilt/feeling like she has nowhere else to go. She's still not on board with being an enforcer, but she attends the memorial out of a sense of obligation. Her and Caitlyn have a falling out over Caitlyn calling Zaunites "animals", and here is where she storms off and goes back to Zaun, with the final words to Caitlyn that "You Pilties are all the fucking same" (or something to that effect). She's still feeling lost, and so maybe this is where she stumbles around, having maybe a similar pitfighting arc (just not as distraught, more like she's broke and angry and has to pay rent somehow so she might as well get paid to punch someone's face in). Because she's not in a massive spiral, there's unfortunately no emo arc (sad), but the bright side of this is that she's recognizable. I don't think she's FAMOUS, per say, but Babette and Ekko recognized her right off the bat in season 1 (yes you can say Ekko was really close to her, but Babette? C'mon), and considering she was older than Powder when she went off to prison, I don't think it's a stretch to assume her face was a little better-known than her sister's (especially considering she was already going on jobs, and in act 1 she gets into a fight with Deckard who I'm pretty sure knew her name, but not Powder's).

This is to say, I think a lot of the "old heads" knew who she was, especially those who liked Vander. It helps that she tattooed her name on her face LMAO. So I'd imagine she'd show up in the ring, no hair dye no makeup, and eventually after consistently knocking her opponents around and winning every time, she'd become a bit locally famous again- to the point that those same "old heads" who remember her make the connection and come looking. Maybe rumors start swirling, especially once they learn she was gone because she'd been in prison- not unheard of, and probably the first conclusion they drew when they realized she wasn't dead.

So eventually Vander's old followers/younger people who idolized him from their childhood start seeking her out. Sensationalizing her. Asking her what she's planning on doing. Is she taking back the Lanes? Will she get those Chem-Barons under control? What about Jinx? Could she hunt her down, rein her in? Hell, maybe even put her to use? Will you give us our relative safety, our security back?

And Vi, who just wanted to knock some heads around and maybe take a nap in her apartment and cry, is suddenly faced with being "Vander 2.0" and Jinx is the new "Silco 2.0" and all the weight of expectations and legacy and history and literal war and politics are being shoved in her face. She, like Jinx, is now faced with becoming a figurehead when she never wanted to be, which could lead into option 3:

3. A joint approach to Zaun

This would primarily be driven by Sevika even if she wasn't one of the possible leaders, because SOMEONE has to be the responsible adult here and it's certainly not any of these traumatized losers (affectionate). She'd be the glue to keep it all together, the reluctant team mom who WILL make this work because she WILL have Zaun even if she has to die to get it.

This could work with either Jinx and Vi, or Jinx, Vi, and Ekko (I genuinely can't imagine season 2 act 1 Ekko willingly teaming up with season 2 act 1 Jinx AND Sevika without some kind of buffer). Basically, once the other "leader candidates"/political symbols have been established, Sevika would round them up with the intention to use their influence to unite Zaun against Piltover. This would take a LOT of arguing, but ultimately I think she'd be able to get them to shut up and hear her out for a moment. Regardless of how different their beliefs are about what the "ideal Zaun" looks like, they can all agree that Piltover isn't in any of those pictures. She could convince them to set aside their own squabbling for the time being, for the greater good: aka, the independence of Zaun.

At the very least, I think she'd be able to get them to agree that Piltover coming down and hurting Zaunites in revenge shouldn't be ignored, and that they're currently a bigger threat than their fellow Zaunite. So eventually they'd reach some kind of truce: behave like a united front against Piltover, push them out of Zaun, stabilize Zaun, and then worry about tearing each other apart later. And because all of these characters- ALL of them- have shown (prior to season 2) anti-Piltover sentiments, they'd at least be able to agree that enforcers shouldn't be allowed to beat down on their people (especially in this version where Vi has better, more consistent writing lmao).

Of course, Rome wasn't built in a day, so maybe they don't reach a total agreement immediately- maybe they just agree to a ceasefire at first, but still refuse to work together. But once Caitlyn becomes a dictator? Once enforcers start gassing the streets, rounding people up, implementing martial law?

That's when the gloves would come off.

I'd imagine this could also be part of how Vi and Jinx slowly start to repair their relationship. They've got bigger fish to fry, but also, this time their enemy is connected to their own personal conflict with each other. Jinx might ask, "what happened to your enforcer girl? What happened to being a Piltie lapdog?" And Vi would essentially, in perhaps more emotionally constipated words, explain that it wasn't really about Caitlyn, it was about being needed. It was about trying to find Jinx, about trying to stop Silco, about trying to "fix" things, only realize that she couldn't. It was about trying to make things better, but that she realized the person she was trying to do that with didn't actually care. That all she wanted was to make sense of the destruction of her old life, and find meaning in a new one. And I think Jinx, too, in her own emotional constipation, would resonate with that, would understand that. It wouldn't fix things between them, but I think it'd be a start.

It could also help their relationship with Ekko. Since Vi isn't an enforcer this time, and season 1 (the One True Season) showed their sibling relationship, I think her and Ekko's bonding would be more like "reconnecting with an old friend", whereas Jinx and Ekko would have a lot of work to do, too. There'd probably be a bit of a cold war between them for a while, once Ekko agrees to help, because he knows actually talking to her would piss him off. But eventually, through Sevika's manhandling of these three, and being forced to make nice with reluctant-figurehead-Jinx, they'd connect again.

Perhaps part of a plan is for them to develop new technology for Zaun. Whether that's weapons against Piltover (unlikely on Ekko's part I think), or just safety gear/ safer city infrastructure ideas for the betterment of their people, I think eventually they'd figure themselves out, too. He'd see the Powder in her, the part he saw on that bridge, and maybe it would give him the ability to try and understand Jinx. And Jinx would realize that maybe these people in her life DO love her, DO care about her, more than just for what she used to be but for who she is now. And somewhere along the way, they'd be friends again (or they can date IDK man I just want them to stop trying to kill each other).

Whatever happens next is so wide in possibility that I can't possibly cover it here so this is where it ends, lol.

[devilsskettle]

really unhappy with what we do in the shadows rn tbh. i want my boy to kill

[unganseylike]

ok ive talked about my frustration w adam being fine after his cliffhanger at end of mi, but lest we forget that we were also baited w adam turmoil at end of cdth (not replying to any of ronans texts). i understand that tdt isnt supposed to be adam centric but pulling this TWICE is just mean :(

[deanscutiepiesam]

Hello! I'm still relatively new to the fandom, so I'd gone my entire spn existence not seeing this until now, and I have to share because I'm actually going insane and I need smart people to rant to, so apologies if you've already seen this. D*stiel warning, read at your own risk:

Credit to this [post] on Twitter for the screenshots ☆

There aren't even words, like I'm literally losing my mind. Like these can't be real people. Anyways, let's dive in, guys...

You took Dean's dying speech to Sam, where he's directly vulnerable and honest about his love for his baby boy and diluted it to the fucking gas n sip scene?? Like this is insane I can't even begin to understand the thought process (probs because there isn't one), but omg?? That's so unserious and it's almost funny, but let's move on to the replies because it's way worse.

1. People torn up about the barn is so crazy to me. Buddy, it's not that deep. It's not foreshadowing. They literally just happened to happen in the same type of building. It's so crazy for a character to make their first appearance in a barn, and now every barn must be about him. Weak. Do better.

2. Now this one. This one actually drives me crazy. The scene made you uncomfortable because you think asking him to stay is a "Dean and Cas focal point??" Are you serious?? First of all, Dean has serious abandonment issues, so of course, he wants people to stay in his life, but secondly, Sam has been the main focus of that since the first season. Ever since he went to Stanford. Like did you watch with a fucking blindfold?? Half of the show is just Dean making a crazy decision to keep Sam by his side and the consequences of that. How are you this dumb??

And if I were a gambling man, I'd bet that this person started spn at s4. Like the pieces have fallen into place; it's the only explanation. They're so delusional because they missed the core foundation of the show in s1-3. Their world began when Cas walked on screen so they don't even get the show's thesis, and it's so annoying. It's about Sam and Dean. Get over it. "Love story of two brothers." - Jensen Ackles.

3. "Sam/Dean wasn't the relationship that was crying out for emotional payoff." Bestie I'm in your fucking walls. This has literally been building between Sam n Dean for 15 YEARS. Dean was dying and needed to get out how he felt since the beginning. It was a confession, alright, but you can't handle that it was to his brother, and I feel sorry for you. I get you don't care about the brothers' relationship because of your D*stiel compulsion, but get it together. It's embarrassing.

Also, Jensen literally said he went off script for emotional scenes (including the Sam/Dean barn confession) because it felt right [X]. J2 knows Sam and Dean better than me, you, or anyone else. Even the writers (to the point where they were given the script and told to make it theirs). It's so wild that you can ignore that.

4. "Head touch." I'm not even gonna waste time typing about this. Just look at [this] post. Says more than I ever could.

Anyways. Sorry about that, guys. I'm actually so chill and friendly, I swear :33 I just needed to rant to my homies with media literacy because it's literally dead and I was going insane :)

Thanks for reading, and always remember...

[markrosewater]

I seem to always find lots and lots of discourse about block sets. Two sides of the same argument every time.

Side 1 says something like:"I hate all these random sets, I miss block sets."

To which, Side 2 says; "Well block sets never sold as well at the end, players attention span's are better suited for one and done blocks."

My problem with this response is that it essentially ignores the initial statement. Rather than clarifying what they mean, they assume and answer.

Personally, I miss block sets, but ONLY from a story perspective.

Basically, do sets exactly the same as you're doing now. Draft is better now than blocks were, standard with Foundations sounds fantastic. The only thing I'd like to see is a set of setup, and a set of payoff.

MKM was a set based on a murder mystery with the big twist ending basically included in the release, as an example. It could've benefitted from a real, but delayed, payoff. Set up the consequences for each suspect, then reveal and give different consequences that were hinted at in other ways. Bam. Improved.

The last time we visited New Phyrexia, it was a block, I remember ubiquitous speculation over how the story would wrap up. There were factions events at local game stores, branded posters and packs for the factions at play, etc. I had a friend get the New Phyrexian emblem tattooed on themselves. The story felt *Important* and so much less divorced from magic than it does today.

Usually, in my experience, when someone asks for blocks, they're asking for the story to matter. There are lots of mechanically interesting card games out there, and mechanics are only part of what makes magic, magic!

All I would ask is that writers get the opportunity to do setups and payoffs with magic's evolving story with multiple sers, and that story related sets have *some* play synergies. They don't need to share mechanical themes just to share story themes, but it would be a nice little florish if they had mechanical synchronisets,

Hell, a REALLY good idea (in my opinion) would be to do these sets in a different order than the old method. Modern fantasy novels swap POV characters and follow different stories. Why not set up multiple stories in a row, then start to alternate resolving an older, established plot line, and then starting a new one or swapping to another established one. This really gives players time to get interested and speculate (and making the story FEEL present will likely also boost novels and comics numbers, etc., if you need a monetary reasoning.)

What do you think Mark?

We already do a lot of what you’re asking. Each Magic “year” does have a larger connected story, often with different POV characters.

[slasherparty]

Hey uh, I'm new to the Beetlejuice fandom, and I was wondering if you could do a bjxreader where the reader dies as of a result of something bj did, and he feels guilty about it? i crave angst, sorry if this is annoying

it’s not annoying! i love reading angst if it has a rewarding payoff. dunno how rewarding it’ll be here, but it’s good for character study purposes either way. thanks anon!

beetlejuice 🪲 x reader, accidental death (whoopsie!)

his hand, it was a clumsy thing... a grotesque parody of life, all bony fingers and inky black nails. it reached out, a macabre puppet show, and brushed against your cheek. a chill, an unnatural cold, seeped into your skin. you should have known better than to trust a poltergeist with such a mischievous glint in his eyes.

"A little surprise for my favorite mortal," he had purred, a sinister grin splitting his cadaverous face. you’d laughed, a light, airy sound that now seemed so far away. it was a mistake, a fatal one. the prank, a harmless little trick, had spiraled out of control, a chaotic whirlwind that swept you away; "away" being precisely four stories down into the basement of your apartment building.

beetlejuice, the self-proclaimed "Ghost with the Most," has always prided himself on his ability to stir up trouble without serious consequences (in his opinion, anyway). however, this particular mishap proved to be a costly error. a well-intentioned, albeit reckless, prank involving a trap door had inadvertently led to your untimely demise.

now, here you were, a ghost, a wisp of ethereal energy tethered to a world you could no longer fully inhabit. in the immediate aftermath, you watched as beetlejuice paced, his usual manic energy diluted to a haunted stillness. his eyes, only moments ago filled with their trademark mischief, were now shadowed with shock and remorse.

a part of you, a tiny, twisted part, reveled in his misery. but the larger part, the part that was still you, ached with a profound sadness. though you'd scarcely begun to process it, you'd been robbed of your life, a cruel twist of fate orchestrated by such a stupid and poorly set-up joke.

yet, as you watched beetlejuice begin to tear himself apart over it, you couldn't help but feel a strange sense of peace. perhaps it was the knowledge that he was now there, forever, nothing keeping him apart from you. or maybe it was the hope that, together, you could find a way to make sense of this tragic turn of events.

left as a fragile spirit adrift in a sea of uncertainty and the endless maze of the neitherworld processing office, bj finds himself once again in the position of being a guide (he even dons the hat for you).

as the days turned into weeks, you began to adjust to your new existence. you learned to phase through walls, to levitate, to communicate telepathically. when you weren't stuck haunting your apartment, you explored the neitherworld, with bj's ever-present companionship. he'd become a bit of a helicopter since the accident. even though you were dead now, with virtually nothing around to seriously harm you, you could tell the guilt had riddled him with anxiety.

the sight of your spectral form, a pale echo of your vibrant self, haunted whatever was left of beetlejuice's conscience. the memory of your warm living touch, a spark that ignited a strange, twisted affection, lingered like a phantom limb. you still touch him, just as soft as in life, but it's now a bittersweet reminder of a life cut short, a casualty of his own selfish schemes.

he became a constant source of both comfort and chaos. he would spend hours pouring over ancient grimoires, searching for a way to restore you to life, at the behest of juno who of course discouraged any and all investigation into such dangerous breaches of the laws around life and death. "The rules are there for a reason, you brat," she'd remind him, smoke fuming from her neck. you knew this wouldn't discourage him; nothing juno ever said did. but there was some truth to her words... it would be impossible to truly bring you back to the living world in any meaningful, non-invasive way.

regardless, he's always remained determined to make amends, if not to restore your life then to help you transition smoothly into this strange new existence. perhaps, through this unexpected role, he can atone for his past mistakes… and maybe even keep you around, for as long as you'll still have him.

you've often wondered if bj is truly sorry for what he's done. was his remorse genuine, or was it simply a performance, a way to manipulate your emotions? you could never be sure. but you knew one thing for certain: you were bound to him, a ghostly tether that neither time nor death could sever. and maybe that made it all okay, in the end.

bit of a long one! thanks for reading!! 💌

you can find more of my writing here on ao3!

[equiz923]

Please don’t crucify me for this, but I really do not like how dunmeshi ended. Spoilers for the ending of the manga under the cut (obv this is all my opinion but if you have a diff one and you wanna chat im v open to that)

Ending things is hard, ending great stories is even harder but I just finished rereading the manga in full and it makes it so apparent how rushed the ending feels.

With Laios specifically, him running a kingdom Does Not make sense. It feels too storybook ending. ESPECIALLY with what the winged lion showed him during his dream- the idyllic world where he runs a monster kingdom but figures it all out. I thought that this was kind of clear with how dream falin had to shoo him away from his actual duties to make the idea more palatable. It was a clear manipulation by the winged lion to try make it something Laios would actively want to do, an appeal to his greater sense of morality to try convince him that he was the good guy, especially because we all know he just deep down wanted to be a super epic monster.

With this in mind, the manga actually ending with him running the kingdom is insane. We as an audience have already found out and understood that he actually does not want to do that shit, and that there is no way that the kingdom would prosper under him. I personally really don’t like the way that the winged lion’s curse is pretty much thrown in as a joke on the final page, because the idea is really really interesting from a character perspective. From what we know of Laios, would he not clearly break at some point and try to chase after the monsters? Go insane? Both? Also him always being hungry is such a genuinely cool idea that gets another throwaway line, that has such interesting character implications. It is fine to add that as a footnote at the end, but it’s not treated with the gravity it should have.

Another character I think really got rushed toward the end is Marcille. Her character resolution of after the banquet being okay with Falin’s death is crazy. Her calling her time with the winged lion a tantrum is insane. Her extending of others life may be something that she now sees the consequences of, but there is not payoff for that realisation. We do not see it happen, it apparently occurs offscreen.

There’s a lotta other little things that feel off to me but those are my two main examples. I found in reading it again there were times that the story didn’t show or explain things properly (Kabru in magic handcuffs is something I only found out about when he broke them, I genuinely cannot find where itsumi found that doll of Yadd). You can make the argument that’s a reading comprehension error on my end, that’s fine but there were enough small things that I don’t think I’m the only one that missed small half panel cues. Chekov’s gun only works if you let the audience actually see and note the gun.

Again, please don’t take this as a hate rant, I genuinely love dunmeshi. It’s a really good story. But the best stories are the ones that need to be critiqued. The basic happy ending just does not fit at all, to the point that it feels completely wrong.

Idk, hi if you actually read this whole thing, you’re a legend. Please tell me your opinions id love to hear them

[drmajalis]

I feel like talking about Kira Nerys.

She is definitely one of the all time greatest Star Trek characters, and an absolute triumph of character development and payoff. She was a terrorist, she is absolutely open and unapologetic over that fact. Her planet was under a brutal, genocidal imperialist occupation and she did whatever was necessary to frustrate the Cardassians and eventually expel them from Bajor. She starts the series with that initial, momentary victory- the Cardassians have retreated, the resistance- now Bajorian militia have captured Terok Nor, but she barely gets to enjoy it for the day before Bajor's new provisional government decides to invite Starfleet to run the space station, wanting to set up their slow, eventual ascension to the Federation. And she's PISSED. Her literal first scene is arguing with her superiors before reluctantly handing over the commander's office to newly arrived Benjamin Sisko, and while that resentment slowly fades as Sisko shows overwhelmingly that he wants to be the best advocate possible for Bajor, it remains even as he is revealed to be the Emissary, Bajor's literal messiah. Kira never ceases in her struggle to see Bajor truly independent and thriving, even when it comes into conflict with her own conflicted moral code, something she had to adopt while fighting the Cardassians, but is ill equipped to handle the nuances they now have to face. This even eventually leads her to rebel, if briefly, against her own government, because she eventually decides her allegiance is to the Bajorans she fought to liberate, not Bajor the planet, or political entity.

And then there's Kira's complicated, evolving relation to the former Cardassian occupiers. It's easy to understand why she would paint them all with the same brush, they were genocidal, unforgiving, claiming to do what they did in some deluded idea that they were "helping" Bajor. But very quickly events transpire that shake her previously black and white beliefs about them.

What can I even say about "Duet" that hasn't already been said? Being confronted with a Cardassian who was so traumatized by what he witnessed his own people doing to the Bajorans that he pretended to be the very Gul who ordered the killings just so he could beg the Bajorans to put him on trial and execute him! It's such a shocking reveal that it turns Kira from eagerly wanting to put him to the death, to weeping over his murder by the very kind of revenge obsessed Bajoran she started out as.

I still cry over Marritza's confession. And the worst thing was, he was absolutely right. He knew that if Cardassia didn't own up to the crimes they had committed that they would eventually be destroyed, and he was proven right as Gul Dukat's irredentist views led him to ally with the Dominion, which ended up nearly destroying Cardassia in the long run. She even finds it in her heart to welcome Ghemor as a surrogate father figure after the time spent thinking she might actually be his daughter, and fully accept that he was trying to atone both for his own actions and that of Cardassia's, eventually burying him on Bajor next to her own father. She also ends up being confronted with the consequences of her zealotry by Silarin Prin, just a humble, innocent servant who was horribly disfigured by a bombing of a prominent Gul that Kira was involved in. And yet, she's able to recognize that while what she did was not an absolute good, fully justified by what the Bajorans were subjected to, she doesn't denounce her old self and her activities. She doesn't forgive, or forget, and that goes for both her actions, and the Cardassians. That's why she was the perfect person to help the Cardassian resistance against the Dominion, because like Marritza said, to save Cardassia, they have to change, and admit that what they did was wrong. Even Garak, who is really never shown to be that remorseful over his past activities acknowledges this when Kira points out to Damar that his family being executed by the Dominion was no different from Cardassia executing the families of Bajoran freedom fighters. "Yeah, Damar, what kind of people give those orders?" Her character came full circle, and that's why it was perfect to end the series with her finally, fully taking over command of DS9.

She'll always be one of the greatest of all time.

[physalian]

On Fight Scenes (Or, getting creative with your magic system)

This is coming from a reader’s perspective, not a writer’s, in what I like to see and what my thought process was when writing my fight scenes—I hate these things and can’t call myself any authority on the matter. They’re tedious and translating what’s in my head onto page is always frustrating.

This is also for fantasy and sci-fi: Fight scenes that have some magical or technological element to them, not a straight-up action story with two dudes punching each other. This includes anything from fights in Harry Potter to battling a Xenomorph to bending in ATLA to a throwdown between superheroes.

Side note: I really, truly hate “two dudes punching each other”.

—

I have a friend who loves comics, specifically DC Comics, and watches all the DCAU films. When we lived together, I often watched a lot with them. My favorite remains Constantine: City of Demons because unlike literally every other DCAU movie, it doesn’t drop the ball in the third act and devolve into a stakes-less fistfight. This dude faces *consequences*.

I’m not a comics (like actual, paper comic books) fan, but without fail, every time the setup is good, the characters are good, the first 2/3s are good with pacing and usually a mystery and passable character development like Batman: Under the Red Hood…. The last 15 minutes or so always abandon what had been a good plot for just superheroes punching each other and I get so bored. I’m invested and then they rarely deliver any payoff.

But I do like Constantine. Dude needs a nap.

Point is: On top of those fight scenes not really mattering, by the nature of what comic books are in that they can never stray too far from the status quo, or if they do, it doesn’t stay that way for long, the people who made these characters don’t get all that creative with their powers.

I think, actually, I liked Constantine so much because his stuff is rated R and it doesn’t shy away from the more realistic effects of living in a superhero society… without being gratuitous like The Boys.

I just get bored. The fight stops when the plot says so. Knockouts are arbitrary, power scaling is arbitrary. Someone can get thrown through a wall and walk it off but the villain or their buddy can come up behind them and hit them really hard on the head and that’s enough.

Anime is its own thing and would take far too much time to address here but I do want to talk about My Hero Academia real quick, following up on a previous post about tournament arcs.

Season 2 of the show has three main arcs: The tournament in the first half, and the Stain fight/final exams in the second.

For a while, the show actually seemed to take injuries rather seriously (for shonen, at least), and got insanely creative with characters’ very niche powers. In season 1, their teacher, Aizawa, gets pretty brutally beaten by a horde of villains and his powers are permanently impacted by his recovery—he can’t use them for as long as he used to, and he has a new scar.

Midoriya, too, whose powers break his bones on the regular, has consequences for overusing them, like his hands and forearms not healing properly despite superpowered medical intervention.

Power scaling, too, was fantastic…. Until the Stain fight.

I will never understand the thought process behind this logic:

“Hey let’s show how powerful Todoroki is by having him manifest an entire glacier in about 3 seconds!” *9 episodes later* “Hey let’s make this fight with a dude who only has various blades to work with super tense by making Todoroki completely nerfed in a legit life or death situation!”

Buddy couldn’t take two seconds to yell at his friends to get the fuck out of the way? Was he worried about damage to the buildings? I feel like nepotism could have spared him from some consequences if breaking a few windows meant him not getting murdered. It wasn’t like he had daddy issues over his ice powers.

The rest of the show (until I DNFed) had similar issues. Powers were as competent as the plot allowed at any given moment, which I guess is the nature of shonen, but if you’re going to go out of your way to establish realistic rules and consequences really early on, breaking them willy-nilly because it looks cool later is annoying.

Which is applicable across all fantasy sub-genres: Consistency.

I might not be the best at writing the step-by-step choreography, but damn it if I don’t know how to make sure I’m not opening up plot holes in how much damage my characters take and dish out.

—

So. How I approach fight scenes as told by Eternal Night and my sci-fi WIP.

Before anything else, establish a reason that this has to be a fight, that it has to happen now, and what’s happening beneath the combat to keep the story progressing. The plot will not stop just for fisticuffs.

A magic system is only as cool as what its characters cannot do with it, and breaking those limits ruins the magic system.

Make sure this is a fight that can only happen in this story, taking full advantage of the various powers/abilities/magic system rules, if this is meant to be flashy and grand.

Eternal Night is about vampires, thus my vampires, being immortal, can take a lot of hits and not suffer long-term consequences compared to a mortal. I adhere to a lot of classic vampire lore while also making up my own rules. They don’t have super speed, super strength, or compulsion, they just have a lot of experience and know how to use their weapons well, and can essentially go at 100% without mortal limitations of fatigue.

Basically: My vampires are only as strong as a mortal in absolute life-or-death situations, but that’s also dependent on how strong they were in life. Somebody who was a couch potato isn’t going to be as strong as a bodybuilder, and that carries over. I don’t have “younger/older vampires are supernaturally stronger” rules.

They have the same immortality risks as most versions: Stakes, beheadings, sunlight. Anything else is survivable.

Simple magic systems tend to be the most robust because there’s less rules available to risk breaking or forgetting (why ATLA's bending feels so real).

So when I was writing ENNS’s big fight, on top of making sure they weren’t all gods with their weapons—they missed shots, got tired, made bad calls—priority one was making sure I kept killing blows consistent, and when they’re temporarily “dead,” that the timing of when they revive isn’t determined by the plot.

Meaning: If I have a vampire who, idk, gets stabbed by a regular sword and it “kills” them, they have to stay “dead” for whatever amount of time I’d previously established and not wake them up early to participate in the plot again. Those are my rules and I have to work with them.

And in that way, yes the choreography is frustrating, but even if it’s an average description of a fight, I will appreciate that the writer respects their own rules and still be entertained.

With that, in the sci-fi WIP I had incredibly complex and diverse magic systems, 3 complete and unique practices split between two characters. One of which was incredibly OP.

This was a very reluctant OP character who wouldn’t use the full extent of his powers even to save his own life, often to the ire of his team who suffers the consequences of unnecessarily complicated battles when he could one-shot the enemy but chooses not to.

Internal limits tend to be stronger than external ones if you have an OP character, because they’re more believably toggled on and off without breaking the lore.

Even with OP character stubbornly making life harder for himself, he was still OP. He had two different magic systems at his disposal, and beyond his internal limits, they had two very easily exploitable external limits.

Magic system A was tied to a physical artifact he had on his person. If he got separated from it, he couldn’t use it. A is also a lot harder to use if B is also busted.

Magic system B was counteracted easily by users of Magic system A, and by the enemy military who’d developed weapons specifically to nullify those powers, and that weapon was everywhere.

Which meant my fights concerning OP character were rarely “why doesn’t he insta-kill them” it was “oh shit, he can’t insta-kill them, now he has to be clever to get out of this alive”.

One of my favorite fights was at the tail end of Book 2 where he was stuck with two of his non-powered teammates, on a ship dead in the water being overrun by the enemy. The ship had no power, the radios were dead, and the engines were fried.

He had already been sick for half the book and physically and mentally exhausted, and when the enemy arrived, they nullified the rest of his powers. All he had was Magic System A, but in his condition, it was like being asked to do long division on paper by hand, because his calculator was broken.

Dude was not having a good time.

Which meant he was basically useless, with two of his basically useless teammates, who all had to work together to get creative and clever with the tools that they had, on a ship they all knew like the backs of their hands.

So many things they would not have had to do in any other situation, with stakes so much higher because OP was powerless. The characters came first, not their powers, which I think is the most crucial ingredient to any fight you want people to keep talking about for years to come.

—

I can’t tell you how to choreograph your scenes, but I do think that why they’re fighting matters far more than what they’re fighting about, and especially in fantasy: What’s the point of writing magic if you don’t take full advantage of your magical characters?

[heliza24]

Wilhelm, The Look (™), and Endings

The recent poll on the confessions blog about the ideal end of the series (King Wilhelm vs leaving the line of succession vs the end of the monarchy) got me thinking about endings. In trying to think of what my own answer to this question was, I ended up reflecting on the way that Season 1 and 2 end, and that got me thinking about the infamous straight-to-camera Wilhelm looks that bookend each season. I’ve always loved those moments and found them crucial to the visual language of the show, but I don’t think I’ve ever really stopped to analyze why. But if I’m trying to decide how I feel about the possible endings of season 3, I should probably stop and figure out why I feel the way I do about the ending (and beginning) shots of season 1 and 2, right? So let’s take a minute and talk through these shots, and what I think they do for story structure and Wilhelm’s character.

I think the main thing those glances to camera do are establish Wilhelm as a protagonist with agency. Just for a second, he’s aware that he’s being watched, and that awareness means that he’s going to make active choices about what happens during his story. I think this makes sense when we realize that the first look to camera happens when Wilhelm is giving his first press interview. Wilhelm has always been in the public eye as a member of the royal family, But this is the first time that the attention of the press has been directed directly at him. It’s the first time that he has been asked to answer for his actions, and the first time he’s had to take responsibility for something like an adult. The camera catches him right as he makes his first decision: to follow his parents’ wishes, do the press conference, and go to Hillerska. It’s not a look of rebellion so much as it is a look of acceptance. All the growth that comes after as part of season 1 comes as a result of the awareness that starts in that moment. I think it’s significant that the gaze at the end of season 1 comes right after Wilhelm has made a very similar decision to the one he made in episode 1. Once again he has obeyed his parents, given the statement to the press that he was supposed to give, and toed the party line. It’s only in the fourth wall break that we know that something is different. We see all the rage and disappointment and heartbreak he has in that look, and we know that moving forward something is going to be different. But the season ends simply on this promise, and doesn’t let us see the payoff. Before we knew whether or not we were getting a season 2, I remember thinking that season 1 felt like a complete story (if not a happy one) but I would be mad if we never got to see all that Wilhelm was promising us come to fruition. 

I think the gazes in season 2 function in much the same way– they emphasize Wilhelm’s agency and show us how much he changes over the course of the season. At the beginning of the season Wilhelm is literally ready to burn it all down, as he stares at us in the mirror as he burns August’s photo. But the look we get at the end of episode 6 is much more calm and confident. He’s taken the rage that fueled his initial revenge quest against August and turned it into the bravery he needs to tell the truth on his own terms. This last look once again acts as a promise; Wilhelm is swearing that he will live authentically, no matter the consequences. But once again the season ends before we have a chance to see him follow through. We know that there will be a whole host of difficulties that arise from his confession, and that last look gives us the confidence that Wilhelm will rise to meet them. But we don’t see any of that, or at least we won’t until season 3. The fact that the season ends here really emphasizes that what was most important about the season was Wilhelm’s growth. The fact that he grew to a point where he could give the speech and stare down the barrel of the camera with confidence meant that the story the season was trying to tell was complete, even though we might expect a longer denouement. I know it’s common fandom knowledge that there was at least one additional shot filmed, of Simon and Wilhelm walking away together. So I think it’s significant that in the edit Lisa and Co decided to end on The Look (™) instead. I don’t want to suggest that the Wilmon relationship isn’t hugely significant to the show, its ending, or to Wilhelm. It is, and I think that’s represented when they lock eyes right before Wilhelm’s final look to camera. But there’s something about Wilhelm growing just enough to tell the truth in front of everyone that means that this chapter of the story is now closed, with no additional Wilmon scene needed.

The other thing that first glance does of course is establish us, the audience, as part of the public that is watching and judging Wilhelm. We’re in the audience for the press conference he gives at the beginning of season 1, and we’re in the stands watching him give the speech at the end of season 2. The relationship this creates between Wilhelm and the audience is really charged. Those looks create an intimacy which makes us care about Wilhelm as a character. But they also implicate us as part of the reason why Wilhelm is always being observed. We’re part of the oppressive force Wilhelm has to deny in order to live truthfully and claim his agency.  When Wilhelm looks into the camera he’s defying *us*. He’s daring us to stop him from getting revenge on August, or disobeying his mom, or telling the truth about the video. We’re brought in as co-conspirators in the same moment that we’re sized up as an enemy. 

Circling back to thinking about season 3, I think it’s a fair guess to assume that the season will begin and end with The Looks (™). I also expect that the last moments of season 3 won’t tie up every single loose end, much like the end of season 2 didn’t address the fallout from Wilhelm’s speech. I expect that last look to feel like a promise, like Wilhelm saying “I’ve got it from here.” 

In general I’m not huge on making super specific predictions. But if I were to guess how season 3 will end, I would predict that any questions about the larger fate of the monarchy will not be answered fully by the show, and will instead be covered by The Look (™). I think this holds true whether or not Wilhelm decides to remain in the line of succession, but that his character arc will feel most complete if he makes the decision to leave.  

If Wilhelm does make the decision to leave the line of succession and this does have national implications, I don’t imagine that we’ll see them fully play out. Wilhelm growing enough to leave will mean that the story that Young Royals is telling is complete. After a lot of consideration, I think this is my desired outcome for the show and my best shot at predicting the general shape of the season 3 finale. I want Wilhelm to grow enough to leave (with Simon) and I want the show to end with us confident that he’ll be able to handle the consequences of that decision, even if we don’t see them all play out.

[ocdeeznut]

In rewatching s8 i have some thoughts. Why it didn’t work as an ending, and what i think could have been changed.

WARNING THIS POST IS LONG AS FUCK, so strap in if you’re interested.

- The feel of the writing is distinctly off. Not bad, but it doesn’t feel like you’re watching Voltron anymore. It feels grittier and more like a high stakes adult animation than the other seasons. Which, again, isn’t necessarily bad, but the shift is too quick and it could have been executed better if they spent more time digging into the individual characters and their growth during s6/7.

- The issue of ‘there’s always a bigger enemy’ starts to make the plot feel stale. You get bored of a bigger robot, higher stakes, more to lose. They start killing people and planets for a cheap audience reaction when we weren’t all that invested in the first place. It felt like a split second decision by the writers to destroy Olkarion. Something like that needs to be pencilled in from the beginning. There were too many attacks on Olkarion, and as a consequence we got too used to seeing it’s people in peril. There should’ve been a distinct shift where we, as the audience, realised Voltron wasn’t going to be there to save them this time. Whether that’s a writing, animation or atmospheric issue i’m unsure. Maybe it’s just a me thing.

- The Atlas should never have been able to transform. That for me was the biggest investment turn off. Why do we need Voltron anymore if there’s a bigger, stronger robot on their side? If they were going to replace the castle, they should have made it clear and stuck with the intention. That’s not a support ship anymore, that’s something else entirely. I’d gladly watch a show JUST about the Atlas, with Shiro at the helm, but it’s not Voltron.

- Too many things happen at once, and it’s massively convoluted. 13 episodes is not enough time to: introduce a romance, have me actually care about that romance, kill off a main character, form a new version of voltron, redeem three main antagonists, AND cutely tie up all the glaring plot holes of the show. S8 needed to be two seasons at least. If things were spread out and more passion was pumped into the writing, it could’ve worked.

- Allura’s character was ruined. She became a nagging, reckless, martyred love interest. I love her dearly, i have from S1, but they did her SO dirty. Lance, too. They both deserved better.

- I think, personally, that Sendak should’ve been the final villain. Not Honerva. Her arc was rushed and her CORE motivation made little sense. They used the flimsy excuse of her corruption to redeem her love for Lotor, and his name was literally raked through hell and back for a very mediocre payoff. If that was the plan from the start, it needed to be hinted at more.

- There was too much, as i call it, flip-flopping. The alteans are alive, now they’re evil, now they’re not. We can’t get into Oriande, but now we can! Personally, i need explanations, and strict universal rules. If those rules are to be broken for whatever reason - it has to be a show stopping exception and a main event. Everything is excused and explained away when it doesn’t make any sense.

- Now, i actually really likes the subtle art style and animation adjustments in the season, visually it was spectacular so i have no critiques there. If only the plot could have done its outer shell some justice.

AND GET LANCE OFF THAT DAMN FARM.

[cal-writes]

honestly, i am SO beyond worried for zoro at this point in terms of his Emotional state cause like ???? man's feel like he hasn't really had a chance for his feelings to blow up in his face yet cause He Keeps Shoving Everything Down For The Sake Of Doing His Job / literally trying to constantly keep everyone (else) alive. (also cause idk why but something about zoro these days just feels like there's some kinda tickling clock over his head since we basically know all the other strawhats inside & out, but zoro's story is like So Bare Bones i feel idk yes, i'm looking at you specifically, wci) that's not even getting into my fear for his PHYSICAL state cause that injection Dr. Goat Man (i forgot his name rn) gave him being like This Adrenaline Shot Will Keep You Going But It'll Only Multiply Your Pain Afterwards or whatever and like 👁️👁️ i know he was out for like two weeks i think post-wano so that was probably his body resting up since then but like .... M A N .

🤝 you and me both. its hard to tell if oda is going somewhere with it all or if zoros already had all the story oda is going to tell. i hope not but. it would be kind of poetic to have zoros arc be at the end since he was the second main character introduced and the past chapters seem to be building up towards some kind of confrontation

in general zoro has been a lot more tense since the time skip which is to be expected

like zoro understands their position more than most and has seen and has carried the consequences of them not being prepared before

its very oldest sibling of him. like i cant have fun i need to think about what everyones having for dinner

like he was fucking stressed getting off egghead bc they were being persued by an elder when he was already exhausted from fighting lucci. people say he was being prideful for not wanting to abandon the lucci fight as if zoro isn’t perfectly fine with running away (ive gone into it before but tldr zoros insisted beating lucci so lucci wouldnt fucking snitch on their escape route - which then of course happened)

not to mention this whole thing

even after that hes still very serious but hes always been more concerned than luffy about things

(tho oda splitting the group up gives me hope bc less people means he has more time for each of them)

regarding the wano fight… i want there to be more to it but again, not sure if its not already “done” from oda’s perspective. i hope its not but etc etc

like you cant just drop literal death and just never mention it again (please)

(it reminds me of the critical role vox machina campaign where a character died and made a deal with a death goddess to remain with the party until the quest was done so by the end he was taken away - love the drama of it all but hope thats not it)

maybe in the new arc thriller bark will come up again. bonney has kumas memories so she knows now as do brook robin and sanji. if sanjis allowed to be a real character and have some more plot maybe his “germa transformation” will make him be an asshole and tell everyone.

(im hoping that odas friendship with zoros live action actor will make him give him more material tbha gdjhahs)

but yeah we will have to wait and see. considering oda has been pretty good about payoff so far im cautious optimistic but im not holding my breath

[himebushou]

S4 of The Umbrella Academy was so garbage.

Geez. Why limit the season to 6 eps when every other season has had 10... even a runtime of 8 eps would have probably helped with the pacing issues, at least a bit.

It felt like nothing had any payoff. The CIA turning out to be Keepers? Shrug emoji. Nothing of consequence. The whole subway system came out of nowhere — it turns out that there were other ways to travel through time after all. The whole Gene and Jean thing was stretched out for so long and we got zero insight into why Sy knew so much — unless he was Abigail in disguise the whole time? But who cares?

There were some nice moments between the siblings: Allison and Klaus were mostly pretty sweet (except WHAT the heck were Allison's powers supposed to be? Also, Klaus didn't get to do anything except get locked up and buried alive) and I like that Luther and Diego got some time to bond (though, again, their skills were wasted).

Ben was. Odd. Poor kid just gets to die multiple times. And props to Viktor for actually trying to reason with Reginald and finally getting some validation from him.

The whole Lila and Five thing was so gross and completely unnecessary... I've always had issues with the way Lila was written (those 'kooky for the sake of kooky' characters can get pretty boring and I felt the same way about Klaus throughout a lot of the show). Five was my favourite from the start and just. Eurgh. #noonewantedthat

And the dialogue was so BAD. Some of the lines made me cringe so much. "To be honest I can't stop thinking about her" like. Okay Ben.

And even worse were these poignant moments happening in front of audiences and all the other characters on set just standing around completely wooden... like. What? Lila's family are in the background hearing that her marriage has fallen apart and they don't even act remotely shocked? What?

Claire was definitely one of the best parts of this season. She was a sweetheart.

Urgh. Overall, the whole thing just felt incredibly sloppy, poorly explained (WHY did Jennifer get the durango?) and as though the creative team had run out of ideas. There were so many moments where the Umbrellas acted with no urgency at all (like sitting around enjoying a Christmas party when they were supposed to be looking for Ben, or going to work as normal when they'd promised some random guy that they'd find his daughter within 24 hours). Powers morphed at the drop of a hat for plot convenience. Everyone got on board with the idea of being erased from existence without much fuss (apart from the whole thing about where the kids would end up). What was the significance of the giant squid? How were there so many Keepers? And what exactly were they keeping?

Also, I'm annoyed that they used 'Map of the Problematique' (a song I adore) to no effect; the lyrics didn't match the scenes of the Keepers arming themselves and it didn't fit the mood and just!

Anyway, two of the biggest issues I have:

If this version of Reginald is as callous as the others (after all, he did have Ben shot), then why did he waste all that time creating a fake world for Jennifer to live in?

Presumably, the only reason the Cleanse worked is because the creature eventually found the other kids that had marigold in them? Or, in this timeline, did only the Umbrellas have marigold? And in 150,000 timelines, are we supposed to believe that the Cleanse only happened once?

It's so stupid, oh man. The show's refusal to bring in the other marigold children outside of the Umbrellas was always so stinky — I thought we'd get something interesting when the Sparrows were introduced last season, but half of them died within a few episodes and geez, so much wasted potential.

Pretty glad the show is done now if that was the trajectory, lol.

[johanna-swann]

It's been a few days, I've had time to sleep on it and I changed my mind. The season 7 finale was the worst finale yet. In short: The entire thing felt super rushed, there was next to no emotional payoff, the main plot made no sense and I was underwhelmed / confused the whole time.

The end result, where the characters are at right now, the position from which they will start into season 8 I'm happier with than last season (goodbye forced heteronormativity), but the way we got there was... not good. (Long review under the cut. Like, long review. I have a lot of thoughts.)

Just as in 6x18 the pacing of that episode was all over the place. There was this main plot that they teased us with, the "whatever is going to happen? are they all going to survive? what will the consequences be?" and then halfway through the episode that big mystery was resolved and there were no consequences.

I remember the bridge collapse last year was super underwhelming because they just rushed through the incident in a way that gave us no time to even worry about the characters much. Buck finally was put in a position where he had to assume leadership and then that lasted for exactly the time it took him to get to Hen and once she was awake, she took over as acting Captain. Nobody was hurt so badly that we had to assume the worst. That one earthquake victim showed up which was supposed to be meaningful I guess, but it just felt random. (I doubt most viewers even remembered a random victim from 4 seasons ago. I sure didn't until someone else pointed out it was the same actor.) And then the danger was suddenly just over. The "big dramatic disaster" took up less than 20 minutes and there were no consequences. There's a reason why 6x18 only made 99th place out of 106 episodes on imdb.

7x10 repeated those very same mistakes all over again, but worse. In this case the two big questions concerning the main plot were "Who committed the arson?" and "Will Bobby be okay?". Both questions barely had to be asked at all because 1) it was very clear (and not at all a plot twist as some early reviews suggested) that Amir was innocent and the generic Latino drug smuggler cartel (loved that btw, who came up with this bullshit) was involved. 2) this is 911. The main characters don't die. The least I expected though were some heartfelt moments between the rest of the team holding each other up, people sitting with Bobby and talking to him, maybe some parallels to last season when we had a similar situation with Buck.

Instead it takes almost 10 minutes until the other characters even figure out something is wrong and we proceed to focus heavily on Athena who's going rogue again and keeps critical information from her Captain because she wants to take revenge personally. She then threatens an innocent civilian with her service weapon while off duty which - as we learnt in 2x08 from none other than Athena herself - under California law is an assault. Well done 911, a show who has previously criticised Cops abusing their power but keeps writing stories for Athena to do the exact same thing. Wtf.

Anyway, my point was that we spent so much time following Athena around on her nonsensical quest for revenge that we barely even have scenes with Bobby in the hospital. Once the generic cardboard cutout cartel is dealt with it turns out that Bobby despite having been without his own heartbeat for 14 minutes, despite having been seizing and on a ventilator last we saw him, despite the Doctor being unsure if he'd wake up at all is actually just fine. Perfectly happy and healthy even. Okay. My bad for expecting something more here I guess.

Bottom line, the main plot around the arson was very straight forward (I don't know which part here was supposed to be considered a plot twist and using Amir as a very obvious red herring twice just seems lazy), had little emotional impact and "the big showdown" was very anticlimactic. Basically the same things I also criticised about the last season finale and I don't think it's a coincedence that 7x10 is the second worst rated episode as of right now. At least the bridge collapse made sense.

One storyline they (temporarily) wrapped up rather well is the one around Mara and Henren. This will be picked up again in season 8, but for now we know Mara is in a safe place, she can have contact to the Wilsons and it might also evolve into Madney discussing having another kid in the next season. I don't feel bad waiting 3 or 4 months for how this continues. However I still think that they should've waited with the plot around the council woman for season 8 maybe. Have Henren take in Mara, show them growing together as a family, show Mara slowly opening up to them. But season 7 had so much personal drama going on already, maybe if they had pushed the incident with Ortiz, her son and her revenge plot to season 8 it would've helped keeping these last few episodes more grounded. They still could've shown Mara struggling to fit in in her new home and all of that.

Madney didn't have much going on this season. The wedding episode had its moments of course, but those were contained to the confines of 7x06. Now they've taken in Mara and there's potential to build on that, but nothing that has been explicitly teased at yet.

The Eddie/Kim Doppelgänger plot was just unhinged. It was sort of fun and I enjoyed it in a way that I also enjoy Doctor Who, Umbrella Academy or Legends of Tomorrow when they go off the charts again with their weirdness levels, but did it really fit into 911 as a show? I don't know. It's also not exactly clear yet if they're going to bring back either Marisol or Kim next season. And like, I get it. Tim Minear regrets killing off Shannon, but for the love of god just stand by your mistake. She's dead. It's been 5 seasons. We already had a plot where Eddie realised that he can't date just to give Christopher a mother figure, we already had an arc where Eddie realised that if he starts dating again he has to do it for himself, we've had scenes where Eddie admitted he was angry with Shannon for wanting a divorce, for leaving or that he still misses her sometimes, we've seen Eddie and Christopher keep up traditions to mourn her together (visiting the grave, smores). I get that grief doesn't follow a specific timeline, but still. Can we please just move on already.

Also I don't understand why they had Christopher move to El Paso. Eddie's parents are both retired, they could've stayed in LA to support Christopher instead. Chris is probably a lot closer to a bunch of relatives they have in LA than he is to his grandparents too, what about Tía Pepa? I'll be honest, even if I was in a bad place and my kid was angry with me, I would not let my 13 year old who impulsively and in the middle of the night called his grandparents (who have a history of manipulating Eddie into giving Chrisopher to them) move over a thousand kilometres away, away from his school, his friends and all the other family members he's close too. There are other options. (Also why was Buck there? He was in the room, but that's about it. Again, my bad that I had the expectation he'd be there for a reason.)

Then we have Buck and Tommy. Nothing much going on here either. I get that keeping Tommy around for 7x09 and 7x10 was a bit of a last minute decision, it was probably difficult to schedule filming with the actor etc. But that doesn't stop other characters from talking about Tommy. Instead we still barely know what's going on. Are they officially boyfriends? How do they spend their time together, do they have a hobby in common? How long have they been dating? They're still cute, but it seems a little superficial.

Which brings me to a big issue: The timeline. What the fuck is going on with the timeline? I don't even mean the obvious mistake with Tommy leaving the 118 "5 years ago". But Henren are talking about adoption and according to my research adopting a foster kid takes at least 9 months. The cruise ship disaster happened "last march". What? What is going on? How much time are we missing here? Have Bucktommy been dating for a year now and we don't even know? How long was the Eddie/Kim thing going on? Then again, if we're missing an entire year, wouldn't Buck have been with the 118 for 8 years instead of 7 as Bobby said? I am so confused.

Another thing that has been mentioned before is that season 7 barely felt like a procedural drama. It was so chock-full with the characters' personal drama that it felt more like a soap at times. How many calls did we even have this season, especially in 7b? Episode 6 was the wedding, I only remember the abduction case from ep. 7, ep. 8 was Bobby begins once again, ep. 9 only had a montage and no specific calls and ep. 10 didn't have any calls at all. Hopefully this change will be reversed in season 8 when we get more than 10 episodes again.

Only thing left to mention is the "cliffhanger" with Gerrard. Is it really a cliffhanger though? Doesn't feel like the stakes are high enough to call it a cliffhanger. They're stuck with an asshole for a Captain, getting rid of him will be an important storyline in season 8, but it's also not as dramatic as they're trying to make it seem. A big part of the reason why Gerrard's 118 was so bad back in the begins episodes is that Chim and Hen felt isolated. They didn't have back-up against Gerrard, nobody helped them or spoke up for them. That is very much not the case this time. They all still have each other and Gerrard will not stick around forever. It will suck, but it also doesn't seem like a death sentence.

In conclusion: Most of the finale was just plain bad. Not cleverly written, not well balanced, not emotionally rewarding, not planned out enough. There's little positive I can take away from this episode. Some storylines weren't explored enough, others did get the necessary screentime and still made no sense. Not all of these mistakes were made just in the finale, some have been happening for most of season 7. Let's hope for a better season 8.

[trashyvanillabean]

I just realized, I don’t think we see enough of “absent-minded scientists” being played seriously. At least for me personally, I think Ruan Mei is the first character I’ve come across that plays the trope seriously — with potentially dire consequences.

(On the off-chance someone actually decides to read this mental trash bag, please bear with me. I have a lot of trouble articulating myself. Also, it’s been a while since I completed the quest. 😅)

Interest in the Aeons and trying to understand human nature aside, Ruan Mei didn’t seem like she considered some laboratory protocols and backup plans for her experiments (at least, she never told us if she had any backup plans, which is…really bad for a scientist, all things considered).* All she said was that she would step in if things with the Propagation Emanator became too much for the Trailblazer to handle. What’s the criteria for that? How does she decide if things become too dangerous? What exactly was her plan if she did decide to step in? What was her plan if the experiment managed to break out of the Seclusion Zone entirely? A behemoth of that size, with that kind of power and aggression could have still caused massive damage within that minute before it finally died. At no point during the boss fight did she step in to give us a hand, nor did she bother asking about our condition after we managed to “kill” it (more like just watching it die).**

She does have the decency to try to apologize when we meet her again afterwards, but it felt more like a lab protocol with the whole “Time and again, my experiments have fallen short, and they’ve always yielded predictable results,” instead of, “I recognize that I have put you in danger, and I am sorry for that.” So it comes across as more “I’m sorry that my experiments are often failures,” and less “I’m sorry that I almost got you killed by my experiments.” (A good example of her mentioned communication struggles.)

What I’m trying to say is that I would not have minded if Ruan Mei was another example of the absent-minded scientist/professor I have seen before in other media (although, she would have been the rarer calmer ones), but instead she and her actions are actually played seriously. The whole Mission is played seriously (and quite scarily, even — slightly similar to Alien: Isolation).

There is no, BOOM followed by “lol your hair looks funny after that explosion!”

There is no “Oh, oops, teehee! I forgot~”

There is no burst of visible enthusiasm when seeing something fascinating and ensuing wackiness of trying to stop her.

Ruan Mei is instead quiet, reserved, and quite calm, either giving a false sense of security with her very basic display of social etiquette in offering us snacks, or perhaps seeming slightly unsettling for some others.

There are also potentially several laboratory violations, very dangerous if not critically dangerous research being conducted, and countless lives at risk if things went horribly wrong.

That kind of writing and thinking about the what-ifs, future encounters and potential payoffs are what fascinate me. Ruan Mei’s character still fits the mad scientist type of character to a T, without any of the villainy like with Genshin Impact’s Dottore or hyperactive eccentricity like with a few other characters (from different media I’m familiar with).

Now, we have Firefly, who has a history of combating the Swarm as part of Glamoth’s Iron Cavalry. It makes me wonder if there will be some kind of clash between her and Ruan Mei in future versions, considering that Ruan Mei is bringing the Swarm to life, even cloning an Emanator.

(I’m also wondering just how sturdy the station is. There is no way vibrations were not felt during that boss fight and someone would not think to ask around and investigate. 😆 There’s just no way.)

My only gripes have to do with how the Trailblazer seems to lack a little agency here. We have the option to refuse to eat her cakes, but we are still made to eat them anyway. We could have replied with “I don’t really accept food from strangers” if pressed, and it would have been interesting to see how the mission played out without being drugged (or maybe Ruan Mei could have attempted again with another method, and succeeded).

Trailblazer doesn’t even think to contact the Crew to let them know that they are doing something solo in case something happens (and oh boy, did something happen). Even if the drug only affects what they say, what is stopping them from using text messages?

When we were texting her after the mission, the Trailblazer straight up says, “I look forward to experiencing new stories with you.” It’s not even an option. We don’t get the chance to instead say something like, “After something like that, I don’t feel safe around you,” or “Please leave me alone and don’t contact me or ask for me (ever) again,” both of which would have been very understandable things to say after being put in a life-or-death situation. We don’t even have the option to give a blunt “I don’t like you.” 😂

For those moments, the Trailblazer’s writing was…almost kind of like how Genshin Impact’s Traveler is sometimes written (very limited dialogue options with a limited range of reactions), the operative word being “sometimes.”

Some (Probably Pointless) Notes:

*I will say, she did at least seal off the whole Seclusion Zone (which was definitely the right step given that we see Swarm enemies in the halls). What nags at me is that we don’t know what her plan could have been if the Trailblazer failed (and maybe even died) and those things had managed to get out.

**As for her being stuck in that meeting with the other geniuses, she could have said, “I’m sorry, but I just remembered something that I need to check on. I’ll try to be back asap. No, I don’t need any assistance, but thank you for offering.” Hell, she could have used the super basic bathroom excuse (the aftermath of which I think could have been a potentially comedic moment when asked why she took so long).

I’m curious: Of all the Paths that she could have chosen, why the Propagation? Obviously human experimentation is highly unethical, but has she already tried and failed to search for Emanators of other Paths to contact for various reasons? (Diamond, who works for the IPC, could be unsuitable, and the Xianzhou’s Arbiter-Generals would certainly be a no-go, but now we have Acheron.) Or was it because of her struggles with people and working with an animal was easier for her? (I’m gonna guess it’s the second one…)

Whenever people talk about her flaws, it’s most often about her drugging the Trailblazer and tampering with our memories in the process, or it’s about her neglecting and leaving behind the cat cake critters she created.

I have yet to see someone cite her, oh, you know, BREEDING A GIANT MAN-EATING ALIEN BEETLE IN HER COLLEAGUE’S BASEMENT.

ONE THAT COULD HAVE GOBBLED UP AT LEAST A FEW HANDFULS OF RESEARCHERS IF IT MANAGED TO DEFY RUAN MEI’S EXPECTATIONS AND LIVE LONGER, AND/OR BREAK COMPLETELY OUT OF CONTAINMENT.

It’s insanely dangerous (and irresponsible) no matter how you look at it.

(Yet the most common reasons are still either the cat cakes, or the nonconsensual drugs…)

Also, I know we all love our parental stand-ins (like Welt, who is an actual father, and who I feel definitely lets that play into how he handles March and our trash panda) and found family concepts and projecting them onto some of our favorite characters who fit those roles. I myself am guilty of fantasizing over the father-son relationship vibes between Jing Yuan and Yanqing. (It’s cute and hilarious to me.)

But isn’t it a little bit strange to get upset when that character, particular if they’re a female character, coughruanmeicough does not fit that role and has not expressed any desire to?

Heaven forbid women do anything? More like heaven forbid women refuse to do anything.

[ultraviolet-psyche]

One last Yorukura episode review thing from me. Spoilers under the cut.

Well... that was kind of disappointing.

I don't think the finale was bad, per se. We got some nice moments, like Kano's anxiety persisting even as she goes on stage to perform, and Kiui's big smile as they end their stream with their usual sign-off. Overall, I think Kiui and Mei got some pretty solid conclusions to their character arcs.

Everything else about this finale, though... it all feels very fairytale-like. It feels a lot like everything just got magically resolved with a song and some smiles. If this was a typical happy-go-lucky idol or CGDCT anime, that'd be fine, but Yorukura's first half gave me the impression that its conflict resolution was going to be more grounded. The pacing has been seriously off throughout the last few episodes, and while I certainly appreciate Mei and Kiui getting more development, I'm not sure if they each needed an entire episode dedicated to them so late in the anime. I don't even think the low episode count is necessarily the problem; I feel like 12 episodes could've worked fine for the scope of this series if they allocated their time more wisely and maybe cut out some parts that weren't entirely necessary (the Koharu episode for example didn't really add much to the overall plot; nor did the Shizue episode for that matter, and I say this as someone who really enjoyed that one.)

And yes, sadly, we all got baited. There's no confirmation, or even any sort of strong implication, that Kano/Mahiru is canon. I wasn't expecting them to start making out on screen or anything like that, but come on... even just a super brief scene with Kano or Mahiru saying something like "I want you by my side, for the rest of my life" while they're smiling and blushing at each other would've been enough for me. And I think it would've been enough to clearly communicate that yes, Kano and Mahiru are in love. As far as LGBT+ rep goes, I can at least say that we have the trans(-coded?) Kiui, and Mei very clearly having romantic feelings for Kano and liking girls in general (though she does unfortunately fall into the "predatory lesbian" stereotype), but Kano/Mahiru feels like a missed opportunity. We were getting some great relationship development that genuinely seemed like it was going to lead to a sapphic love story, then episode 9 happened and it all went downhill from there. I struggled to even care all that much for their relationship in these last few episodes because there was so little focus on it, and when they do finally see each other again, they're just hugging and giggling like besties as though nothing happened. (Well, they each acknowledge that they said/did some shitty things, but that's about it really.)

Make no mistake: I really enjoyed Yorukura. I love the JELEE members and even some of the side characters. The art, animation and direction is fantastic, and overall I think it's a fairly solid coming-of-age story that emphasises the importance of loving yourself for who you are. However, I do wish that the second half of this anime was better. I wish it had better pacing. I wish we had a more satisfying payoff to the major conflicts introduced, and Mahiru and Kano's relationship in general. I wish the antagonists – Yukine and Mero – got further development and perhaps more serious consequences for their actions. I just wish the last few episodes held up as strongly as the first few. I suppose I'll just go check out Girls Band Cry for the Yorukura I'd hoped that Yorukura would be.

So, yeah, that's about it. I may end up writing some fanfics down the line to "fix" some of these issues I have with the ending haha