#at that point in the series hes changed a lot

[dreamwritesimagines]

Sunshine [11] - Blast

AN: My loves, thank you so so much for your wonderful support and lovely comments and HCs! ❤️ You’re amazing! ❤️

I hope you like this as well, and please don’t forget to tell me what you think, thank you! 🥰

Pairing: Logan Howlett x Female!Reader

Summary: Every break up has an aftermath.

Word Count: 4244

CW: Explicit language, angst, adult themes MDNI

Series Masterlist

The month after your brutal breakup hadn’t been so easy.

When Theo was around, you made sure he didn’t notice anything. His happiness was the most important thing for you, it had been that way ever since he was born, so you weren’t going to ruin it. Every weekend, you pretended you were incredibly happy and that nothing was wrong at all, despite the heartbreak you were going through.

Your friends were the only people who knew just how sad you were, and they had formed a very united front to change that.

“We have found the one.”

You pulled your brows together as you filled Jamie’s cup while Nik gave you a proud smile and Julie sat up straighter, repressing a squeal.

“You two are dating, so you’ve already found ‘the one’” you used air quotes, making Nik roll his eyes.

“Not for us!”

“And Julie would’ve told me if she found the one.”

“I’d also be shouting it from the rooftops, but this isn’t about me.”

You threw your head back. “I’m not gonna go on a blind date.”

“Hear me out,” Jamie said, fishing his phone out of his pocket. “This guy has been approved in the group chat.”

“What group chat?”

“Our group chat.”

Your jaw dropped. “You guys have a group chat without me?”

“Yes because it’s being used purely to find you your Mr. Right.”

“And we know it’s been only a month since you and Logan broke up but fuck Logan,” Julie added. “I’ve been carrying a magnet in my purse ever since you told me about your break up, just in case I run into him.”

Nik turned to look at her better. “You’re joking.”

Julie grabbed her purse and took out a small horseshoe magnet, making your eyes widen.

“I don’t play about my threats,” she told Nik. “That motherfucker broke my best friend’s heart, so I’ll point this magnet at his—”

“Where did you even get a magnet like that?” you cut her off and she shrugged.

“I googled it.”

“I’ve only seen these in cartoons,” Nik mused, reaching out to get the magnet from Julie before Jamie cleared his throat.

“Our point is,” he said. “You’re better off without Logan, and I think you’d really like this guy.”

You heaved a sigh, resting your elbows on the counter.

“Guys I really appreciate all the effort,” you said and stole a look at Julie. “And the magnet but—seriously, you know how much I hate blind dates.”

“Well does it count as a blind date if we show you his picture?” Nik asked, getting the phone from Jamie before turning the screen so that you could see the picture.

Even you had to admit, he looked cute. It was as if Jamie had decided to find you someone the complete opposite of Logan; he seemed younger than him -around Jamie’s age if you weren’t mistaken-, he had dirty blonde hair, and just from the picture alone, you could tell he was the type of person who liked to smile, a lot. Judging by his white coat, he worked in the same hospital Jamie worked in, and you stole a look at him.

“Your coworker?”

“He works in ER,” Jamie said. “Saved a kid’s life the other day.”

“And I’ve met him,” Nik said. “He’s like a cute puppy but also a badass.”

“And he is very handsome, you like handsome,” Julie sang tauntingly and you ran a hand over your face.

“I really don’t think it’s a good idea.”

“Why not?”

“I’m not over Logan yet.”

“The best way to get over someone is good sex,” Julie pointed out. “We’re not telling you to move in with the guy. We’re just telling you to just…go on a date and see where things go.”

“And it could help,” Nik said softly. “You know, distracting yourself from your ex.”

You bit inside your cheek, then clicked your tongue.

“Ugh, fine,” you muttered, making them grin. “But if I don’t like him, I’ll leave and you guys will delete that group chat. Alright?”

“Deal.”

                                                 *

 One of the things you hated about blind dates was that you always got incredibly nervous right before. The urge to text them and stay in instead would always get the best of you—now to think of it, the only person you didn’t get that urge with was Logan.

Well.

Logan was out of the picture, and you had to deal with that.

But if anything, at least Jamie knew this guy and was friends with him, so the odds of him being an ass was pretty low.

You pulled over in front of the restaurant before checking your phone to see whether it was in fact the right place, then slipped a little in the seat. This was by no means your first rodeo but…

You really wanted to just go home and get under covers and listen to Julie’s break up playlist.

“Worst case scenario, you’ll just have one drink and go back home,” you muttered to yourself. “Come on soldier.”

You checked your makeup in the rear mirror, then got out of the car and locked it before you smoothed out your dress and made your way to the restaurant. The hostess greeted you and after you gave her your name, you followed her into the restaurant.

Oh, he was already there.

If Logan wasn’t at the back of your mind, you were sure that you would’ve been excited. He really was a good looking guy, the smile that appeared on his face upon seeing you looked very genuine, and the fact that he jumped on his feet to greet you was a great sign.

However—

Okay no, you were not going to think about Logan tonight, not at all.

“Hi!” he said and you smiled back.

“Hi,” you said and you extended your hand but he went for a hug before he paused and made a move to shake your hand but this time you were the one who went for a hug, so you gave him a curt hug before pulling back.

“Jesus—sorry, that was awkward,” he said and you tried to control your giggle at the look of slight regret on his face.

“No worries,” you assured him and he gave you a tentative smile.

“I’m Hayes.”

You introduced yourself as well before the waiter pulled your chair for you and you thanked him, then sat down. Hayes followed you suit, then motioned at his wine glass and the appetizers.

“I hope you don’t mind.”

“No no, not at all,” you said and looked up at the waiter who put the menu in front of you. “Can I get the same as well? Thank you.”

Waiter nodded and walked away from your table, and you turned to Hayes.

“Uh, hi again.”

“Hey,” he said with a chuckle. “So uh…blind but not so blind date?”

“Sounds about right,” you said. “I mean I saw your picture.”

“So have I.”

“Jamie showed it to you?”

“Technically no.”

You blinked a couple of times. “How’s that?”

“Jamie has a picture of you and your whole friend group on his desk,” he admitted as the waiter brought your wine and you thanked him. “I saw your pic there and I asked about you in a way that was very subtle in my opinion but Jamie disagrees.”

You raised your brows, smiling slightly. “You’re not serious.”

“It was kind of like Jamie was an app and I was fervently trying to swipe.”

A small laugh escaped from your lips and you covered your mouth. “Oh my God…”

“Am I giving off serial killer vibes?” he asked to no one in particular. “Because I swear I save people for a living, that’s not—it’s just that you are very pretty and I’m very rusty when it comes to all this.”

You lowered your hands to give him a bright smile.

“You’re very sweet,” you said. “I didn’t think you were rusty.”

“No?” he asked and let out a breath. “Thank God.”

“It’s been a while?” you asked him after a moment of hesitation and he hummed.

“Listen, rusty or not I know talking about previous relationships is a red flag.”

“I don’t mind,” you said. “Let me guess, you had a long relationship and…?”

“And walked in on her and my best friend.”

“Ouch.”

“Former best friend.”

“Still ouch,” you said with a grimace. “I’m sorry.”

“It’s okay, I mean—I changed cities but it has to be for a good cause. At least that’s what I’m choosing to believe.”

“Sounds like a good plan.”

“How about you? I find it hard to believe you go on blind dates if I’m honest.”

“Oh I’ve gone on blind dates,” you assured him. “And uh—my friends have made it their life mission to matchmake me, they apparently have a group chat where they approve people.”

Hayes pulled his brows together. “Holy shit, I’ve been approved in the group chat?”

“Yes you have,” you said. “Congratulations.”

“I feel very validated,” he mused, making you giggle. “No seriously, knowing Jamie, this is the same as passing a very difficult exam with a jury.”

“Yeah he’s very protective, especially after—” you stopped yourself and Hayes shot you a lighthearted look.

“Hey, I talked about my ex.”

“Well, I got dumped,” you said with a shrug of your shoulders. “And Jamie never approved of him, so now he’s like extra careful.”

Hayes hummed and lifted his wine glass slightly.

“Well, on behalf of all men in this city, we’re all very glad that your ex is an idiot.”

You scoffed a laugh and lifted your glass as well.

“Yeah well,” you trailed off, trying your hardest to not let your thoughts drift to Logan. “So you’re an E.R. doctor?”

“I am,” he said. “And you?”

“Oh I…I’m just a waitress,” you said with a shrug of your shoulders, that feeling of inadequacy hitting you out of nowhere once again. “Nothing too exciting.”

“Do you like where you work?”

“Yeah, I’m friends with everyone there except my boss,” you said. “It’s pretty nice. And you? I heard you saved a kid’s life the other day.”

A bright smile appeared on his face. “Yeah, that’s why I like working in the E.R. I can actually make a difference in just seconds, you know? It makes me feel alive, like I’m doing something right with my life.”

You nodded your head. “I can imagine. Sounds wonderful, really.”

He sipped his wine.

“So tell me more about you,” he said. “Jamie says you have a son?”

“Yeah!” you said, your eyes lighting up at the mention of Theo. “Yeah I do. Theo. He’s the cutest kid in the world, and I’m very objective about it.”

That made him laugh. “At first I thought Jamie was a father, with all the drawings in his office…”

“Oh he still keeps those?”

“With all due respect, it’s like a shrine in his office.”

“You should see his and Nik’s fridge, they have like one picture there and the rest is Theo’s artwork.”

“Really?”

“He had his artist phase, now he’s—” you started but were cut off when your phone started buzzing. You gave him an apologetic look.

“Excuse me,” you said as you grabbed it out of your purse, but as soon as you saw the name flashing on the screen, your heart dropped.

Logan.

A part of you -the petulant part of you- wanted to reject the call but you took a deep breath, then licked your lips and then answered.

“Hello?”

There was a second of hesitation on the other line before he cleared his throat.

“Theo is fine,” he said. “But he needs you here.”

Your head shot up. “What? What happened?”

“There was a small accident—”

“What accident?” you asked, your heart leaping to your throat as fear crashed down on you. “What—is he—”

“Like I said, he’s completely fine, I promise,” he said, his deep voice soothing your fear as always. “He had a nightmare, his powers took over and he blew up the wall in his room accidentally but he’s fine and so is everyone else. He locked himself in the basement though, and refuses to come out.”

You could feel your throat tightening but you took a shaky breath, then nodded as if he could see you.

“I’m on my way,” you said and hung up before turning to Hayes.

“I’m so sorry,” you said, pushing your phone into your purse. “Theo is…he’s in a boarding school in the city but he—he had a nightmare and he locked himself in the basement.”

“Oh I’m sorry,” Hayes said, frowning. “Is he okay?”

“Yeah,” you said despite the anxiety churning your stomach, then stood up. “But I need to go, he must be terrified.”

“Of course,” Hayes stood up with you. “Would you like me to drive you there?”

“No no, I can drive,” you said. “I really appreciate it though, thank you.”

“Oh it’s nothing, really,” he said. “I hope he’s feels better.”

“Sorry, again.”

“You have nothing to apologize for,” he said. “Is it okay if I get your number from Jamie?”

“Sure!” you said. “I’ll—I’ll see you around I guess?”

“Have a nice night,” he said and you gave him a curt smile, then made your way out of the restaurant, your heart beating in your ears.

                                                 *

If it were any other time, you would’ve been nervous to see Logan after a month, for the first time after your break up but you were so worried about Theo that it didn’t even cross your mind that Logan would be the one to greet you.

Which, of course he was the one to greet you by the door. He probably took your scent the moment you drove through the gates.

He looked almost frozen the moment you stepped out of your car but he recovered very fast.

“Hey—”

“Where is he?” you asked without so much as glance in his direction as you walked past him into the mansion and Logan easily caught up with you.

“In the basement,” he said. “Follow me.”

When you two got to the basement, Storm and Jean were already there.

“Hey, he’s totally fine,” Jean assured you the moment she saw you and Storm nodded her head.

 “We could’ve opened the door but we didn’t want to scare him any more than he already is,” she assured you. “He only said he wants you, and now he’s not talking to us.”

“But he’s not hurt in any way,” Logan added. “I don’t smell any blood or pain, and Jean already checked his mind.”

You raised your brows, then took a deep breath.

“Thanks,” you said and smiled at Storm and Jean. “Really, thank you so much. I can take it from here.”

“You sure?”

“Yeah,” you said and swallowed thickly. “It’s not the first time this happens.”

Storm and Jean exchanged glances before Storm turned to you.

“I’ll just go and check the other students then.”

“And I’ll fill Charles in,” Jean said, squeezing your arm in a reassuring manner before they both walked away and you ran a hand over your face, then walked to the door of the basement and knocked softly.

“Bean?”

The only answer you got was a sniffle, breaking your heart to smithereens. You could feel your own eyes burning but you frowned, forcing yourself to focus.

“Bean, are you there?”

“…Yes,” his small voice reached you and you took a deep breath.

“You think you can open the door?”

“I had a bad dream.”

“I know,” you said, nodding fervently. “Everyone has bad dreams, it’s completely normal. And what do we do when we have bad dreams?”

“We have hot chocolate because that makes them go away.”

“Exactly,” you said. “So can you open the door please?”

“People will be angry at me.”

“What? No!” you said. “No one will be angry at you, I promise.”

“Mommy, it was an accident,” he said, a hiccup escaping him and you rested your forehead against the door, squeezing your eyes before swallowing the lump in your throat.

“I know,” you said. “And so does everyone. No one is angry at you—Logan, is anyone angry at Theo?”

Logan came closer to the door so that Theo could hear him better.

“Not at all,” he said. “If anything I’m a little jealous. Blasting walls is so badass, I’d love to be able to do that.”

“You hear that, bean?”

“Really?” Theo’s hopeful voice reached you and Logan smiled slightly.

“Sure bub. And hey, turns out we’ll have to decide on your superhero costume sooner than you think.”

“There you go,” you said. “Superhero costume sounds fun—”

A meow cut you off, making you tilt your head.

“Bean, is there a cat in there with you?”

“…No.”

Another meow reached you and you raised your brows.

“Theo.”

“I found him here and we’re friends now.”

“Okay,” you muttered more to yourself. “Theo—”

“His name is Sir Bartholomeow,” Theo added as if it was imperative that you knew that information and you heaved a sigh.

“Very creative bean, but can you please open the door? So that we can drink hot cocoa and I can meet your friend?”

There was a momentary hesitation and another sniffle before you heard the lock turning and you took a step back so that you could see him better. Theo was still in his pajamas, his glasses slightly crooked over his face as if he had put them on in a hurry, his wide teary eyes looking up at you. In his arms, he was holding probably the grumpiest looking cat you had ever seen in your entire life so tight that it was a wonder why the cat wasn’t trying to escape. A breath of relief left you and you crouched down to get to his level.

“Hi bean,” you said gently. “How about we give your friend to Logan so that they can be friends and I can make sure you’re okay?”

Logan stepped closer. “Yeah bub, I can take the cat—”

“Sir Bartholomeow,” you and Theo said at the same time and Logan cleared his throat.

“Yeah, him.”

Theo sniffled again before tentatively handing Sir Bartholomeow to Logan, and you checked whether he was hurt anywhere before pulling him into a bone crushing hug. Theo was still shaking like a leaf and he mumbled ‘mommy’ before burying his face to your chest while you stood up with him in your arms.

“I’m here,” you said softly, still holding him tight. “I’m here, it’s fine. I swear everything is gonna be fine.”

                                                  *

Theo never liked being away from you and that turned into a whole different level whenever he had a nightmare. You would be lying if you said you weren’t relieved to have him in your sight so after he drank his hot chocolate, you had carried him to bed and stayed with him until he fell asleep, humming the lullaby he used to love when he was a baby.

There it was again.

Times like these, you always remembered just how utterly alone and clueless you were in this whole thing.

You could feel the tears pricking your eyes as you looked down at him, then leaned in to kiss his head and pulled the covers over him, and walked out of the room as quiet as a mouse.

 The mansion was mostly quiet, and even though you could still hear the voices coming from the kitchen, you desperately needed to be alone in case you burst into tears, so you walked through the hallway to step outside, the cold wind hitting your face. Heaving a sigh, you made your way to the stairs to sit down, and wiped at your eyes furiously before wrapping your arms around your knees, fixing your gaze on the stars glimmering in the sky.

You heard the front door open before the familiar footsteps came closer and you felt him drop his jacket over your shoulders before he sat down as well.

“Hi Logan,” you rasped out, sniffling and he offered you a hesitant smile.

“Hey,” he said, putting the bottle of whiskey between you two before he made a face. “Shit, I forgot to bring glasses.”

You scoffed a laugh. “We’ve done worse things than drinking from the same bottle.”

“Right,” he said after a beat and you grabbed the bottle to take a swig, grimacing at the burn before putting it down again.

“How’s your arm?” he asked and you took a shaky breath, then shrugged your shoulders.

“Healed,” you said and turned to look at him better. “I don’t even think about it anymore.”

He was too smart to miss the double meaning of your remark and his lips twitched for a moment.

“I’d bet,” he muttered. “Fun date then?”

You pulled your brows together in confusion and he nodded at you.

“I haven’t seen you in that dress before and you smell like someone else.”

You smelt like—

Oh. Hayes had hugged you.

“I don’t have the capacity to get into that bullshit right now,” you stated and Logan swallowed thickly, then nodded again.

“Right,” he said. “Of course.”

For a minute, the only thing you could hear were the crickets and the sound of the faint wind in the air before Logan take a deep breath.

“He’s fine, princess.”

You bit at your nail, blinking back the tears before you shook your head.

“No he’s not,” you said. “You and I both know that he’s not fine. Not really.”

“He’s too powerful,” Logan said. “Accidents like these will happen, you can’t really avoid them. What matters is that he hasn’t hurt himself or anyone else.”

You took another sip of the whiskey.

“Having you here helped a lot too,” he said. “He calms down when he sees you, that’ll be good for him.”

You clicked your tongue.

“Yeah, for now,” you muttered and Logan frowned.

“For now?”

“Yeah,” you said. “Until he grows up and hates me for everything I’m doing wrong as we speak.”

“That’s not true.”

“No no it is, I’m fucking up big time,” you said with a dry laugh. “Jesus, my mom said I had no idea what I was doing and I was too busy arguing with her that I didn’t even see it but it’s true. I have no clue.”

“That doesn’t mean you’re doing something wrong.”

“I’ve been doing everything wrong,” you told him, blinking back the tears. “He’s too little to see it now, but sooner or later he’ll see that everything that happened to him is my fault, even the fact that his powers showed up—”

You had to stop talking when your voice cracked and you tried to swallow the lump in your throat, sniffling again. He reached out for a second as if he wanted to wipe at the tears falling down your cheeks but then paused, pulling his hand back, his jaw clenching like he was in pain. You wiped at your eyes furiously, letting out a shaky breath.

“I’m terrible at this,” you said, nodding to yourself while Logan kept his burning gaze on you.

“I promise you, you’re not,” he said. “Theo adores you, and I think you’re the best parent I’ve ever seen in my life which in case it has escaped your notice, that’s a lot of years.”

You raised your brows, wiping at your nose before you cleared your throat and took off the jacket to place it into his lap, then stood up with Logan following you suit.

“I can drive you home,” he said and you threw your shoulders back, trying to pull yourself together.

“I had like three sips of whiskey, I can drive.”

“I can still drive you, it’s been a long night.”

“I’m fine.”

“No I want to,” he insisted and you tilted your head, giving him a questioning look. His eyes met yours before he took a deep breath.

“I just…” he trailed off. “I want to—I want to make myself useful.”

You frowned, staring at him. “Why?”

“No reason,” he said. “Don’t get me wrong, I don’t ask for anything, just…like I said. I want to make myself useful. I need to make myself useful.”

Your stomach did a flip as a painful smile curled your lips.

Oh.

This. You were familiar with this.

You had been through the same. You were in fact going through the same right now, frantically looking for something to ease the pain. Your solution was to follow your friends’ advice and try to date around, ignoring the way it just felt wrong when you were still in love with him, and Logan—

Logan was dealing with it in such a Logan way that it was almost ironic how you didn’t see it coming.

“It’s not going to help,” you said, your voice a mere whisper and he gulped, his jaw clenching.

“It could,” he managed to say through his teeth and you sniffled, shaking your head.

“It won’t,” you rasped out. “I’m sorry, it won’t.”

The agony that flashed over his handsome features twisted at your heart but you managed to smile at him.

“Good night Logan,” you murmured and walked away from him, painfully aware of his eyes following you.

[michellesneptune]

HOW THE MOON SIGNS ACT WHEN THEY LOVE YOU pt. 1

disclaimer: forgive me if the series doesn’t cover all twelve signs, but i don’t think i’ve known enough people to speak about everyone’s way of loving. please be patient🤗

aries moon/1H

ooooh those little devils🔥😈 you can see the mischievous twinkle in their eyes. they’re children of Ares - the god of war! when they speak of their loved ones it feels as though they’re ready to kill for them any minute, only waiting for the right (or any😂) reason.

(just my observation, please don’t come at me) i believe that these natives are prone to being more loyal, less selfish and flaky than aries venus. aries is known to be 'the baby' of the zodiac, valuing independence and self-fulfilment greatly. however, i’ve noticed aries moons to be devoted af!! you will never catch them bad mouthing a friend or a partner.

also, from my experience, both placements like to fight, however aries venus often does it for own enjoyment, the initial chase turns them on. as for aries moons, they’re more steady. they would go to great lengths for friends and partners. you can call them in the middle of the night and ask the craziest favor, they WILL come and help.

(please keep in mind that i mean unevolved aries venuses that still have a lesson or two to learn!)

PS. they love to be treated like the center of your world, please give them attention💕

taurus moon/2H

hmmmm how do i put it… 😍😍😍😍😍😍😍! i will say that i am biased bc my boyfriend is one and the way he’s attentive, always asks about the details of my day, pays attention to my routines and shows love through acts of service🥹 you’ve probably heard the rumours and they’re true. taurus moons make the best cooks ever. and i don’t mean putting together a couple of cheap pancakes, nuh uh. their sharp senses only let them buy the best quality ingredients and cook with great care. bonus points if they prepare a dish that they know is your favourite!

i will say though, they are not the most verbal lovers. but when they’re in, they mean it. when they say they love you, it becomes a fact so obvious that they don’t feel the need to repeat it over and over. they like to settle into a routine, so don’t expect them to be flaky, send mixed signals and stir things up just to feel something/for fun (sag moons cough cough😅😅).

they also seem brutal sometimes. but i believe it’s because they see honesty as the highest form of trust. they want to feel comfortable with you. they value silence, too. they’re the type to show you their appreciation not by telling you how perfect you are but by actually putting in the work to show you your value and show that they’re worthy of being by your side.

lastly, their homes are their sanctuaries, a reflection of their feelings. usually beautiful and they look for someone worthy of letting in, to match their belongings. they get a rep for being possessive and stubborn, nevertheless with the right person they can make a sacrifice and at least try to change their ways😂😂

virgo moon/6H

okay so i know they’re said to be critical, demanding, neurotic etc but hear me out. virgo is a mutable sign, ruled by mercury and in true mutable fashion they DO get wild, fun and unhinged lol. as a virgo moon myself i am well aware of the fact that i often act like i’ve got a stick up my ass. but when i get closer to you i want it all: karaoke nights, fast car rides, spontaneous trips! sometimes i even take those things to the extreme!

they’re also said to have the highest standards. and while i imagine it’s partly true, i believe that this placement is all about accepting the biggest, weirdest quirks of your s/o (as well as 6th house synastry!).

besides, i think that we get more so insecure and self-critical in relationships, analyzing the f outta our partners, wondering whether we’re meeting their demands! we’re about the overall quality of the partnership and just want it to be perfect🥺 we’re also quite anxious and require lots of reassurance.

lastly, everyone knows it: virgo moons are like the final boss of small acts of service lol. vacuuming your flat, folding your clothes. they notice the smallest things that could improve your life and happily do them for you!

capricorn moon/10H

this one is tricky. they remind me a bit of taurus but more rough in a sense that they probably won’t pamper you with luxurious baths and gourmet food but they will do things like pay your rent, get you a job or buy a car😂. i’ve noticed them to be a bit grumpy sometimes, definitely not the softest lovers.

they’re up to giving some tough love. pushing you into a scary path that they know will be rewarding in the end. teaching you that even in the hardest lessons of saturn there is light. they’re not the most cheerful on a daily basis but - surprisingly- they are the ones that keep calm in the face of crises. they’re like okay we can’t do anything about it now let’s appreciate what we do have and focus on what we can change.

it’s because they know all to well how karma is. they had to learn it the hard way which made them so strong and resilient.

what i’ve personally noticed: they will stick by your side no. matter. what. this isn’t always a good thing as sometimes it’s best to walk away but if you’re expecting a cap moon to give up on you, don’t.

i also feel like they’re used to being the oldest sibling, the mom friend etc. please take care of them from time to time!

that is all i have for you! thank you for reading💕 i wish all of you lots and lots of love💋 see ya

~Michelle

[ladylilithprime]

.....I have a lot of books that I've read, but I would hesitate to recommend them even where the authors have not to my knowledge done anything to warrant expulsion from the Good Writer Club on grounds that have nothing to do with writing. Especially on tumblr. Especially when at least two writers I devoured the works of have controversies in their personal lives that have caused many people to shun their works out of a sense of betrayal or just an overdeveloped desire for a social justice crusade. (Not getting into that up here, I've got a whole rant about the need for nuance and critical thinking and that's not the point at present.)

That said.

I did read the Harry Potter books until the fifth one when Rowling apparently fired her editor and started turning her books into more useful bludgeoning weapons. The movies were easier for me to sit through, though the adaptions changed things.

I tried to read Twilight and only got about a page and a half into the first book before I had to put it down from boredom. Again, the movie was easier for me to sit through (lack of first person narrative helped here) and I still haven't seen the others in the series.

I have never even picked up a book by Sarah J Maas, so I can't say anything about the quality of the writing from the perspective of me as a reader.

I haven't heard of any of the others, though I'm at least aware of Robert Jordan, much the way I'm aware of James Patterson.

The books I did read and devour?

The Brainship series and the Pern Chronicles by Anne McCaffrey (requiescat in pacem).

The Xanth series by Piers Anthony.

The Elvenbane and Elvenblood by Andre Norton and Mercedes Lackey.

Pretty much anything by Mercedes Lackey.

The Enchanted Forest Chronicles by Patricia C Wrede.

The Young Wizards series by Diane Duane.

The first three quartets in the Tortall universe by Tamora Pierce, though my appetite slowed after "Squire". (Not specifically a detractor to the later books, just where my own personal interest began to falter.)

The Mists of Avalon by Marion Zimmer Bradley (yes I'm now aware of the issues surrounding her personally, but I wasn't when I read the book).

Pretty much everything by Terry Pratchett...

...which led me to his Good Omens co-author and various books he wrote. (Again with the timing of awareness, not getting into it here, see comments above.)

The Animorphs series by KA Applegate. (Tried to get into the Everworld series, didn't enjoy it as much.)

Kushiel's Dart by Jacqueline Carey (slow-going because I do have to be in a specific headspace to read that much BDSM porn, even when it's well-written and plot-relevant).

My partner loves the books by Lois McMaster Bujold and has read excerpts to me many times, which are quite entertaining.

I read Redwall by Brian Jacques and a couple others in the series, but found them more entertaining when I thought they were just talking animals.

So.

I'm currently sitting in a room surrounded by books because my family are all avid readers on a wide variety of genres. A lot of the books I'm staring at are not ones I would choose to read, and I've never been pressured to read them. My mum (just turned 80) has read many of them, usually right along with me. My dad (now 78) has read many of the same books as well as the rest she hasn't, and he's disagreed with many of them and written journals filled with notes and arguments on many of them. He was once given a book by an acquaintance who told him she thought he should read it because she knew he was a logical thinker (he did read it and told me later that the book was not at all logical; not having read it, I can't say either way).

Point is... go find a library and look through the stacks. Read the blurbs on the inside covers, maybe read a page or two. If you like it, keep reading. Look up the author on your phone if you have to in order to see what else they wrote.

And if you don't like the book, then just don't keep reading. Put it down, move on to another one. Don't go looking for controversy or dirt to justify not liking the book or the author. Don't do it to justify liking them, either. You do not need to justify your personal preferences. You can be aware of the politics the author has, even heartily disagree with their perspective and biases, and still enjoy reading a book. It's perfectly okay not to internalize what you read every time.

Otherwise, I wouldn't still reread The Chronicles of Narnia.

J. K. Rowling gave us facist Wizards.

Stephanie Meyer gave us Mormon Vampires.

And Sarah J. Maas gave us zionist Faeries.

The Holy Trinity of Mediocre White Women ruining fantasy for everyone!

[brian-in-finance]

🧵Outlander_Starz: Outlander is back and so is "Inside Outlander," your scoop on the behind-the-scenes magic that brings this magical series to life! ✨ Let's dive into the emotional premiere, "Unfinished Business," shall we?"

Returning to Lallybroch and the location of Midhope Castle where Outlander films wasn't just magical for the fans but for the cast as well. Sam Heughan says this was his favourite location from this second half of the season.

Going back to Lallybroch was a really big moment, for Jamie but also for Outlander. It's where we started. I have a lot of memories working there. One of my first days shooting in Season 1 was at Midhope at Lallybroch... so it was quite a special moment.

Actually, I'd never been in the actual castle because it's derelict. We were using the doorway. So, I actually got to go in this time and have a look inside, which was very special. — SAM HEUGHAN, JAMIE FRASER

🧵Outlander_Starz: Showrunner and Executive Producer Matthew B. Roberts said, "Bringing one of our main characters back into the show... Scotland... she's such a beauty.

You miss her when you're not there. I love when we can play Scotland for Scotland at any point. And that iconic driveway going up to Lallybroch, it always makes your heart beat a little faster."

🧵Outlander_Starz: Set Decorator Stuart Bryce, who has been on Outlander since the beginning, was nostalgic at recreating this set across decades: "New touches, like Mike Gunn's murals, were a great addition, but essentially we didn't have to change too much. We kept it as true as we could to the original Lallybroch.

The tapestries in the dining room had been in storage, and there were a few pieces missing, so finding the original plans and having to recreate them was a challenge."

🧵Outlander_Starz: For Production Designer Mike Gunn, now that we're seeing Lallybroch in 1739 as well as the 1770s and 1980s, it was important to instantly recognize Roger was in a different time. He came up with the idea that behind the incredible tapestries from Season 1, there were murals created in the time of Brian Fraser, hidden after Culloden, then discovered by Bree and Roger in the 80s.

Read more about how Mike used these murals to plant Easter Eggs about Jamie and the story of Outlander itself!

I developed this backstory that the murals depicted the Jacobite rising and fight for Scottish independence. By the time the 1770s came and the Jacobites had lost Culloden, that's when the tapestries were hidden... In the 1980s, the tapestries were taken off. That was the starting point.

Then I decided to weave in the story of Outlander...

The unicorn, which I decided to depict in all of the four images, was Jamie. And of course, Claire is going to come into that journey. The central mural above the fireplace with the unicorn and horse, that's the two of them in love. But the unicorn is depicted as having his struggles throughout. He's depicted fighting a mythical beast that you could say is Black Jack. — MIKE GUNN, PRODUCTION DESIGNER

🧵Outlander_Starz: Fans will be delighted to see Jamie and Claire staying in the Laird's bedroom again with the iconic blue wallpaper. Set Decorator Stuart Bryce says of this room: "There is something about that blue that makes people's skin look amazing and enhanced those early romantic scenes of Jamie and Claire.

When we came to put the room back together, though it was exactly the way it should have been, by some mystery, the room was bigger...something spooky happened there!"

Inside Unfinished Business • 1 of 1

Threads 🧵

Remember… you miss her when you're not there. I love when we can play Scotland for Scotland at any point. And that iconic driveway going up to Lallybroch, it always makes your heart beat a little faster. — Matthew B Roberts

[orangelemonart]

what is your favorite arc in Naruto? i read something where someone explained the land of waves arc and how some of the themes were abandoned that Naruto hated how ninja was and he wanted to be the change but he did not do that - i did not finish watching shippuden i will but i don't care for spoilers and i wanna know what you think? and if you would change something to reflect back to the whole lets make a better world cause the one before us was terrible if you care about that kinda stuff

I used to feel that way. A million years ago, when the manga's war arc felt endless, I thought the series was abandoning all it's themes.

But after years of thinking way too much about this series, I believeJiraiya's "Quest For Peace" idea creates a through line from Land of Waves to the rest of the series and proves the themes WEREN'T abandoned. Putting this under a read more cause I rambled.

I'm sure the anime is worse because the war arc takes much longer there (I didn't watch the anime as is), so it really feels like we're losing the point for long stretches. But Naruto stays true to his feelings after the Zabuza and Haku stuff through the whole series. He refused to be a tool- his whole thing in that arc- when everyone was telling him to let Sasuke be executed, when they tried to keep him from the war, every thing or flashback about Nagato or Jiraiya's concept of a quest for peace. Hell it's WHY he was able to reach Obito. It's what he yaps about in every Talk-no-Jutsu

I think the entire series strongly supports that idea that Naruto would keep his vows to everyone he T-n-Jed about finding the best, least-violent solutions to conflict and oppression, all flowing from his Land of Waves experience. They're practically OVEREXPLAINED, not abandoned, that's why people make fun of T-n-J so much. And from what little I know about the spin-off series, his whole quest-for-peace/not-giving-up-not-being-a-tool/fix-everything/my-own-ninja-way is why he's busier than other kages, and why the antagonists are ninja moon aliens. Naruto is maintaining world peace, the only place left for villains is OUT OF THIS WORLD.

Anyway that's probably why the 5-Kage Summit is my favorite arc. A lot of (DUMB) people hate it because they think "well the whole village likes Naruto now, that should be the end of the series!", failing to realize Naruto's real goal has changed from being leader so everyone would treat him better, to being a leader who makes the world better for others. He spends that arc grappling with just how difficult that is through the microcosm of how he can't even do that for Sasuke, meanwhile Sasuke is dealing with the emotional ramifications of the cycle of revenge and CONSTANTLY being used as a tool by others. I think that arc strengthens the themes and character development.

I don't think it's perfect, of course. I think there's some muddiness in "not being a tool" and maintaining the ninja system. These things should have been addressed on a world-scale, not just a Sasuke-scale, after chapter 698. There should have been at least a cursory sentence about how Naruto as hokage is working hard to end oppression and cycles of revenge around the world, how even though he hasn't fixed everything, he isn't giving up or backing down! That's all it'd take, but nooooo we had dedicate the entire last chapter to introducing spin-off characters instead of addressing the themes of the series. The 5 Great Nations have more amicable summits, that's all we got.

I have a comic about what I would do differently, SOMEDAY I'll finish coloring it.... someday......

[21milespastblue]

this is pondering mostly onto myself but im little confused by the role of alternate universe powder in act 3. she serves to reconcile in ekko his perception of jinx, to remind him of how good she might have been, remind him of her potential in a way? a jinx that grew up far more supported and less spurned by the world is the best of every merit we've seen in jinx, her creativity and genius, her ability to connect, her compassion for the people she loves (however that may manifest).

something im seeing a lot of the online discussion about this to me is that ekko leaves, mourning somewhat this perfect life that could have been. i believe that as he makes the hard decision to leave that is definitely an aspect of everything that's going on in his head. but the greatest contradiction to me is that i don't think that ekko *personally* loved for alternate jinx. as much as i love me alternate versions of a character, im of the school of thought that loving this alternate person/version is the same as loving your own version. that's not to say that ekko didn't have any affection for her, he showed a great deal, but one can argue that these affections are as much a manifestation of his feelings for his jinx as they are a reflection of his feelings for alt. jinx. ekko's return and reaching out to jinx symbolizes that to me in a way; alt. jinx was a prompting to remember everything about her that's good not in spite of what makes her so complicated complex and difficult to categorize morally outside of grey but because of such. his jinx may have lacked the support that alt. jinx had in the wake of tragedy, may have had her life go to shit in a way that alt. jinx's life quite didn't--but he is reminded she is still very much capable of so much good, to be so much more than she thinks she is.

seeing that any universe i think that jinx is self-doubtful in a sense, not aware of how much value she truly has is an important aspect of the takeaways for ekko's dimensional adventure. aside from a display of his boundless determination and strength of character, ekko is able to fully realize the bulk of who his jinx is at her core. he tells alt jinx he "doesn't want her to change," thanks her for everything. at this point, i feel myself repeating the show; ekko monologues that in getting consumed in all the days the undercity wasn't, he forgot what it was, what it is--that same idealogy applies to his jinx.

to approach redundancy,

ekko: "I gave up on it. Gave up on you."

this was written to appease my own mind! and relate back to my earlier point that alt jinx simply reminds ekko of all the affection he used to and still has for his jinx. i think he loves her in the same way you may love any alternate version of someone you love, but he knows they are not the same. this is sort of response to all the people calling ekko the goat for leaving behind a perfect life with the girl he loves and the world substantially better (he still undisputably is!). but it's just a little different to me, not so much in that he's leaving behind this "perfect" jinx--she isn't his jinx and he's still very much leaving behind an almost ideal reality to his own--but that he's leaving emboldened to "save" our jinx. this relates back to what arcane asserts to be one of its major themes in the series finale. jayce languishes (platonic/romantic/3rd catergory love? sure! not love? no way) to viktor in a way that perfectly encapsulates it; "flaws" are irreparable and important parts of the people we love and are not barriers to love, but its cause. we love people because of who they are, warts and all, and not bc of what they lack.

TL;DR: i think that alt jinx wasn't supposed to be a "perfect" jinx for ekko to leave behind to show how badass he is (purely, still plays that role in some aspects), she's meant to remind him that his jinx, flaws and all, is worth loving and "saving." we love ppl bc of all their fucked up little bits and pieces not in spite of them

[descendant-of-truth]

Okay I waited to get this out there because I didn't want to be a bummer the second it released, but. The story in Shadow Generations was... kind of nothing. Which sucks, because it had literally everything going for it.

Shadow gets plunged into a white space where people and places from different points in time are unceremoniously dropped in due to the power of the Time Eater, and that means Black Doom is here to try to manipulate Shadow again. Shadow starts developing alien mutations that mess with his sense of identity and only make Black Doom stronger, but he's determined to use them to take him out for good.

At the same time, Maria and Gerald Robotnik are here, and of course the first thought on Shadow's mind when he discovers them is how he can find a way to save them from their original fates. So he's got two goals: defeat Black Doom, and save his family.

This setup is really good. It's immediately engaging for all sorts of reasons, from the surface-level "whoa cool alien powers!!" to the heartbreaking implications of Shadow being forced to say goodbye to Maria and Gerald again. (Because naturally, we've seen where the games go from here and we know the timeline isn't changed that drastically.)

And it's clear to see that the people involved in working on this game were passionate about it, too. The animation and cinematography is quite good, and while I have my critiques (I still don't think the character models are that great), so much effort was put into making Shadow the coolest guy ever, and I think it paid off. He's both very cool and shows a wider range of emotions than we've seen from him in a while, which is always a plus for me.

I mean, goodness knows that Shadow needed his character to be revisited and given respect after, what, over ten years? The step up that this is can't be overstated.

And yet.

The story itself is so empty.

Let's go in order:

The game opens with a narrated recap of Shadow's basic history in order to catch people up. I can't say it doesn't technically serve its purpose, but given the fact that the premise of the game is exploring Shadow's past, it's a little weird to spell it out at the start like this. If you're a newcomer to the series and don't know much about Shadow, wouldn't it be cooler to find this stuff out by progressing in the game?

It also leaves out crucial details that, while they could arguably bloat the scene, provide a lot of relevant context that a first-time viewer isn't privy to.

"At the last moment, Shadow remembered Maria's final wish... to protect her beloved planet and all who lived there."

The last moment of... what, exactly? What made him remember, what made him forget in the first place?

In order, these are the answers the scene doesn't give you:

The last moments before the ARK crashed into the Earth, which would've caused catastrophic damage.

Amy was the one who pleaded with Shadow to give everyone a chance, which echoed what Maria told him, triggering the full memory.

It's actually unclear if Shadow forgot what Maria said as a natural trauma response or because Gerald messed with his memories on purpose, but this would have been a great opportunity to clarify.

It also leaves out the fact that Shadow teamed up with Sonic to save the world after he tried to destroy it, so that's two connections with other characters he has that are completely left out in the recap. I know we're finally getting back to showcasing Rouge and Omega as his best friends, but he does hold respect for Sonic and Amy, too. Plus, his interactions with them in SA2 were so iconic, why leave them out?

Then again, I suppose Rouge and Omega aren't in this recap either... which is really weird, the more I think about it.

But even as it's describing the moment he chooses to be a hero, they don't show him in his super form alongside Sonic, he's just... what, on fire?? I don't know what that's supposed to be depicting, it just looks cool.

"Shadow didn't understand why Black Doom expected him to be the vanguard for his invasion of Earth."

A fine start, but shouldn't we have gotten a passing mention of Shadow's amnesia somewhere in here? He spent two whole games trying to remember who he was, and Black Doom's whole tactic was to exploit his desire for answers. That's important characterization for both Shadow and Black Doom that we're missing out on, here.

"Shadow the Hedgehog. The lone, dark warrior who judges the world by his own code."

This is maybe best addressed in a separate post, but. does anyone else find this description of Shadow kinda odd? "Lone warrior" I get, even with his friends he's not big on groups, but it's everything else.

Yeah, he judges the world by his own code, I guess, but his actions are all in service of following Maria's code. It's Sonic that lives solely by what he wants without much influence from others, not Shadow.

And what exactly makes Shadow a "dark" warrior? He's been explicitly characterized as someone who doesn't kill as recently as the prologue animation to this very game, where he goes out of his way to save a pilot when he doesn't need to. His entire life's purpose is protecting the world, and this doesn't involve killing or torturing people, so... what exactly is the dark part of his morality. Nothing about this recap has given me reason to believe he's anything but a heroic person with a traumatic past, and the subsequent game will only reinforce that.

I guess he did kill all the Black Arms, but that's not something the game ever treated as an immoral action. Shadow blows up Black Doom and the comet his people live on and all of our heroes cheer as he does it. It happens in the True Ending and everything, where Shadow's supposed to be proving himself as a hero for real, so that can't be the example of him being a Dark Warrior.

Is it because of how he treated Infinite, a character that this game doesn't acknowledge despite featuring a level from Forces? We'll never know. They just want you to accept the idea that he's Darker and Edgier than Sonic based on his surface-level demeanor alone, which... given that the objective of this game is to showcase Shadow's nuance, this is really out of place. Overall, not a great scene.

That said, the first real cutscene is pretty good, and it immediately showcases how unnecessary that recap was by showing how excited Maria was to meet Shadow for the first time. From that scene, we learn that Shadow was artificially made, that he's "the Ultimate Lifeform," that Maria was likely close to him, that this happened on some place called "the ARK" which is in space, etc. Why did we have a narrator tell us all of this a minute ago when we were just about to see it for ourselves?

I do have one nitpick, though - Shadow claims that he arrived at the ARK "an hour ago," and Rouge on the other end of the comm is already at Sonic's birthday party. Rouge only agreed to help Shadow get to the ARK if he would go to Sonic's birthday party afterwards, but how was Shadow supposed to have time to do anything up there if Sonic's party was that soon? I was under the impression from watching the prologue that Sonic's birthday was at least a week away, because how else would Rouge expect him to conduct a full investigation and potentially fight some huge battle before then?

Oh and the Time Eater shows up in two places at once (at Sonic's party and on the ARK), I feel like it would've made more sense to have it grab Shadow after it was done with everyone else. Now I'm gonna be forced to ask "why doesn't the Time Eater multiply" for the rest of the game. Whatever

Moving on, our first real sign of things to come is the fact that Omega does not have a proper speaking role despite showing up in the first cutscene. He's right there, conveniently next to Shadow, but as soon as you think they're going to talk to each other... you're dropped into the hub world. Speaking to Omega results in text bubble dialogue, wherein Shadow is mysteriously hit with Silent Protagonist Disease and we don't get to hear anything he says. Effectively, Omega just. talks at Shadow three times, saying nothing of interest. and it's completely optional.

I repeat: all of the dialogue from one of Shadow's best friends is OPTIONAL, and Shadow himself says nothing to him. Yeah, we're off to a great start.

(Omega even says that he's going to assist Shadow, and I just. I have to laugh. I'm so sorry Omega but in terms of physical actions, you're genuinely going to do less here than in Forces)

Shadow: "No. She's gone. I'm seeing things."

Pardon?? Seeing things??? I'm sorry but there is no way that Shadow can see and recognize Maria from that distance but not from ten feet away with her back turned. He's also never been implied to have super-vision, so the whole scene just doesn't make sense, and frankly adds nothing to the story.

Even if he doesn't mean literal sight, then 1) why did he phrase it like that, and 2) I kinda don't care. He doesn't need to be able to sense Maria's presence or whatever's going on here, because he's just as shocked when he actually sees Maria properly later. It builds suspense I suppose, but I feel like it would've been more impactful to discover that Maria was really here the same way Shadow does; in the cutscene where he saves her.

But before they can reunite, we've got the first proper cutscene with Black Doom:

Black Doom: "You defeated us, but the Black Arms live on. And this temporal anomaly has accelerated my plans to revive my forces and consume the world."

I'm gonna be real with you guys. I have no idea what he's talking about here.

The game makes zero attempt to really explain how the Black Arms "live on" despite Shadow blowing up their entire comet along with Black Doom himself, and going into the game, I kinda thought it was just... time displacement. Maria and Gerald are brought in from a time they were alive, so I thought it would be the same with Black Doom, but no - he revived himself before the Time Eater even got involved.

Which I'd be willing to accept if they gave me an explanation for it, but they didn't, and the whole foundation of the plot suffers for it.

Plus, what the heck does he mean that the temporal anomaly has "accelerated his plans to revive his forces"?? The Time Eater's powers don't... accelerate anything. At all. They pluck things out of time and freeze them in a void. How does that help Black Doom's plans whatsoever?

If the idea is that he's going to pluck his own forces out of time and bring them back that way, why not just say that? Why are they withholding such basic information from us? It doesn't create intrigue, and the story doesn't even treat it like there's a gap in our knowledge to begin with. I think it's genuinely supposed to be the whole explanation, and that's a problem because it explains very little.

Then you've got the Black Moon, and this thing annoys me to no end because guess what?? Despite gradually opening more eyes and cracking open every time you complete a level, it's never once explained what it is or what it's for. All it does is turn the white void into a red void and open a portal to Even More Radical Highway. Maybe I'm forgetting something from an optional piece of dialogue, but that only creates a different problem, which is that you should never lock basic understanding of the story behind optional dialogue.

Why does it have eyes? Is it a living creature or some weird bioweapon? It's oddly mechanical for a creation of the Black Arms; even their weaponry is organic, as this very game tells us through Omega, so what's its deal??

You'd think it would have something to do with time, considering the framing of this scene:

Shadow says "perhaps I can change their fate" and then looks to the Black Moon as though it may hold some relevance to this new plot thread, but. nope. it just takes you back to Radical Highway.

And hey, look at that, I was so busy complaining about the moon that I seamlessly transitioned into one of my biggest issues with the game: Shadow says this. and never follows up on it. EVER.

I'm not kidding, there's literally NO point in the game where we're shown Shadow trying to do ANYTHING to change Maria and Gerald's fates. There's no scene where he attempts to understand the void better, he never investigates anything, he makes exactly zero attempts to accomplish one of his main goals. of BRINGING HIS FAMILY BACK TO LIFE.

What is the point of them being here, then.

No, I'm serious, literally why are they here if we don't get to see Shadow try to save them?? By the time the final cutscene rolls around, they start fading away back to their own time, and suddenly Shadow's like

(WHY ARE YOU SURPRISED, YOU DID NOTHING TO PREVENT THIS OUTCOME)

But I'll talk more about Maria and Gerald later - for now, since we're on the topic of Shadow having odd reactions to things, how about those stages and bosses, huh?

Well guys, I'm pleased to announce that despite there being dialogue in some of the stages, absolutely none of it provides context to the locations Shadow visits or his thoughts on them! If you didn't play Heroes and have no idea that Bullet Station is where Shadow found a destroyed Shadow Android, kickstarting a new layer to his identity crisis, then congratulations, this choice of level will mean nothing to you.

And before anyone tries to be like "the Sonic Generations levels don't get commentary from Sonic on their significance to him, either," it's a problem there, too. But it's an even bigger problem here, because they went out of their way to choose levels that have real emotional significance to Shadow and then proceeded to do nothing with it.

Isn't this the game where we revisit Shadow's story up until this point? Would it have been so hard to drop a line of dialogue indicating that Shadow's not thrilled about returning to Bullet Station? Maybe add a brief cutscene where he finds the same broken android from before, and says something like "hmph, I can't believe I let that thing make me doubt myself for so long," thus demonstrating his growth?

Here's a fun fact: Shadow has zero cutscenes that happen inside of levels. This is something Sonic beats him at, by having one cutscene that takes place in a level (Chemical Plant). This should not have been a high bar to clear, but they fell short somehow, anyway.

(Space Colony ARK doesn't even use the Final Chase music. The Shadow game starts out with a song exclusive to Sonic rather than him. He actually has more ARK-related music than Sonic does and they still didn't use any of them. How did they mess that up)

This problem only gets worse when they start pulling in levels from Forces and Frontiers - games that this Shadow hasn't experienced yet and wasn't there for, respectively. Once again, on principle, this is a cool idea! Shadow getting a peek into what his and Sonic's futures have in store? The confusion over when these events take place, if they're even connected to him like the others have been? Great stuff

And hey, if he's going to Chaos Island, and we saw from the trailers that the volcano is exploding in Act 1, then maybe we could even see Super Sonic fighting Knight in the background in Act 2! The debris from their fight could even act as platforming challenges, can you imagine how cool that would be? What will Shadow think of the advanced tech on the island, or of seeing Sonic fight something so massive? Surely this is a great opportunity to elevate Frontiers even further--yeah of course they don't do that.

No Knight fight in the background, which is... fair enough, I guess, but then why bother with the volcano exploding? It only does that moments away from when Sonic is about to fight Knight. Yeah, it looks cool, but we didn't need it. The more egregious problem is still the fact that Shadow has no observable thoughts or opinions on being sent to unfamiliar terrain in the future, though.

The bosses all have dialogue, though, which is a step up on a technicality and little else. Most of the dialogue from Shadow is just him being a self-aggrandizing badass who doesn't see any of the bosses as threats - even Neo Metal Sonic, who he should really not be so confident in beating all by himself, considering that he. didn't do that before. It actually took eleven other people to defeat Neo Metal, including Super Sonic, but I guess he just doesn't care at this point.

If they wanted to, it would've been easy to make him overconfident on purpose due to his new Doom powers, make an arc out of it, but no. Shadow's just Like This now, apparently.

There's a similar power scaling issue in Sonic Generations too, where Sonic can somehow defeat Perfect Chaos without his super form, but the game had dropped location-specific cutscenes so long ago that it was hard to feel like it was even canon at a certain point. The game never cared about making sense or really being anything, but Shadow Generations doesn't get that excuse. The bosses having the most mid-gameplay dialogue tells us that they're Definitely Happening, and so I care more about them as a result.

Which takes us to the moment that I truly realized that this game had no interest in doing anything with its material: the Mephiles boss fight.

Shadow: "What's this? A seal of some sort?"

Okay real quick before I get into my big issues with this fight: I know it's a magic glowing artifact, but what about it actually looks like a seal, specifically? Does Shadow just have a sense for this kind of thing? I don't recall him ever demonstrating that ability before.

I feel like this line is just here to clarify what it is for people who don't know, but since Shadow also doesn't know, it's just kind of weird. I'm not even sure why he's in the Scepter to begin with, considering that Shadow's sealing attempt in this room was a failure, but whatever.

Of the three bosses in Shadow Generations that precede the final boss, Mephiles is the only one that can both speak and had a relevant dynamic with Shadow that would be interesting to revisit. The Biolizard is cool but doesn't have a personality, and Neo Metal had no real opinion on Shadow. (In Rivals 2, Shadow and Metal Sonic have a developing friendship, but this has unfortunately never been brought up again. If they did so here, it would only have been on Shadow's end, since Metal hadn't gotten to that point yet.)

But Mephiles? So much of his character revolves around Shadow. It was Shadow who sealed him away originally, and it was Shadow's form that he took when he broke free. He's the main antagonist of Shadow's story in 06, and even though his primary goal is rejoining with Iblis, he takes a vested interest in trying to manipulate Shadow over to his side by showing him the worst of what humans will do to him - not unlike Black Doom, honestly, though he was focused on Shadow's past instead.

Plus, it's been so long! We thought we would never get to see Mephiles again! What have you got for us, game?

Mephiles: "I will defeat you, then restore myself to the timeline." Shadow: "I don't know what you're talking about, but I will crush you all the same." Mephiles: "What? Did you forget about me AGAIN?"

*deep sigh*

Contradictory dialogue back-to-back. I see. Cool.

Mephiles should not be surprised that Shadow doesn't remember who he is, because he literally JUST SAID that his goal is to restore himself to the timeline. He KNOWS that he never existed, and therefore SHOULD KNOW that nobody he encounters will remember him. I'm convinced that he only reacted this way because the writers thought it would be funny, and that's it.

Even if it made sense, though, Mephiles isn't supposed to be funny. He's supposed to be ominous and threatening. For as much care that went into recreating this environment and his powers/body language from 06 (and I gotta say, this whole section looks extremely nice), none of that same care really seemed to go into his personality. He's just as drab as Neo Metal, occasionally repeating lines from 06 so that you know they played it and not much else.

The end of the fight features some absolutely unhinged dialogue from Shadow for no reason, though.

Mephiles: "No... I want... to exist...! Shadow: "There is no future for you. Ever."

Look, I get it, they've done nothing but fight this whole time . But Shadow has no personal beef with this guy. Even if they're going with the idea that Shadow wouldn't care to learn what Mephiles is rambling on about (kind of boring, and why wouldn't he be curious about why someone like this has it out for him), there's no reason to go so far as to say he'll never have a future. Is this the "dark" part of that "dark warrior" thing they were talking about in the beginning?? Kind of a random place for it to jump out of him, if so.

The kind of intensity coming from Shadow here would be justified if he remembered who Mephiles was, but he doesn't. As it stands, it gives off the impression that he didn't actually process a single thing Mephiles said about wanting to exist and restore himself to the timeline, and just said the first cool, edgy retort that came to mind. Which makes the sentence both less cool and even more out of character.

After this boss finished playing out, all I could feel was disappointment and a creeping sense of emptiness. If this was how the game was handling Mephiles, of all characters, if this was the extent of what they were willing to do with an idea... the rest of the game suddenly seemed much less exciting. I got to this point, realized how comparatively little of the game was left, and thought oh no.

Now, uh... where was I in the story, again?

Oh right, Shadow was about to go save Maria. I actually have no notes on that scene, it's pretty good and I liked that Maria was immediately thrown off by his aggressive fighting style and whatnot. It implies a lot about what Shadow used to be like without really showing or telling us, and that's pretty neat.

The following cutscene where Gerald explains how Shadow's growing powers only make Black Doom stronger in the process is also fine, there's nothing super specific for me to gripe about it in isolation.

And this good streak it has going is immediately interrupted by the worst, most nonsensical scene in the entire game.

Sonic: "I found you, Shadow!" Shadow: "The blue hedgehog... of all places..." Sonic: "You have something I need." Shadow: "You can wait until my business is finished." Sonic: "Yea sorry, but that Chaos Emerald and I have a date with a monster!" Shadow: "Well then, it'll be a date to die for."

This is. a really stilted conversation, no matter what way you look at it. On one hand, it's repurposed dialogue from two different scenes haphazardly mashed together, neither of which should represent their current dynamic anymore since they were both antagonistic at the time. And on the other, it just... completely lacks character from both of them. They're so unbelievably dry despite their attempts to sound quirky, it's actually impressive.

I have to ask - have the script writers not heard the incessant complaints from fans about there being too many references in modern Sonic dialogue?? Because this scene plays out like an actual parody of that trend, the kind I would expect to see on twitter or something. I initially saw the animation for this cutscene without audio due to leaks, and I thought it looked pretty cool because the animation was nicely done.

Boy, when I tell you I was stunned to discover that THIS was the actual, official dialogue. What happened here?? Why is this what Sonic cutscenes are turning into?? In a game that costs $50-$60??And people are saying it's the best Sonic game???

Somehow, the god-awful dialogue isn't even the only thing that's wrong with this scene, but I'll compile the rest in bullet points to speed it up a little.

Shadow suddenly shows up in Sonic's section of White Space, despite it not being visible from a distance and therefore giving no reason for Shadow to venture out that far

Sonic says he "found" Shadow as if he was looking for him, even though the only people Sonic has seen here other than his and Tails' past selves are people who were at his birthday party

Classic Sonic is neither seen nor mentioned despite the extremely fun potential of having him interact with Shadow

A purple portal conveniently shows up in front of Sonic and Shadow while they're talking for no reason

The boss fight with Sonic is just a cutscene (lame), and Shadow gets taken out completely by one solid bonk from Sonic (even lamer)

The fake Chaos Emerald switcheroo, while clever, is presented as if it was done deliberately when it was clearly a coincidence that it got knocked out of Shadow instead of the real one

(I guess this technically happens before the Mephiles fight so my faith in this game was already plummeting, but I was willing to tolerate this scene being bad because I could understand them not wanting to add too much to Sonic's side of things. They had completely free reign with Mephiles and still delivered nothing, which is why it really cemented itself in my head)

The one thing I really liked here was seeing Shadow almost use his Doom powers to defeat Sonic, deciding against it, and his hesitation being what lost him the match. Shadow refusing to fight Sonic on unequal terms is some really good characterization that I was happy to see.

Black Doom: "The promised time is nigh upon us, Shadow. Soon, you will be mine."

So did we ever learn what the "promised time" was, exactly? I've played every route of Shadow the Hedgehog (some more than once) and still can't remember. If he's referring to the time when Shadow awakens his full power then I guess it makes sense, but otherwise it's kind of an oxymoron considering that time doesn't exist in White Space.

Gerald: "He has grown a new body, and used the nebulous nature of time in White Space to accelerate his plans for revenge."

Shadow, buddy, your animation is positively kickin' right now but Gerald, I'm gonna need you to do literally anything other than just repeat the same lackluster explanation we got earlier as if that's going to make it any less confusing. What ABOUT the nebulous nature of time? Is time not largely just frozen here?? We're somehow around 3/4s into this story and I still have NO idea how anything works

Maria calms Shadow down from his frankly justified anger by holding his hand and talking about how she doesn't want him to be driven by darkness. They find a way to throw in the fact that apparently Maria named him "Shadow" because the presence of a shadow can show you where to find the light, and it's... nice? Very wholesome, but it feels awkwardly placed and I'm not sure anyone was seriously asking why he was named that. Like, of all the questions to spend this game's limited screentime answering, "why is he named Shadow" was probably not at the top of most people's lists.

And before you have a chance to think about it, we're already at the endgame.

Shadow: "I'm letting go of that destructive anger."

Wow, and in the very next scene after it was brought to your attention, too! You sure do grow fast, Shadow!

Okay, all jokes aside, there's not much I can say about the pacing in this game other than It's Rushed and Bad, but I think it's finally time to talk about Gerald and Maria.

Gerald first: He's mostly just here to give out exposition. His relationship with Shadow is much less focused on than Maria's, which I find to be really frustrating because I always had a lot of questions about how those two interacted. In SA2, we only know him as a grieving, hate-filled man who was heavily implied to have scientifically messed with Shadow's mind - not long after they had both just lost Maria - in order to make him inclined towards Gerald's revenge plan.

In Shadow's first game, we see a side to him from before then, when he really seemed to care for Shadow and we got some clarity on the purpose of the Eclipse Cannon and whatnot. But what were their average interactions like? Who was in charge of Shadow's training? If it was Gerald, did that ever create a sense of distance between them? Shadow never has warm, nostalgic flashbacks of him, so I assumed their relationship either wasn't as close or he has too many conflicting feelings now for those memories to be very comforting.

This game decides to lean into Gerald being a kind, supportive man, but regardless, Shadow's feelings should be a lot more complicated, no?

I'd imagine that, in a way, it's a relief to have this Gerald around again. It would make it easier to pretend that the man who used him in an attempt to destroy the world and go against everything Maria stood for was just... a fluke, or something.

But still, Shadow knows that he would do bad things to him if Maria died. It's already happened.

Dark Beginnings also suggested that either Shadow was there when he shot down by the firing squad (unlikely given the context), or he watched the recording that played at the end of SA2 enough to be able to see it in his dreams. Neither of those are good for his psyche, and would only add to the number of emotions he has to suppress whenever they interact. There is, of course, none of this nuance within the game itself, despite it being right there and ready to be worked with.

Then you've got Maria, and. hoo boy.

I take no real issue with any of Maria's traits that are on display. Her being a nice girl with boundless energy and goodwill does not make her boring, and I've always been fascinated by her character. So, I need you guys to understand that it's with a heavy heart that I must say that Maria is... barely a character in this game.

And like, she doesn't exactly have a history of being deep or complex. But we've also only ever seen her in Shadow's memories up until this point, and that means this game was a unique opportunity to flesh her out more.

When a character is as idealized by another as Maria is by Shadow, and we only see them through that lens, it's natural to assume that the depiction isn't completely accurate. I was never in doubt that Maria was kind and gentle, or that she was always there to help Shadow when she knew he was struggling, but I always wanted to know what she was like outside of that. What makes her angry? What was she like on a bad day, when she inevitably got frustrated at her lot in life? How did Shadow comfort her? What was her sense of humor like?

While we technically learn more things about Maria in this game, there's never a point where she acts differently from Shadow's vision of her. She's not really shown to have flaws, and she's only really there to be saved and offer emotional support. It's like... a textbook example of what you shouldn't be doing when writing a female character, having her be defined entirely by her relationship with the male lead and never speaking up or complaining about her own problems or feelings. They don't even make a point out of it, that Maria tempers herself to be "perfect" for other people or anything like that.

Why don't we get to see how she and Shadow would handle an argument or something like that? Especially this Shadow, who's all shaken up by everything? Wouldn't it be beneficial for both of their characters for Maria to be seen as herself, the way she was in life, rather than just the nicest moments she and Shadow had together?

I'm gonna make a comparison here that people aren't gonna like, but... I think Elise is honestly shown to be a more nuanced character than Maria is. And this is coming from someone who thinks that she was also mishandled in her game.

Similar to Maria, Elise is genuinely a deeply caring person, and lives mostly isolated with a condition of sorts that makes her life difficult. Her most important relationship is also with the male lead of her respective game, but she doesn't exist solely for his benefit. (Amusingly, Sonic actually seems to be there primarily to further her arc, so it's a bit of a role swap there.)

But we see more from Elise than just Being Nice all the time. We see her being resolute and bold in the face of danger, or disappointed when she has to go back to the castle. We watch her try her hardest not to cry and retain her strong, regal exterior when faced with overwhelming emotion.

We get to see her open up and laugh and become more confident, we watch as someone who's been forced to put her feelings aside for the convenience (and safety) of others her whole life finally break down and shout something selfish for once. And then we watch her ultimately choose to do the right thing, anyway. Her strength of character is shown to us by putting her in situations that challenge her, and the narrative never once shames her for being imperfect; it's actually encouraging her to be her real, flawed self.

Why does Maria not get this same treatment? Why don't we get cutscenes of her being excited about the new environment she's in, or frustrated that her symptoms are making it difficult to do anything here? When does she get to be selfish? Why can't she get upset at people treating her like she's frail, even if it technically "makes sense" for them to do so?

We're told, in Gerald's journal, that some of the people aboard the ARK doubted that Maria was really sick due to her symptoms not being clearly visible. Because it's his journal, we only get to hear his feelings on the matter, but in the full game, we never once get to know how it makes Maria feel, the person this is all about to begin with. They absolutely could have incorporated this into a cutscene somewhere, but they didn't.

Once again, I have to ask: what is the point of Maria and Gerald being in this game if this was how they were going to be written? Not only does Shadow fail to even attempt to save their lives, he doesn't even walk away from the experience with renewed understanding of who they were as people.

So what even happens in this story, then?? Every single aspect of it is dragged down constantly by the game's refusal to do anything with what it has:

Shadow revisits places from his past, but has nothing to say about them

Shadow visits places from the future, but has nothing to say about them

He has nothing relevant or interesting to say about any of the bosses

Mephiles trying to restore himself to the timeline is a plot point that exists solely within his boss fight and nowhere else

He doesn't struggle with any of the bosses, emotionally or physically, turning them into a boring power trip

He barely struggles with his Doom powers, the things that are supposed to be giving him an identity crisis

Sonic is not a playable boss fight and he also says nothing relevant or interesting

Classic Sonic doesn't even get a passing mention

The Team Dark friendship is supposed to be a highlight but Shadow never speaks to Omega, who also never shows up in cutscenes, and Rouge is just kinda there

Maria and Gerald never meet Rouge and Omega, or anybody else on-screen, despite it being extremely easy for them to run into each other

Shadow's relationships with Maria and Gerald are barely explored past their surface

Most importantly, Shadow is never shown making any sort of effort to save Maria and Gerald from their fates, despite it being one of his primary goals

...Oh yeah, I forgot to complain about how Shadow barely struggles with his Doom powers. I was gonna go on a whole spiel about how it would've been super easy to make into an arc and how it was wildly underutilized despite being a major selling point of the game, and the only real consistent conflict whenever Black Doom isn't on screen.

Well. Anyway. Once the White Space becomes Red Space (something that once again makes me question how far away Sonic's area is, to not be able to see this happening), Shadow magically gets over his "destructive anger" and goes to Radical Highway one last time for the epic final boss.

And it certainly is epic, I can't deny that. A massive technical improvement over the first fight against Devil Doom, and I'm not about to sit here and act like the wings aren't cool. But I can't say it feels very rewarding, since I never really understood what was going on and Shadow didn't really struggle that much to get to this point. Not to mention, he's still acting all high and mighty during boss fights, which makes it feel stale really quickly. Black Doom isn't really that interesting by himself, so Shadow kinda needed to carry that fight, but no, it's just more of the same.

One last point before I wrap this up:

Where was Emerl???

Correct me if I'm wrong, but a promo animation for a game should, in theory, provide you some idea as to what kind of things to expect in the game itself. While a lot of them take their share of creative liberties, I don't think they're in the habit of putting spotlight on entire characters who never appear in the game at all.

This is THE GAME where we bring back the people from Shadow's past that he's lost, and Emerl most certainly qualifies. He's from the more recent past, yes, but Shadow still cared about him and absolutely would have been affected by his death. There's no way that, had he been in the story, Shadow wouldn't have been determined to save him as well. But no, he's just there to be a cool lore detail in Gerald's journal.

Which means this is yet another depiction of Emerl where we refuse to acknowledge his personality. Do they seriously think Emerl is more interesting as an emotionless killing machine that Gerald researched in his spare time? Where's the fun-loving kid who mimicked everyone around him, splicing things he heard them say together to communicate and creating funny tonal whiplash? Where's the robot with the soul that Gerald gave him, that was nurtured by Sonic and his friends?

Not in this game, apparently! They went out of their way to canonize Battle and still managed to treat it with zero respect. Kind of impressive, really, and just another footnote in the trend of this game not actually caring to do anything with Shadow's past.

There are definitely moments in this game that I like, but that's kind of all they are: moments. The game's total cutscene runtime is around 30 minutes, and that means there's not enough time in any of them to get anything done. A scene that's good in isolation is tainted by the fact that it's all there is.

And it's just... so baffling to me. There are so, so many points in this game where you could have fit additional cutscenes in. We could have had one after each act, or at least after each level. Give us more cutscenes after activating things in the hub world or something. I mean, a game that claims to be this story-driven doesn't usually need an excuse to throw cutscenes at you, and they certainly didn't need to force each scene to be so unbelievably short.

If they really needed to downsize on cutscene length for some reason, then maybe they should have just made a less ambitious story. The game wants to do so many things at once, but it doesn't have the time to do any of those things justice. We could have gotten a short, sweet, well-done little story, but instead we get a story that easily needed at least two hours to tell crunched into a measly 30 minutes.

I mean, Dark Beginnings in its entirety is half the length of the full game. Think about that for a second.

This game's story was supposed to be something, man. It's getting so much praise for what feels to me like the bare bones structure of a story, and it's frustrating because I know this series can do better. The writer of this game can do better, and I know that because I've read his other Sonic material and it feels much more complete than this does.

I was genuinely looking forward to this game, is the thing. I really didn't think it would be this lackluster, because like I said at the beginning of this post, it had everything in the world going for it. But no matter how nice it feels to have a Shadow who isn't wildly out of character for once, that alone can't carry an entire story.

Shadow Generations is a mess of good ideas executed in the least interesting, most nothing way possible. Its only real saving grace is its animation, and the fact that Shadow generally feels like himself.

Except for when he's talking to Sonic. What the heck happened when he was talking to Sonic

[vi-is-badass]

This is going to be my scattered thoughts on Arcane season 2. Still reeling from the finale and some of these thoughts and opinions will change with time and re-watches. My thoughts have already changed a lot over the course of the last few days, so I might revisit this in the next couple of weeks, but for right now this is how I feel.

If you disagree with me that's fine. Everyone is going to have a different experience from you and connect with different things. That's why I love media and talking about it with other people.

Act 1 has really grown on me over time. Initially, I was a bit critical of the pacing and Vi's writing but with time, a re-watch, and talking with other people about it I have a significantly more positive view of it to the point I genuinely love the first act. Vi's writing especially works better for me when combined with what they do with her in the second act.

I love episode 3. It's a strong conclusion to act 1 and did pretty much everything I wanted to see in a follow-up to season 1. The Ashes and Blood sequence that cuts between Jayce, Ekko, and Heimerdinger finding the anomaly and the fight between Jinx and Vi was so well done that it is one of my favorite sequences to rewatch. It’s especially incredible from an editing perspective. The way the fight ends is also great with each characters reaction to Isha’s involvement being incredibly powerful on a personal and thematic level.

Act 2 is easily the strongest act for me because it takes the time to slow down and really focus on Vi and Jinx. They are what I consider the narrative heart of Arcane and it's their relationship that made me fall in love with the series in the first place. I think this act is phenomenal for both of them, doing so much heavy lifting to explore their characters and trauma in a quiet and subtle way. It really takes a look at who they were before they lost their parents-- the core of their characters-- and how it informs who they are now. How trauma and hardship shaped the two of them and who they want to be vs who they were forced to become.

To me, the " Remember Me" montage is the most beautiful music sequence of the season. This montage does so much in so little time. I will write something to expand on how I viewed the scene, but for right now, I'm just going to say it never fails to work for me emotionally.

Episode 5 is my personal favorite of the season. I love the way it explores the relationship between Vi and Jinx. They get to be siblings, fight like siblings, and finally start to reconnect after years apart without any influences pulling them in opposite directions. It's also another exploration of their longing over what could have been (What if vander and silco succeeded in creating zaun, what If silco found Vander's letter, what if they were allowed to talk in season 1, what if things with their second family didn't fall apart). It's a strong episode that is centered around what I love most about Arcane.

The moment when Vi trusts Jinx and puts down her fists, calling out to Vander despite her uncertainty, and Jinx's desperate attempts to see what happened in the aftermath really shows just how much they love each other and their individual growth.

The family hug where Vi looks at Jinx and tells her "What are you waiting for? He's your dad too." and she breaks down crying, lunging into the hug, is also one of the most potent emotional moments for me. (This family makes me emotional if these thoughts don't make that clear)

Act 3 still has me a little split, but I'm going to talk about the things I loved first because there are a lot of things I loved! I was overall mostly positive on it, but I have a few nagging issues.

Episode 7 is phenomenal. This is a close second for my favorite episode of the season. It's such a beautiful exploration of "What could have been". The way it shows that Ekko, the character the most adamant in the first season that Jinx is a lost cause and that they have to look forward, is also bogged down by a wish that things could be different especially when it comes to his relationship with Jinx/Powder, hits like a truck. His decision to return to his own reality and change what he can in the present, reconnecting with Jinx and helping save Piltover and Zaun, makes his arc one of the most effective and impactful ones in the season. It

Episode 7 also gives Jinx and Ekko's relationship the most beautiful and satisfying exploration of any of the relationships in the season for me. Ekko gets to see what Jinx could have been, that she was a creation of her surroundings rather than through pure choice like he convinced himself in season 1, and that the girl he cared about and loved/loves is in there and worth reaching out to. This alternate universe allows him to let go of his anger and pain over how things played out and mend that relationship that was broken in his universe.

Side note for the spiel above: The fact that the episode has Jinx and Ekko talk about Vi in such an emotional and empathetic way only for people to use this episode as a bludgeoning tool against Vi, saying her death made everyone happier and she made Jinx, is incredibly ironic and deeply frustrating to me. (It took me a minute but I realized my issues with this episode stemmed from the bad takes I've seen online rather than anything in the episode itself, but I'm glad I took that step back)

The dance scene with "Ma Meilleure Ennemie" playing over it was gorgeous.

The way that Jayce and Viktor's arc ends worked incredibly for me. I was initially worried because they had no screen time together in act 2 outside of Jayce killing Viktor, but the way they had their conflict play out in act 3 subverted my expectations and was very satisfying to me.

I actually like how Jinx's arc played out in the season. It was a beautiful arc that I felt was fully explored for the most part. I'll also probably expand on my thoughts on Jinx's arc once I finally recover from my most recent rewatch of Arcane and can pull my thoughts together to make something more coherent.

This isn't an act 3 specific thing, but I absolutely love how much praise Mel has been getting as a character since season 2 started up. I thought she was one of the strongest characters in the first season with a fantastic arc and I was so glad she lived to continue her growth in season 2. (She was awesome in this act though so it is a bit act 3 specific haha)

This one is hyper-specific but the shot of Vander looking at little Vi and Jinx with so much love while the words “if there was nothing to fight or protect maybe then I could finally be free maybe death is like falling asleep” play over the scene in the finale makes me want to bawl every time I see it and/or think about it more than any other moment in the series. That hit me so hard and it really shows just how much this series and its writing made me love these characters.

Now for the negatives. I didn't like how much they sidelined Vi for the final act. I loved what they did with her in act 2 and I have grown to love what they did with her in act 1, but I really don’t think they did what they needed to for her character in act 3. I do think the end point for her character is where she needed to end up and that it was where she was heading since season 1. I like the moments on their own, but she’s not in the act enough and her perspective is explored so little that it doesn’t work for me as a whole. We go from her breaking down after losing what’s left of her family (from her perspective) to a happy ending with Cait so quickly that it feels like whiplash. The show didn’t give us enough screen time with her in the third act for me to buy into Vi's ability to move forward from the weight of her guilt and feelings of responsibility. It’s frustrating because it’s that very part of her character, the guilt and responsibility that comes with being parentified at a young age that stays with you into adulthood, that really resonated with me and seeing the transition and healing from that being skirted over disappointed me personally. Still love the show and Vi is still my favorite character but the way the show handled her in the final arc was disappointing.

I will probably get crucified for this take but I was also a bit disappointed with how the show chose to brush over a lot of the things between Caitlyn and Vi in act 3. Act 1 introduced so many issues between the two of them that still needed to be addressed in act 3 (Caitlyn’s actions towards Vi in episode 3 and her prejudice towards Zaunites in particular) that their big moment didn’t feel as satisfying as I wished it did. I genuinely did want them to get together, I like that they got a happy ending, and I actually do like the scene where they get together because so much of it evokes the empathy and understanding I liked about the relationship in season 1, but I was disappointed they decided to sweep so much under the rug between them. I might have a different experience as time passes and I genuinely hope I do, but that's just how I feel right now.

I also wasn't a fan of how Vi and Jinx were sidelined during the final fight. I already talked about Vi, but outside of Jinx's big damn heroes moment she was really sidelined as well. We didn't get to see her and Ekko rally the undercity and her fight with Vi against Warwick, while emotionally impactful, lacked any tangible impact on the course of the final battle. Considering how much emphasis acts 1 and 2 put on Jinx stepping into a leadership role and being a symbol for the people of Zaun I think the decision not to show her do exactly that was a misstep and something missing from her arc. I think the fight with Warwick should have had some sort of importance in winning the fight against Ambessa and the Machine Herald.

Overall these aren't things that make me hate the show or the finale, but they're persistent issues for me that make the third act my least favorite of the season as a whole right now. I can understand why people would think differently. This was just my experience. I don’t want to be a blog that spreads negativity and I hope others enjoyed the show and found something to connect to. I love this show and it was a big part of the last 3 years of my life. I will always love this show.

[mikuni14]

15 Day BL Challenge - Day 5

(I skipped a day, I don't know how it happened, probably my brain was too tired to function after watching the new Gladiator 🤡)

Day 5: Biggest Flop

If I don't like a series, or it bores me, I simply stop watching it. That's why I considered a flop those series that I liked at the beginning (often a lot), invested in them, and then, halfway through, or at the end, Everything Went Wrong, but which I still watched wanting to see how it would end and hoping for improvement, even in the last episode..

Most often it's about 1) losing the goal, forgetting what the story is about, 2) forgetting about certain universal rules of romantic productions, or 3) the feeling of "betrayal": of the story, the characters, the viewers.

The biggest flop for me is The Sign. I was simply crazy about this series at the beginning, I was the biggest fan. However, halfway through, the series completely changed, the main couple stopped appearing together in scenes that were significant for their relationship, which were so good in the first half. The series also became increasingly stupid and the characters were irritating, especially Tharn. The Sign also mastered my most hated tropes to perfection, i.e. "noble" sacrifice, complete lack of communication, making drastic/life decisions without consulting their partner, forced separation that drives the loved one to despair (but which in the end turns out that it was.. fine, all is good!). I didn't like anything at the end, and the idiocy associated with watching the finale, charging fees, was just the nail in the coffin of any good feelings I had for this series. I still mourn what happened to it, it was SO GOOD 😭

The same situation was with I Hear The Sunspot. In this case, the additional insult was the most irritating female character ever. I loved this series at the beginning so much.

Step by Step - it started to be so irritating at some point, and it had a good and interesting beginning.

Of course this list can't be complete without Last Twilight lmao. Gosh, Mhok deserved so much better, I'm still angry on his behalf.

Tbh I wasn't a fan of Only Friends because everyone on that show was an unlikable character, but the ending of that story fell flat and sanctimonious.

My personal flop is the direction Light On Me went. I loved that show so much and I absolutely loved Da On and I was devastated by how easily he was cast aside when he was at his lowest and how few people showed him understanding. Da On needed a few days to overcome his problems, but those few days were apparently too much for his crush. It's not that I'm against the main couple, under normal circumstances I would root for them. But it's just… the whole situation left a bad taste in my mouth, Da On was such a good character, he was so kind and he was in a tough spot that his rival had been in before and had already worked through it, that's why he seemed so brave compared to him. It was all so unfair, idk. I just think that Da On - like Mhok - deserved better for their kindness 🥺

(I'm not posting any gifs this time because I don't want the people who made the gifs to feel bad that I used them to criticize their favorite shows 😘)

[mbg159]

One belief I've recently come to with regards to Crow is based on a video I saw once, which discussed a character who faced very similar circumstances... that is to say, Scrappy-Doo. (Bear with me, this is going somewhere.)

Now, usually, when people hear the name "Scrappy-Doo", they think "boy, I hate that little shit." But the thing was, that wasn't what people thought initially. When you watch those early episodes where he appears, there's really nothing particularly wrong with Scrappy in a vacuum. Yes, he can be annoying, but so can Scooby and Shaggy, and he's intentionally written as such. He changed up the formula somewhat, but the formula had gotten so stale that the writers were happy for it (Mark Evanier has a story about how they had to go over various monster ideas and sigh when they realized they'd already used them). If anything, ratings saw a very noticeable uptick when he showed up, to the point that he's credited as saving the show from cancellation.

The thing was, the executives looked at that ratings uptick, and decided to make a number of moves with the objective of trying to shake up the formula as much as possible in favor of what they thought people liked and what would save money. Six main characters? How about we cut it down to three main characters, two of whom are voiced by the same guy? Solving mysteries and always finding out it's a guy under the mask? That's boring; instead they should meet real monsters and fight them. Half-hour-long episodes? Too expensive. Make seven-minute shorts instead and lash them together into three segments.

Now, obviously these changes aren't necessarily Scrappy's fault, but the fact was, within a single year of his introduction, the show had turned into something almost unrecognizable as its former self. What was more, while other characters suffered as a result of these changes (most obviously, Fred, Velma, and Daphne being written out altogether), Scrappy was the character who outright reaped benefits from them. With those three gone, Scrappy was now the only person in the group who wasn't a bumbling coward, which resulted in him becoming, if you'll forgive me, a bit of a Mary Sue. Scooby and Shaggy became his idiot sidekicks while he set up traps and defeated monsters all by himself. Some episodes didn't even feature Scooby and Shaggy at all, and had Scrappy off on his own with his other uncle, Yabba-Doo, taking part in generic Western-themed adventures.

Essentially, Scrappy was a harbinger of an era where the series completely lost its identity, and during that era, he was front-and-center, and many decisions seemed to be made to give him primacy. He wasn't necessarily a bad character at any point (even at worst, it would be hard to call him a low point in whatever he was in), but it becomes difficult to separate him from the constant barrage of bad decisions that surrounded him. And it's equally hard to ignore that the series had truly gone all-in on Scrappy: if you weren't a fan of Scrappy when he first showed up, you certainly weren't a fan when you saw an episode about Scrappy and Scooby's hick brother meeting space aliens.

And nearly everything that I said of Scrappy is also true of Crow. (I don't know if he saved his series, but I've argued before that he was part of an attempt to do so.) It's not that he's a truly bad character at any point. I don't like him, but I can't deny that there are people who do, and I would say that any critique I can make of his writing is something I could probably make about characters that I do like. Johan in GX does a lot of the same things Crow does, and I mostly like him. But the thing is, it's impossible to extricate Crow from the fact that his prime years happened to be when the show became a bit of a mess--and really, that's by design, when the series spent that period going out of its way to broadcast his presence.

What is more, I said with Scrappy that the bad writing decisions of his era harmed other characters but benefited him. Crow is the same way. When you think about bad writing surrounding characters like Aki, Carly, the twins, and most other pre-Road to Freedom characters, you think of decisions that made them less important, less competent, and overall marginal. For Crow, meanwhile, most of the decisions people call "bad writing" (his abrupt introduction, the fridge thing, becoming a Signer, Black-Winged Dragon, the WRGP structure) were seemingly intended to push him into the spotlight.

The final duel with Sherry is a great example: I don't think it's a stretch to say that it's bad writing for a show to try to build an epic character conflict around two characters who have nothing in common and have never interacted. However, the alternative would be him having no investment or arc whatsoever in what's effectively going to be his final story. And for other characters (i.e. Ruka), the writers would probably be fine with that--but not Crow. And so Crow gets the internal struggle and the finishing blow and the big handshake at the end, and none of it really means anything, because the writers didn't really plan things out beyond "well, he has to do something, because he's our third main character," and treated that as an end unto itself.

Crow is a character where it would be silly to say it's his fault that the show started to come apart at the seams. There was a thousand reasons for that, and he honestly wasn't even that important, as you've pointed out. If you removed Crow, then the other characters would probably have suffered a similar fate of dwindling in the background as the writers struggled to find things for them to do. But at the same time, if there was a single character you could point to who represented that era... it would kind of have to be him.

Anyway, look forward to twenty years from now, when he gets turned into a villain in a weirdly adult film adaptation.

What the hell happened with Crow: an autopsy (Part 4)

*Deep breath* Okay, everybody. Let's do this one more time.

First off, hello, or welcome back. Let's get the introductions and disclaimers out of the way, shall we?

This is the fourth and final instalment in my very, very long-winded attempt to analyse the character writing of Crow over the course of the entirety of yugioh 5Ds. For everyone who hasn't read the previous parts of the analysis, you can find part one here, part two here, and part three here.

This post, and my analysis as a whole, is neither meant as a Crow hate post, nor as a manifesto to convince people who don't like him that they're wrong. It's as genuine an attempt to simply look at and dissect what the show gives us about him as I can make, though I admit to personal bias because I do like Crow. That said, I'm trying to stay as neutral as possible, because the aim of this entire post tetralogy is to look at the writing decisions made for this character and how they impact him—and how they possibly influenced the audience's perception of him.

My previous three posts all reference this as well, but since I still see these things parroted all across the internet to this day: Please don't read this post under the assumption that any of the 5Ds production rumours are true, especially not the ones surrounding Crow. Because, to make this as short as possible, every popular theory as to why certain characters were mishandled during the later parts of the show fails to line up with the production timeline of said show. Chiefly among those theories, the idea that Crow was meant to be a dark signer and that his popularity correlated to his cards, and the idea that Aki, specifically, had to give up her screentime for him because her VA got pregnant, which both lack any basis in reality, as you can read in the posts I linked. (One final shoutout to @mbg159 here, who compiled these incredibly comprehensive posts and can also be found here on tumblr. Huge thanks.) So if you can do me one favour, please just let the 5Ds rumours die already and read this analysis without the hope of seeing any of them confirmed. I'm so sick of these crackpot theories at this point that I can hardly find the words for it. And while we're on the topic, I also don't want to see this post used as a means to pit Aki and Crow against each other in any way—both have good reasons to be well-liked and both deserve their spot in the narrative, all right? All right.

And now, at last, let's get down to business. The last time I got on a virtual soapbox and yelled about Crow, I covered the entire WRGP, murder-duel-robot induced break included. That means that for this, final stretch, we'll be looking at everything from episode 137 onwards—the Ark Cradle arc. (A side not for dub aficionados here: Episode 136 was the last episode that got an English dub. In other words, everything I talk about here never even made it into the English version. Because 4Kids, I guess.) As we've done before, we'll take a look at what exactly Crow gets up to during the final stretch of the show (and, notably, the epilogue), then see whether any of it needed improving, and if so, how it could have been improved.

You'll find all further yelling below the readmore, and I'll leave you with the other, usual warning here, as well: This will be long. Even if the Ark Cradle arc, relative to the rest of the show, isn't, this post most certainly will be. So get some snacks and perhaps don't start reading this late at night unless you're good at knowing when to stop and reading stuff in bursts. (I'm not.)

As I concluded at the end of my last post, the WRGP ended up being a bit of a mixed bag for Crow. He's there, he duels, but at the same time, despite being positioned as an equal third of a protagonist trio, he's notably less important and arguably also weaker than Yusei and Jack. Moreover, where the plot is concerned, he sure didn't get too much to do—not to speak of the fact that the writers didn't grace him with any meaningful interactions with a certain character who'll become very relevant here.

But I'm getting ahead of myself. First, the preamble.

With the end of the Team New World duel, the final arc of the show drops the by this point unexpected arrival of the Ark Cradle right on our heads. So, what does Crow do here, at the start, other than be shocked? Well, not much. A lot of the first episode that introduces the Ark Cradle focusses more on the imminent threat said structure poses to New Domino City, and we flash back to our protagonists mostly to ascertain that things are, in fact, going to shit. Even once that focus on the city evacuating shifts again, the episode concerns itself more with Yusei than with Crow. However, meagre as it is, we do get the first interaction between Crow and Sherry during the Ark Cradle arc in this episode.

(Uh.... at least they're technically talking to each other?)

And frankly... It's not much. Unfortunately, up until the duel where he faces her, the Ark Cradle arc continues a trend regarding interactions between Crow and Sherry that we already saw in the WRGP: They barely get to interact, and even when they do, they never have anything so much as resembling a meaningful conversation, mostly because Sherry basically never addresses Crow directly, nor seems very interested in him, while Crow is usually there only to react to what she's saying, rather than actually talk to her. While digging through my mountain of screenshots, I found that latter part to be especially interesting, because as it turns out, this is a trend not just in Crow's interactions with Sherry, specifically. Many moments that probably contribute to the nefarious "screentime" (I've explained my gripes with this term in part two) some people like to accuse Crow of hogging have him only be part of a scene so he can react to what happens in it, to the point of him sometimes feeling like a stand-in for the audience reaction the writers might be hoping for. The above is a perfect example, because as far as character writing is concerned, Crow's "interaction" with Sherry here is utterly devoid of meaning. He's just there to communicate his disbelief over the ominous prediction that Yusei is guaranteed to die if he goes to the Ark Cradle, which feels like exactly the kind of reaction the writers probably wanted from the audience. After all, it's a bold, shocking statement to make. The protagonist, dying? In a card game anime geared towards twelve year-olds? It's downright preposterous. And Crow seems to agree with that, if his dialogue is anything to go by.

This one and other scenes (mostly the kind that contain plot elements that Crow doesn't actually interact with) got me thinking, though, and after having gone through so much of the show with a fine-tooth comb now, I think I've come to a conclusion, so permit me a tangent here: I believe the choice to let Crow, specifically, be a character who often only reacts to events or interactions after the DS arc, rather than contributing much himself, is deliberate. Don't get me wrong, I don't think he's the only character who is frequently put in this position—Aki, the twins, and even Bruno, especially when they're on the sidelines in the WRGP, also often only seem to be there to react or comment on things, perhaps partially to remind us viewers that they still exist, despite not being in a position where they contribute anything to the plot. With how much the twins and Aki got pushed to the side after the pre-WRGP and the Unicorn duel, respectively, and with how toned-down Bruno's entire character is until the very end, as not to spoil his tragic antagonist status too much, Crow in particular ending up as an often reactive, rather than active character stands out a bit more, though. And I think this has everything to do with his personality, because it contrasts that of Jack and Yusei. Think of it. Sure, Crow is shown several times to be just as cool and competent as the other two, but what he has that the other two crucially lack is the ability to freak out like a normal person. I'm being hyperbolic here, of course, but I do genuinely believe this, because when I think back to the show, Jack and Yusei, due to their character writing, only ever seem to be allowed to lose their cool during pretty specific circumstances, and only in very specific ways. Jack, for example, only ever gets to freak out either when a scene paints him as the butt of the joke (like during his infamous, dramatic outburst over cup ramen), or when the freakout is caused by—and expressed as—righteous (or not so righteous) fury (like when he storms off angrily after catching everyone watching his old duel with Dragan). Meanwhile, Yusei is played so straight that we barely ever see him lose his composure at all, outside of intensely dramatic, high-stakes situations (think his dark signer duels with Kiryu, his confrontation with Roman, his initial failure to accel synchro). Hell, the closest we get to ever seeing him be mildly upset about something like a normal person, as far as I can recall, is when he gets embarrased by Martha calling him out on his perceived crush on Aki. That's it.

Crow, though. Crow's allowed to do something the other two aren't: He's allowed to react to the world around him like your average guy. Jack blows through their household money for expensive coffee. Crow gets upset. Understandable. Crow gets injured right before his big debut in a turbo duelling tournament and is upset to the point of snapping at his friends over it. Understandable. Seeing Yaeger's kid cheering his dad on and knowing that this kid will cry if his dad loses makes Crow relent and throw the match. Understandable. Sherry predicts Yusei's imminent death due to hocus pocus and Crow calls bullshit. Understandable.

Do you see what I'm driving at? With how the show treats the other two Satellite boys, I'd argue none of the moments above would have worked anywhere near as well if the writers had tried to make Jack or Yusei take Crow's place in any of them. Because while Yusei and Jack, I feel, were certainly written to be the coolest characters (at least to the target audience), Crow seems like he was written to be the most relatable. He's the guy who takes on a delivery job when they need money. He's the guy who complains about his cranky landlady. And he's the guy who reacts to insane nonsense happening around him a little more realistically than his defeated-an-ancient-devil-to-absorb-its-power brother, his shouldering-the-guilt-of-a-cataclysmic-event-decades-ago other brother, their mutual previously-violent-psychic-who-was-part-of-a-cult friend, and the one-of-us-can-see-spirits-and-we-share-a-weird-kind-of-magical-bond twins. As such, it doesn't feel too out there to me to claim that in many situations, they made Crow the stand-in for the audience, because he has a less iron composure than Jack and Yusei, is readily available in many scenes by virtue of living with the other two, and happens to be the guy who has the arguably most normal backstory out of the signers. (Save, perhaps, for Rua, but I've already addressed before why the writers barely ever pulled Rua centre stage for anything. And they certainly wouldn't have pulled him centre stage for this, either.)

Now, as far as character writing is concerned, assuming I'm at least halfway correct with my hunch above, I feel that whether or not this decision is good or a shot in the foot on the writers' part depends largely on every audience member's individual perception of Crow after the DS arc. If you liked seeing this scrappy guy introduced during the DS arc, of course you would have been happy to see more of him! Even if he's only present in scenes to comment on what's going on and doesn't actually get to do anything meaningful. If you didn't like Crow that much, though, I can see how him popping up so often only to yap a bit and contribute essentially nothing could have grated on you. And as I said, I think this is where the "screentime" discussion comes in again, because yeah, Crow is very much on screen in all these little-bit-of-nothing scenes. He doesn't get to do much and his character isn't fleshed out or reinforced in any way, but he sure is there. For better or for worse.

And this—this is where I can finally get back to him and Sherry. Because in his interactions specifically with her, it is for worse, due to the fact that all the scenes that contain both of them before the Ark Cradle duel are pretty much exclusively these kinds of little-bit-of-nothing, reactive scenes. Crow doesn't get to interact with Sherry meaningfully, and he never—and I need to empathise this—, not once gets to interact with her one on one, not until the end-of-series duel both of them take part in happens. What makes Crow's lack of meaningful interactions with Sherry even worse is that his later duelling partner against her is Aki, of all people, who by contrast gets to interact with Sherry a whole bunch, most notably during her duel against Yusei. Not only that, but Sherry is also shown to actually be interested in Aki, which cannot be said for Crow. Yet, still in the same episode I was describing above, while the Ark Cradle begins its descent, it's not Aki, but Crow who is entrusted with this card by Mizoguchi/Elsworth:

(I'd like to point out that the dialogue following this moment doesn't make it clear whether Crow even knows what Sherry's connection to this card is. For all we know, this could be the first time Crow sees it, without being aware of any of the context surrounding it.)

You know, the card that's essentially a symbol of Sherry's attachment to her parents and her commitment to revenge. The card that basically her entire character revolves around. For a single piece of cardboard, this thing comes with a lot of narrative baggage attached, yet canon doesn't even take the time to assure us that Crow knows what Z-ONE means, other than it being a memento of Sherry's parents, as Mizoguchi explains. And frankly, this all feels like a rather ham-fisted attempt to get some last-minute setup for the later confrontation between Crow and Sherry in. It's like the writers desperately wanted to feel the emotional moment in the duel later to feel earned; they wanted to have their cake and eat it, too. There's only one problem: They didn't even bake the damned thing, the ingredients are just sitting around, untouched, as if staring at them long enough will magically make a cake manifest.

But, well, since I'm already talking about this, I may as well get into the actual meat of the matter, because frankly, it's not like Crow gets much else to do at the start of the arc. Yusei takes off because he at first wants to go to the Ark Cradle alone (like an idiot), leading to the signers coming after him (and telling him he's an idiot). Joining this effort and assuring Yusei that they won't let him die alongside the others is as much as Crow gets to do before the inevitable three-way duel starts.

(That said, while it doesn't accomplish anything, I've always appreciated this little moment while Yusei still tries to pull his stupid kamikaze plan—Crow would know more shortcuts in the BAD area than he does. After all, he lived there for a good while!)

After that, everyone gets up to the Ark Cradle and, as we all know, the signer group is forcibly split up by Z-ONE before deciding to go to a Yusei gear each in order to shut down Ark Cradle's negative Moment. (Top ten sentences that wouldn't make a lick of sense to anyone who isn't up to their neck in 5Ds lore.) And the very first duel on the menu in this final stretch of episodes is also Crow's final duel in the entire show.

(Drumroll please.)

Here's the thing. I love this duel, actually. I get extremely hyped every time I rewatch it. BUT. But. I do not love it so blindly that I couldn't see that it has not one, but several issues. Not only that, but those issues don't just rest on Crow's shoulders, they sadly rest on the shoulders of all three participants in this duel, because frankly? Alongside the four-way Jack/Rua/Ruka/Aporia duel, this duel is one of the Ark Cradle arc's desperate attempts to tie up loose ends. Because as much as I enjoy this arc, that's exactly what it is: A race to the finish line, an attempt to tie as many loose ends as possible up in as little time as the show could get away with. To make clear why I think this, let me just list off all the things this arc resolves or at the very least tries to tie up with a neat bow:

It reintroduces Aki's psychic powers, which we were previously led to believe she'd lost. Notably, we didn't get a reason for why they disappeared and don't get a reason for why they reappear, either. It also turns them into healing powers in an attempt to establish a reason for why she later studies medicine.

It explains what happened to Sherry and what actually drives her revenge. Furthermore, it releases her from her narrative fridge-prison in order to actually let her duel Aki (yes, Aki, specifically), which is a confrontation that was subtextually implied several times previously.

It resolves the question of Bruno's identity by revealing him as an antagonist.

It finally reveals Life Stream Dragon, who was at this point teased over seventy episodes ago.

It also finally rewards Rua, who was teased to possibly become a signer during the DS arc, with an actual signer mark. (As short-lived as it may be.)

It actually explains Iliaster's real plan, which is Z-ONE's hope that the 5Ds gang can actually save the future.

Speaking of which, it actually explains who Z-ONE is and why he's a big deal. (Remember, this guy was first teased a good while ago at this point in time.)

Alongside Sherry, it dusts off several protagonists who didn't get an opportunity to duel on-screen and lets them duel one, final time. (Notably, Aki, Rua, and Ruka, who at this point haven't been seen duelling since the early WRGP or even pre-WRGP.)

You may notice that none of these bullet points contain Crow. They do, however, contain Aki and Sherry, both of whom went into this finale with several unanswered questions as to their characters. Crow, not so much. But let's just put a pin in that for now while we actually jump into the duel.

*Cracks knuckles* Aki & Crow VS Sherry. Here we go at last. Fair warning, the character writing of all three participants of this duel overlaps a fair bit here, so expect to hear a bit of a mishmash about our revenge trio.

So, how does this duel start? Firstly, with Sherry waxing poetic about why she's even opposing Team 5Ds now.

(A dramatic switch of sides that sadly doesn't hold a candle to Bruno turning out to be Antinomy. Which, funnily enough, might be why this duel is front-loaded and Bruno's comes later.)

I won't dig into this too much, but I just want to point out the one thing this moment gives us: It establishes character motivation. Sherry claims she can no longer get revenge and has thus lost her purpose. (The reason why she can no longer get revenge, if you're interested, is because Moment Express, her final lead, vanished in its entirety, as far as canon is concerned.) Thus, she took the bait when Z-ONE offered her a new purpose, and, more importantly, a reward. Now, Aki and Crow at this point in the episode don't get to hear what that reward is, but for our analysis, it's important to keep in mind: Z-ONE promised Sherry he'd alter the timeline so she would get her parents back if she helps him. And I think this is immensely important because this is not only Sherry's goal in the present, I think it's actually the core of her character from the very first moment we meet her. In classic, tragic-avenging-type character fashion, she claims to want revenge when what she's really doing is trying to numb the pain of the awareness that she'll never get her parents back. (Though I'll admit this may also be my generous read of her as a person who likes revenge-obsessed characters.) And then, Z-ONE dangles the actual thing she wanted all along before her. Of course she took the bait.

This brings us to the start of the duel itself. As we know, Sherry employs some tactics that feel quite different from what she previously did in this duel. First and foremost, she messes with the mechanics of the duel itself by using the field spell Ecole de Zone, creating an illusion that confuses Aki and Crow into duelling not her, but each other at first. Sherry, meanwhile, takes a very passive role, clearly intent on letting the two destroy each other while she sporadically activates card effects to accelerate this. What makes all this stand out as even more unusual for her is that she sets this up by lying. At the beginning of the duel, she tells Aki and Crow that there's two of her, and that each duellist will fight one copy of her on a seperate field each, but this is a misdirection to make the two signers duel each other instead of her. And, look. I don't need to tell you this is out of character for Sherry. Canon literally does that for me.

(Case in point.)

It's only after Crow and Aki catch onto the fact that something's wrong and after Aki destroys the field spell that Sherry uses her "real strategy", switching to Soul Binding Gate, which inflicts real damage every time a monster with less attack points than her life points is summoned, in order to whittle away at both other duellists' life points. This is also the point where she reveals to her opponents that she's doing all this to get her parents back. While she does that, we get a bit more back and forth in terms of cardplay, until Aki sets the field up just right so Crow can land a very high-damage hit with Black-Winged Dragon to end the duel. And that is pretty much the gist of it on the duelling side of things.

So what's going on on the narrative side of things, then? Well. Let me front-load something I've noticed on the narrative end: This duel heavily interacts with Crow's and Sherry's characterisation, but barely at all with Aki's. I'll make clear what I mean by that below. For now, let's just get an overview by going through the character moments as they occur in the duel. Why go through all of them? Because most either interact with Crow in some way, or set up a later interaction in the same duel that he's a part of, that's why. I'll get into the nitty-gritty of what this duel did well and what it didn't after that. (Mostly. You may have noticed I like tangents and rambling excessively.)

So.

The first moment belongs to Aki and Crow in equal measure, and happens just as Ecole de Zone is destroyed—which Aki accomplishes by using Crow's monster to synchro summon Black Rose Dragon, as well as prevent that synchro summon from being negated through the same monster's effect, so she can use her dragon's field wipe to get rid of Sherry's field spell. When Sherry is surprised by this, Aki and Crow explain that they memorised each other's cards as part of a strategic effort as a WRGP team.

(Friendship is, in fact, magic.)

Not only does this explanation make perfect sense, it's also an excellent little tidbit to tie Aki and Crow together as a tag-team here, as it strengthens the connection between them. The only gripe I could possibly see with this is that it feels like this didn't necessarily need to be a surprise, end-of-the-show reveal. Frankly, it could have been pretty cool to see this much earlier, to have members of Team 5Ds realise what their teammates were getting up to during the WRGP duels, for example. (Instead of so often having the other signers react just as shocked as the announcer to their teammates' plays—I'm side-eyeing the infamous "a trap from the graveyard"-moment in particular. Like, Aki, sweetie, if you memorised Crow's deck, why are you surprised that he has a trap he can activate from the graveyard? I digress.) Moreover, this could have built anticipation for this particular duel, as viewers would have been excited to see what Aki and Crow would come up with to defeat Sherry as a team. So this moment is not bad, really. Just a bit underutilised, at least to me. (The word "underutilised" might become a trend in this post.)

Every other character-driven moment from here on out is shoved into the second duel episode, 140. Speaking of which, this episode starts with Aki and Crow getting the reveal of why Sherry is helping Z-ONE, where she admits that she joined the bad guys because she wants her parents back. She even goes as far as stating that because Z-ONE showed her the future, she has no hope that it can be saved and thus at least wants her lovely past back so she can have some solace before everything goes to hell for humanity. But we already went over that above.

Next up, albeit this moment should probably be considered more of a running theme than just one self-contained thing, we have Crow's struggle with Soul Binding Gate. Remember, the effect of this field spell causes all players to take damage every time a monster with less ATK than Sherry's LP is summoned. And at this point in the duel, Aki is barely above 1000 life points, so Crow worries about triggering the field spell's effect and hurting her, which leads to him playing suboptimally because he's more concerned about his friend than about winning the duel. Notably, Aki calls him out on this.

(She has a point.)

Outside of providing an internal conflict for Crow to grapple with, this isn't much to write home about. (Side note: I do find it interesting that they introduce the fear of physically hurting someone in a duel specifically in connection to Aki here, though, given that through her psychic powers, she had to grapple with this exact issue many times in the past. I have no idea if this was intentional, though.)

Between this and the next moment, there's a nice bit of interplay between Crow and Aki again, where he activates a card to refill her life points just in time so she doesn't drop to zero through Soul Binding Gate, while Aki uses a defensive trap to protect Crow in return.

(This is just here because it's a money shot to me. The juxtaposition of their faces and their life points, showing that while Aki may have the lowest life points, she still has the coolest head in this duel, and while Sherry technically has the upper hand, she's beginning to falter because she didn't anticipate the other two to work so well together. It's chef's kiss. Mwah.)

What follows after this, is, of course, the Big Moment. Where Sherry tries to convince Crow to forfeit so she can win and have Z-ONE change the past. And this is the one I really need to dig into.

With Sherry's earlier admission that she's on Iliaster's side because she wants her parents back acting as setup, she begins her attempt to sway Crow by telling him that if he had the opportunity to change the past, he would do it, too. And while Crow initially protests, Sherry challenges this, then proceeds to show him what Z-ONE's power could accomplish, and we get a lengthy sequence where Sherry, through weird cyborg-techno-magic-shenanigans that are never explained, takes Aki and Crow to a dreamlike space where Crow sees the orphans he used to take care of being happily reunited with their parents. Sherry also ominously tells him that this is "what he desires deep in his psyche" before promising him that if he surrenders the duel, Z-ONE can give him a world where Zero Reverse never occurred and all the kids can have happy lives with their real families. (I wanted to post most of this sequence in screenshots, but while I have them, I've realised I'm only a few images short of tumblr's limit already, so forgive me because I will need those remaining image spots.) This moment proceeds to introduce some serious doubt on Crow's end. Aki, meanwhile, remains steadfast, telling him not to fall for Sherry's manipulation, which leads to her giving an almost Yusei-style speech. In a moment where Crow wavers, both because he's genuinely considering whether taking Sherry's offer might be the wiser choice, and because he doesn't want to hurt Aki by triggering Sherry's field spell effect, Aki calls out to him and tells him to snap out of it by reminding him of how Yusei reached out to her during their second duel. This speech is a bit, um. Clunky, I feel. (At least if the translation is correct. If it isn't, then that may be the issue.) See, she tells him that Yusei "saved her from the darkness of her psychic powers", that "he wasn't concerned about his own safety and risked his life to persuade her", that, because her psychic powers are now gone, she's "renewed" and that this somehow brought her to the epiphany that as long as she believes in her own potential, she can change the future. This is lifted almost verbatim from the scene, by the way. Leaving aside the fact that half of this feels like a mild to severe misrepresentation of Aki's character arc during the DS arc (don't talk about it, don't talk about it, I need to make this another post of its own, damn it), I, personally, can't exactly follow how she ended up with that final epiphany from the circumstances she listed. But lucky for us, Crow apparently gets what she's driving at, because he quickly echoes her statement and they both conclude that Crow's kids also believe in the future and fight to live, that they're not sad about their lives the way they are right now, even though they don't have parents. Thus, Crow catches himself, echoing Aki's sentiment and telling Sherry that he, too, believes in the future. And through the power of Friendship and Believing in the Future, he manages to use Aki's cards to land the final hit, nicely mirroring how she used his to destroy Ecole de Zone.

...Phew. Okay, look. First off, that above, large section is basically several character beats stacked on top of one another. On Sherry's end, we have the intriguing fact that she's specifically trying to manipulate Crow, not Aki. In fact, she doesn't so much as try to sway Aki, as though she knows it's no use. Then, on Aki's end, we've got her pulling a real Yusei, staying level-headed almost the entire duel and reaching out to make sure Crow stays on track. This moment also ties back to her own conflict with her powers again. (Which, unfortunately, I will talk about, and yes, I'll be chewing drywall the entire time I do it.) Finally, on Crow's end, we've got a nice, proper moment where he doubts himself and, by his own admission, nearly makes a terrible mistake because he wants nothing more than for the kids he used to take care of to have good lives.

Now, before I go over what worked about this moment and what didn't, let me just chew through the rest of the actual duel itself, too, then circle back too highlight some things. In other words, time for me to chew some drywall.

*Sigh*

At the very end of the duel, there are two more character moments that are noteworthy.

First, right before the final hit, we get Sherry desperately defending herself against Aki and Crow's newly strengthened belief that the future can, in fact, still be saved, which she does by (rather heartbreakingly) asking what's so wrong about wanting her parents back, about wanting their love and warmth back. It's at this point that Crow's allowed to get back at Sherry by challenging her beliefs, telling her that people "work hard to live because they only get one chance at life", and that there's no point in trying to go back to do things differently, that the only way to keep going is to believe in the future, regardless of whatever painful and sad events one has had to live through. I'd say this sentiment certainly fits Crow, character-wise, especially given his rough Satellite background. It does partially fall flat because it feels a bit weird for him, specifically, to now be acting like he knows Sherry inside and out, much like she did with him earlier, but again, this is simply a matter of setup and I'll try not to belabour that point again. The horse is already dead, no sense in beating it. It's after this speech and the final attack that Sherry finally realises her error.

Buuut this leads us right into the next character moment. Because as the duel ends, Sould Binding Gate physically falls apart, pelting all three of our duel participants in debris and threatening to crush them under it. While everyone does briefly fall over (and Sherry gets a moment to realise that her father wanted her to live strong, not accept seemingly inevitable doom and die weak), they soon realise they were not, in fact, buried under rubble, though. Because guess what! Black Rose Dragon to the rescue. Black Rose Dragon, who can suddenly physically affect her surroundings again. You know, that thing we were led to believe Aki could no longer make her monsters do because she lost her powers completely out of nowhere. And there's more! Because not only does Black Rose Dragon take care of the debris for the trio, as she disappears, she also heals all three of them, and in response, Crow gets a line that I unfortunately cannot for the life of me discuss without bias because it kills me every time.

(Crow. Crow, please. You're killing me. I beg you.)

This line out of Crow's mouth feels extremely weird to me, and in the process of typing up this post, I've been trying to find the reason why. Here's the conclusion I've come to: Firstly, it feels a bit out of place from him, somehow. A line hypothesising about what psychic powers can or can't do—this is something I would have expected out of Aki's mouth, but not out of Crow's. I believe what makes it feel so out of place, though, isn't necessarily that it seems a bit odd for him, specifically, to theorise about this, but that when I hear it, I don't feel like the character is saying it. Instead, in this moment, moreso than in some others that suffer from the same issue, I hear not Crow, but the writers speaking. I hear them telling me "look, we know we made it seem like Aki's powers are super gone and like they were super, irredeemably bad, and like she and you should be happy that they're gone, but here, see, this is what they're really like. Don't you think we came up with something clever here, to set her becoming a doctor later up nicely? No, this isn't because we needed to backpedal on our decision to make her lose them and be happy about it at the last second, why do you ask?". And yes, I concede this might just be me. (So feel free to disregard this in terms of analysis, I just have some weird kind of vendetta against this line.) But still, even without my personal issues hampering me, this line of dialogue out of Crow's mouth is just plain odd. After all, how would he know what "real" psychic powers are? Since when is he the expert, especially considering we've never so much as seen him comment on Aki's powers before? (And for the record, this line would have seemed just as weird had any other character other than Aki said it imo. It just has that unmistakable "writers trying to justify something at the last second"-tang to me.)

And do not. Do Not get me started on the fact that the writers, despite going to such great pains to paint Aki's psychic powers as an exclusively negative thing especially during the WRGP arc, decide to reintroduce them here, suddenly as a good thing that can also heal people, which directly contradicts every choice they've made when it came to Aki's relationship to her powers ever since the Team Catastrophe duel. While crucially also lacking the one thing this entire duel is practically begging for: Fucking. Setup. But at this point, the handling of Aki's powers, specifically, really needs its own post, so I'll hold off on any further comments here and come back to that another time. I feel like I'm beginning to talk in circles, anyhow. Setup. Setup, setup, setup. This duel wishes it had it, because then the ideas presented here—which, in a vacuum, are compelling—might have worked smoothly.

But, with that. We have finally made it through the duel itself. Sherry, at the very end, gets her change of heart and at last cements herself as a good guy, and that concludes the first duel in the finale, and also both Aki and Crow's last duel in the entire show.

And good lord, was this duel all over the place. Though I think my meandering scene-by-scene breakdown of it showed as much. Now, onto the proper evaluation of what worked and what didn't here. First, let's get the good these two episodes do out of the way, shall we. (Because there is a lot of Bad I need to yell about, unfortunately.)

By virtue of being one of the final duels, this is Aki and Crow's last chance to shine, and shine, they do. Both in the duelling department and in the character department. Aki makes two major plays that upend Sherry's strategy and Crow's perfectly in sync with her, showing that the two truly are teammates, and paying off all the character moments they had specifically in the Team Unicorn to Team Catastrophe section of the WRGP. Their friendship and cooperation is believable and entertaining to watch. Then on the character side, Aki's growth is (somewhat) paid off—where she used to be a character that doubted herself and was afraid of hurting people, she is now the one who can keep a level head and help others fight their self-doubt. Meanwhile, Crow gets to show off his unfailing dedication to community and family again, both by watching out for Aki and by selflessly desiring not for himself to have a better life, but for the kids he used to take care of. And Sherry, who was previously removed from the narrative in such an unsatisfactory way, finally gets to duel again, gets to explain why she actually does what she does, and gets to join the heroes at the end, permanently joining the ranks of the good guys instead of the villains. Happy endings all around.

Ehem. And this is where I'm gonna be less nice about this duel. Because the problem is, due to the specific constellation of characters involved in this duel and how they previously interacted in the show, there's a lot of stuff here that doesn't work nearly as well on a second watch as a first watch would like to make you believe.

First, a broader issue on the card game end of things: The way this duel feels, it's very much more Aki's duel than Crow's, which is also kind of confirmed in the card plays being made. Though it's Crow who's first shown to catch onto the fact that a third party is activating additional card effects out of nowhere, it's Aki who fully solves the mystery, uses Crow's monster to synchro summon Black Rose Dragon, then activates her dragon's effect to get rid of the illusion for good. And while Crow gets to land the final hit, it's Aki's setup and her trap, Synchro Stream, that make it possible for him to win for both of them. And yet. On the dialogue- and character-interaction side of things, this duel is made out to be much more Crow's than Aki's. Because, perhaps surprisingly to some, Aki doesn't waver one bit in this duel. She's got her head in the game the entire time. She's here to do business—that business being defeating Sherry—and by god, does she do it. Moreover, unlike Crow, she has much, much better setup to be duelling Sherry than he does. And this comes right back around to the main thing this duel suffers from, which I've already harped on about: Crow and Sherry, up until this point, have not interacted in a way that would make the connection between them seem in any way significant. Unfortunately for this duel, though, Aki and Sherry have.

From the first episode where we're introduced to Sherry, she's shown to be interested in who Aki is and what she can do. During the duel between her and Yusei, she comments on Aki's powers. Later, when Aki is getting her turbo duelling license, Sherry watches on with interest. At some point while Aki's training, Sherry drops by to speak with her and Yusei again. My point here being, of course, that Aki, unlike Crow, got several scenes where she interacted with Sherry or had Sherry meaningfully take note of her existence before this point. Yet, whatever dynamic the writers may or may not have been aiming for between these two is, at best, underutilised in the final duel, if not completely ignored, at worst. Instead, the writers shift their focus to Crow and try to make us believe that Sherry, a character who has barely acknowledged his existence thus far, would know him well enough to consider him the better target for her attempt at manipulation. (And don't get me started on how the hell Z-ONE's weird robot magic is supposed to expose what Crow "desires deep in his psyche". That is simply a chasm the show expects us to suspend our disbelief over.) And look. The thing is, I don't think the Big Moment where Sherry tries to convince Crow to forfeit is terrible in isolation. Like, they could have made this work, had they given these two setup, had they given us, the audience, reason to believe Crow could be swayed like this (which they, notably, also didn't), and had they given us the impression that Sherry knows Crow well enough to pull something like this. What hurts the scene immensely, however, is that it's preceded by everything before, starting from the WRGP, where there is no setup between these two, no reason to believe Crow could be convinced to forfeit a duel against a major antagonist, and no meaningful interactions to support the belief that Sherry knows who Crow really is at all.

What also stands out to me is that Crow really doesn't feel like the best character to parallel Sherry, here, either. Parallel in the sense that she tries to get to him by expressing a desire she believes they both feel—getting a certain, nicer version of the past they never had back. Because the thing is, Sherry and Crow hardly feel like they have very much in common, and there's certainly no previous hints to make anyone believe they would have this in common. (So for all we know, Sherry could have just been taking a shot in the dark by trying to convince Crow.) You know who could have made for an excellent character to mirror Sherry, though? Yeah. The third person in the room during this scene. Aki.

See, here's the thing about these three as characters, in relation to what this scene tries to accomplish (getting a protagonist to waver by having the antagonist appeal to certain emotional similarities between them): While Crow may perhaps be more relatable to the audience, he isn't all that relatable to Sherry. He comes from dirt poor origins, she from rich ones. He doesn't even remember his parents, she defines herself by the memory of hers. She's a lone wolf, he's incredibly community-focussed. The only parallel you could have drawn between these two, up until this duel, is knowing what it feels like to want revenge. (Sherry with her parents, Crow with his kids back in the DS arc.) But guess what, unfortunately, Aki knows that too, what with her past as the Black Rose Witch and wanting to make people pay for ostracising her. And to make matters worse, she has a lot of other things going for her that parallel Sherry much, much better, too. They both come from well-off families, both have had major, traumatising events in their lives revolve around their parents, both left their initial family structure by way of drastic changes in their life, both are intimately familiar with the desire for vengeance, and, most damningly, Aki knows what it's like to stand on the side of the bad guys—like Sherry is doing in that very scene—because you feel like it's the only place that gives you hope/meaning. Not to speak of the fact that Aki, given her turbulent past with her psychic powers, would probably know exactly what it feels like to want a past you never had back. There would have been so much to work with there, and it makes whatever they were gunning for with Crow look... lacklustre, to put it mildly, by comparison.

The worst part is, I think, that the blame lies neither with the characters nor with the scene concept here. Solely with the execution. Because I truly think they could have made this work. They could have made the entire duel work, big character moments and all. But the keyword is and always has been setup. Setup, which the writers, at least in part, strangely gave to Aki, but not to Crow, which is what hurts particularly his portion of this duel, and, arguably, his character writing in general. Because—and this may be a small thing in the grand scheme of things, but permit me this—while Crow wanting a better future for the kids he used to take care of over a better future for himself feels perfectly on brand, the idea of him forfeiting a duel against a major antagonist, while the threat of the entire city being destroyed is hanging above his head... doesn't. Like, yes, I've talked about the fact that Crow is the only character in 5Ds who ever actually loses duels on purpose. What you may remember, though, is that both occasions we've seen him do this—against Lyndon and Yaeger, respectively—were much lower-stakes duels than this. Not to speak of the fact that it also feels a little odd that Crow, of all people, would buy into the idea that Z-ONE's genuinely powerful enough to just give those kids their parents back, given how liberally he called bullshit on pretty much any and all supernatural mumbo-jumbo claiming that fate is inevitable, or that the gods have this-and-that power, or what have you the entire show. (Also, doesn't he strike you as the guy who'd wonder why Z-ONE's not using his fancy powers for better things, if the extent of them is so great? Or is that just me?) It's a moment of character doubt that tries to sell itself as believable, even though we've never been given any hints that this kind of temptation, specifically, could work on Crow.

Ultimately, Crow & Aki VS Sherry feels like a very hot-and-cold duel. On the cardplay side, the teamwork between Aki and Crow is well done, yet the duel does feel like it skews more towards Aki than towards Crow. Sherry, meanwhile, plays tricky and mean like a proper antagonist, but does so at the expense of sacrificing all her previous tactics and monsters (and, arguably, some of her character, though this is probably on purpose, given her transformation into an antagonist). Then, on the character side, we've got Aki in an interestingly Yusei-ish role, which, while it feels like a good way to show how she's matured and learned, wastes her character dynamic with Sherry. On the other side, Crow and Sherry interact in several personal ways throughout the duel that leave you wondering when exactly these two got to know each other so well, because the show certainly didn't give us a visible progression of their dynamic. The only dynamic that leaves nothing to be desired is that between Aki and Crow (stilted speeches aside), because it excellently showcases their friendship and teamwork. Very weird decisions made in the writing here all around.

We'll get into the nitty-gritty of what changes I would have suggested to improve this duel below, but first: What happens after this duel? Well, two more Yusei gear duels, Aporia briefly standing up to Z-ONE, and then, the final, big clash between Yusei and Z-ONE.

Given that Crow isn't even present for two of these duels and then barely gets more to do than stand on the side and react during the final two, I will dare to skip all that, though. Because really, Crow's occasional comments and the play-by-play he sometimes joins the others in giving when spectating a duel don't exactly contribute anything to his character. They're just there so he gets something to do and doesn't fade into the background entirely when a duel that doesn't involve him is going on. This includes the moment where he, much like the other signers, gets to give Yusei Black-Winged Dragon for the final duel, as well as the later moment when Yusei uses it, chanting in tandem with Crow as BWD arrives. And other than that and the tear-jerking moment when he later reacts to Yusei returning despite all odds, he really doesn't get any noteworthy scenes.

In other words, we are skipping straight to the end. So, where do we find Crow there?

(Oh, y i k e s.)

There's a popular post circulating around this site that goes something like "the worst thing you can do to a character is make them a cop during a timeskip". And, look. I don't think I need to tell anyone that becoming a sector security officer is an extremely jarring character choice for Crow. Crow, of all people! The guy with the face full of markers, who used to be part of a duel gang, who was introduced in the show gleefully stealing from security Robin Hood-style, and who has every reason to despise law enforcement! (Leaving aside the obvious logistical issue that Crow in no country in the world could have completed his police training in the few months between the Ark Cradle debacle and this scene. But given that 5Ds generously brushes realistic concerns like this one aside on multiple occasions, this is, funnily enough, the thing I'm also more willing to overlook here. The character dissonance, however, less so.)

I'll try to be generous and guess that the writers were aiming to convey a message somewhere along the lines of "even someone who's done bad things in the past can become an example for others" or something like it. The problem is just that Crow didn't need any such message because he was already the good guy while he was still actively stealing from security. He was the lovable rogue to a T, damn it! But this, in particular, is a surface scratch hinting at a bigger issue, I think—namely, the issue of the show's complete pivot when it came to the depiction of law enforcement after the DS arc. Because when we think back to that part of 5Ds, good security officers were the exception, rather than the rule. And this is exactly what makes Crow of all characters becoming one even weirder. He would know, would remember how security used to treat him, his kids, his friends, his brothers. And if the idea here was that, well, he's trying to improve sector security by joining it and changing it from the inside, so to speak, then guess what was missing again: Our good, old friend setup. I'm starting to feel like a broken record. So yeah, I don't think a ton of people, whether they like or hate Crow, would disagree that this is a supremely weird position to put his character in.

As we find out through 5Ds' epilogue, however, his sector security job isn't quite what Crow actually wants, though. (And thank god, because that would have been such a bizarre position to leave him in.) Instead, we're shown fairly quickly that several duelling leagues are apparently trying to scout Crow out, and that he's tempted to accept one of the offers and go into pro duelling. This is at first shown in a short scene where something like a league scout follows Crow, then later, when the whole group—sans Jack, at first—is getting together and everyone starts discussing their futures. Aside from complaining a bit about his job and upsetting Aki without meaning to, Crow doesn't get much to do here, either. For what it's worth, at least him feeling tempted to ditch the security job feels more in line with the original Crow we got than with whatever strange twist the writers were going for after this shorter timeskip.

What follows is the very last duel of the show, the long-awaited Yusei VS Jack rematch, of course. And while he doesn't get to participate in this one, Crow, much like Aki and the twins, spectates the duel and ends up having an epiphany about what he wants to do. This epiphany ends up being that he does want to turn to pro duelling, and as a reasoning, canon provides us with this:

(As is known, intense card games are the only way to make children smile.)

Personally, I wouldn't say this is a terrible or out of character reason for Crow to decide to go pro. But there's more to that I'd like to discuss. First, though, let's take a quick look at where we find Crow after the second, bigger timeskip, which is inserted right in the middle of Yusei and Jack's final duel.

(Okay, yeah, I'm a sucker for the bullet earrings.)

The quick scene Crow gets here makes it unmistakably clear that he did go into pro duelling, just like he decided during the duel in the past, and not only that, he went into tag-team duelling and apparently managed to reach world champion status with his teammates. The above scene, however, is the exact same moment he decides to leave said team, so he can instead go solo and (presumably) try to beat Jack.

Now, we can discuss this in a bit more detail. Personally, I'm extremely in two minds about Crow being one of three characters, total, who ends up becoming a pro duellist after canon. Jack seems obvious, especially given the pivot back to his more Fortune Cup-esque persona the writers did around the Red Nova episodes. Rua also makes sense, given that Jack was his idol from the start. Crow, though, feels a little more complicated. The thing is, like so many things surrounding Crow in the Ark Cradle arc, the writers gave us no indication pro duelling is something he's really passionate about before this point. Worse, they didn't even really tell us what reason he saw to participate in the WRGP with his brothers beyond "could be fun". So there isn't really a connection here. The same thing goes for the fact that he specifically talks about teaching his teammates above, which is also something he wasn't associated with all that much previously. Though this one is admittedly less egregious, because at least Crow was seen briefly coaching Aki as she prepared to take his spot during the Unicorn duel. Still, while I wouldn't go as far as saying it's an out of character choice for Crow to go pro, it still feels a little odd that he went down the same route as Jack. Personally speaking, it feels like the writers didn't quite know what to do with him. Because as I said, Jack is obvious and Rua also makes sense, and I'd say the same goes for Yusei. Then there's Ruka, who is treated about as in-depth in the epilogue as she was throughout canon, and Aki, whose "setup" for her timeskip self was done extremely hasty and last-minute, but at least it was there. Between all of them, Crow occupies a weird spot where it doesn't so much feel like he ended up on the wrong trajectory for his life, as it simply feels like there were choices the writers could have made that would have fit him much better. What with his theme of legacy and community, trying to make Pearson's dream of a place where disenfranchised children can learn good life skills a reality would have been a good fit, for example. Especially considering his close ties to the Satellite orphans he used to take care of, which, funnily enough, are reinforced one more time as canon flips back to present day and Crow is seen bidding his kids goodbye.

("Come back"? When, precisely? And what part about "literally saved the world twice" doesn't qualify you as a hero to a bunch of kids ten times over already?)

Considering canon seems hellbent on making sure we know the signers went their separate ways and that they aren't anywhere near each other by the very end of the show, though, my guess is that Crow had to end up doing something like pro duelling, in order to get him out of New Domino City and away from the friend group whose shenanigans we were so accustomed to following by that point. Of course, there's also the argument to be made that Crow staying in NDC and getting a more community-focussed ending would have also been significantly less cool than making him a kickass pro duellist with bullet earrings, which circles back to how the writing interacts with its target audience.

The only thing that follows after this, then, is the big goodbye, and with that, ladies, gentlemen, and other lovely 5ds nerds, we have successfully followed bird boy's path throughout the entire show. And what a ride it was. (I did not think this analysis would end up stretching over a whole four posts.) Time for some closing thoughts before I do my thing and suggest some rewrites that could have made all this feel more coherent one more time.

Crow's character arc, if it can even be called that, feels about as hot and cold as his and Aki's final duel with Sherry over the course of the show. His introduction is fast-paced, he's made to be likable quickly, and his integration into the main protagonist group is as quick as everything else about his narrative. Between the way he shows up out of nowhere, briefly disappears without fanfare, and is then reintroduced with even more importance before slipping into the signer group like he's always been there, it truly feels like his entire inclusion in the narrative was a last-minute decision by the writers to include that one, additional character concept Kazuki Takahashi had originally created after all. If there was one way to describe his whole arc, it would be that it's a rush. At the start, the writers are in a hurry to make him likable, then they're in a hurry to make him a signer, then they're in a hurry to give us a whole backstory for him, then they're in a hurry to give him a believable character dynamic with Aki, and at the end, they're in a hurry to pay off a character dynamic with Sherry they didn't properly set up with him. You may notice that leaves significant gaps, and the lack of balance between those gaps and the rushes surrounding them, I believe, are part of why he's such a polarising character.

Crow is integrated so thoroughly into the signer group at the end of the DS arc that, much like Aki and the twins, he gets stuck in the position of being a character that cannot simply be removed from the narrative for a longer amount of time. And this, I think, ends up biting him in the ass, because in the gaps where the writers don't rush to do something big with him, it often feels like they don't quite know what to do with him at all. So, he instead gets relegated to small side tasks, like inane duels that don't affect the plot, or becomes the person who reacts to unfolding situations in whatever manner wouldn't fit Yusei or Jack. He feels like he's the third portion of the protagonist trifecta only in theory—the status of an equal third player seems to be what the writers had in mind, yet, looking at the show, it feels like an honorary title, at best, because the writing choices made for him don't convey anywhere near the same amount of thought and effort as those of Yusei and Jack. Crow's backstory doesn't intersect significantly with that of his brothers, his dragon is introduced way too late and never given an upgrade, he never gets to clash with Iliaster until the Team New World duel, and throughout the entire WRGP and Ark Cradle arc, there isn't a single duelling victory that's solely his. People who prefer other characters over Crow like to harp on about how much screentime he gets; I argue that this is exactly what showcases how poorly the writers took care of him in many instances. For as much as Crow is plastered onto the screen and given the aesthetics of an equal player in a protagonist trio, his many appearances are as much of a curse as they are a gift, because too many of them aren't spent setting up anything meaningful or developing his character in any way. Speaking of character development: There is none. Crow exits the show pretty much exactly the same as he entered it, brief security stint aside. And, look, this need not necesarily be a bad thing. Static characters exist and they have their place in stories. It's just that in Crow's case, his utter lack of development feels like another damning indicator of the writers' cluelessness when it came to utilising him, given his weird, sort-of-elevated-protagonist. Aki, who is so often weighed against him, gets significantly more development than he does. And though Jack also ends up in almost the same place at the end of the show as he was at the start, at least he had a dip in the middle where his character was somewhat malleable and not set in stone. Crow didn't.

What we end up with, then, is a character whose concept is perfectly fine on paper, but whose execution proceeded to turn him into the one and only favourite for some, and the embodiment of piss poor writing for others. Having now looked at pretty much his entire run in the show with a bloody microscope, I end up somewhere in the middle, myself. He's a good character and much of his writing is confusing at best, utter dogshit at worst. As for what decisions in the writing room led to him turning out like this, I'd still pay good money to know them. For what it's worth, I've tried my very best to make an educated guess as to all of them.

And now, for the final time, allow me to do my very best to suggest how the issues of the Ark Cradle arc could have been addressed in order to make Crow's part in it less messy.

In previous posts, I've split up my rewrite suggestions depending on one circumstance: Whether or not Crow stays a signer. However, this time, I will deliberately forgo this, for one, very simple reason—Crow's status as a signer doesn't matter one bit for the Ark Cradle arc. Regardless of whether he has a mark or not, his duel with Sherry remains unaffected, and so does his later timeskip-self. Thus, pick your favourite, both versions work for the Ark Cradle.

Now. Onto the elephant vengeful Frenchwoman in the room. Let me repeat my favourite word in this post one more time. What the dynamic between Crow and Sherry needed, more than anything else, in order to satisfyingly be paid off during their Ark Cradle duel, was setup. There was so much time Crow spent on screen doing fuck all, and some of that time could have so easily been allocated to him interacting with Sherry in a meaningful manner. (I'm side-eyeing especially his pre-WRGP duels. Those did nothing to add to his character and could have easily been replaced with episodes where he actually gets to talk to Sherry one on one.) And if not that, then the writers could at least have done themselves the favour of letting Aki talk to Crow about Sherry, which would have arguably set up their three-way clash even better. Moreover, show us how the hell these two characters parallel each other and how they differ, damn it! The main issue with the big moment Sherry and Crow had in the duel was that Crow's faltering and his sudden, deep understanding of Sherry came completely out of nowhere. So what if they had shown some of that earlier, then? What if they had shown where the lmits of Crow's resolve lie, what could get him to doubt himself? What if they had drawn the parallel of Sherry and Crow both supposedly being characters that sometimes wistfully think about a past they never had earlier? It would have done so much to make that duel hit exactly the way it was probably meant to. As a bonus, if we had gotten Aki and Crow talking about Sherry, too, the scene of talking Sherry out of helping Z-ONE could have been a team effort, just like their card playing was. Both of them would have reasons to know different aspects of Sherry each, and both could have brought up good arguments. And this is really all this duel woild have needed to be better on the story end, I think: A solid, narrative foundation to make it obvious to us why it has to be these three characters duelling, why it could have only been this setup, why it made the most sense to let these three bounce off each other. Crow only needs that extra step to slot in better with the girls here.

As for the epilogue, I don't think anyone will be surprised to read that I would have never made Crow a cop, not even temporarily. The depiction of law enforcement 5Ds gives us during the DS arc is too damning for that. However, given the way the ending is structured, he does need some sort of occupation that feels like it's not quite the right thing so he can later change his mind about it, of course. Here, though, is where I, purely in service of Crow's character, would suggest a change that probably doesn't work with the ending's final aim of separating the 5Ds gang by hundreds of kilometres each. I would let Crow go into pro duelling first, then let him figure out that's not what he actually wanted. Crow, to me, is a character who is so intrinsically tied to community and family that turning him into a solitary pro duellist—even if he claims to do it to make the kids back home smile—feels off to me. Thus, from a character standpoint, I would let him pivot back to wanting to take care of those kids. Either through what I suggested above, letting him carry on Pearson's dream, or, which also feels fitting to me, by letting him help out Martha again and setting him up as the guy who'll take over when she can no longer run the orphanage. It's not the cool, glamorous end the show gave him, but it's what feels more like the family-focussed guy we first met in the show. It doesn't gel with the idea of permanently separating him from the other signers, though, unfortunately. To do something like that while keeping his community theme, one would probably have to send him away to shack up with Brave or something, to help orphans in other countries. But this, I think, nicely showcases the dissonance between what Crow's character writing would suggest he might do at the end, and what the show demanded he needed to do so he'd no longer be close to the others. Because my focus, as always, is only on character here. And Crow, with his personality and his writing, feels like the character who chafes the most against the idea of striking out solo, abandoning his ties to the community he was so invested in previously. To that extent, the above suggestion is the best I can provide with what we were canonically given. If we wanted to keep the canon ending he gets and actually make it make sense why he suddenly wants to be a lone wolf pro, the only thing I could suggest would be more setup for that. (Ah, there it is again. One final time.) Show Crow having some actual competitive drive, show him enjoying the whole tournament thing more than he thought he would during the WRGP. Just give us something that shows why he would want to go down this path, and why some other things that were previously important to him might not be a priority anymore. It all comes back to setup.

*Deep breath*

So, here we are, then, and this is it. This is all I could make of Crow's character writing in the entire show. To everyone who read this post in its entirety, a heartfelt thank you. To everyone who read the whole series of posts in its entirety, I'm so glad you're as insane about this show as I am, it makes me feel incredibly appreciated. Hope you enjoyed the ride, more meta posts will come eventually, just about different topics. In the meantime, see ya.

[paintingraves]

House in season 6 kills me. He's really doing better, and he's off the Vicodin, and he's seeing a therapist, and he's moving forward by quitting because he knows that that's what he has to do to keep this momentum going.

He finds himself a new passion, he keeps connecting with people, he tries to put his old, miserable life behind one step at a time - and then suddenly you hear "And yet my leg hurts". It hurts because cooking isn't enough of a distraction, because cooking can't change the fact that the guy has half his thighs muscles missing - a literal hole in his leg - and all they gave him to handle his pain was ibuprofen. He is surrounded by doctors, and he is one himself, and yet they're all failing him when it comes to giving him a proper, thought-out pain management plan, as you do with chronic pain patients.

Yes, I know it's a series, I know they needed excuses and arguments and reasons to keep the plot moving forward and the series running for a few more seasons. Who would want to see House outside of PPTH, happy (or at least marginally less miserable) and pain-free, working as a researcher like he wanted - offering the occasional consult for a diagnosis but keeping his distance with his old life? It could work, but then the series wouldn't be called House MD anymore. It would, however, have been more hopeful, more realistic, and it could have spared us the slow descent back into misery that were the latter seasons.

It's just very frustrating to see someone on screen really try to make an effort and turn his life around for the better, in spite of how scary that may be, only to be knocked down by everyone around him - and by life - again and again.

[floweroflaurelin]

wait you said you did an animatic on your main blog! is that for traffic series’s, is it posted here?

Oh right yes I was meaning to mention this here!! Thank you ahaha

Okay so YES! I did do an animatic, it’s for Empires SMP! No it’s not posted here yet because I am kind of unsure about what do with it… Let me explain.

Over the summer I had to do a big project for school, and it was entirely self-directed with no supervision. That meant it had to be about something I’m Really Passionate About to make sure that it would actually get done. So naturally I chose Empires! I got in touch with Pixlriffs and got his permission to use his audio for a school project (he said yes, thank you Pix <3) and then, audio in hand, went nuts and roughly storyboarded out 8min of an animatic in a single night.

When getting the project approved I told the professor, “hi I am going to do an 8 minute full colour animatic in two months while taking a full course load of classes” and he said

So the plan became to begrudgingly take a 2-3 minute excerpt of the audio and just do that for the class. And I did! And it slapped!! Full colour, rendered paintings you know and love from floweroflaurelin, except they’re moving a little bit. And Pixlriffs is there talking.

I figured at the time that once the semester was over I would paint the other 6 minutes of the animatic on my own time!! How hard could that be, right?? Except Things Kept Happening With School, and once it was over I was moving to a new place and getting sick and Tango’s desk mat took priority, and suddenly it’s over a month later with Do Those Other Six Minutes still on my to-do list.

The real kicker was that one of the Things That Happened With School resulted in me not getting feedback on the project—the teacher wasn’t able to really look at it. I got a grade, but a series of ridiculous circumstances meant that all that work was only briefly glanced at and a grade hastily entered, which was frustrating and resulted in me resenting the project a bit, since I worked hard on something I loved and it got no appreciation at all.

I’d love to share it with people who would appreciate it, which is to say, other fans!! But the thing is—as much as I want it to be Done the way I intended when I storyboarded it out initially, I won’t have the time to paint those six minutes any time soon: Huevember is in a couple weeks, and that’s a big commitment! But in my mind it’s not a complete project unless it’s a Complete Project. So I’ll put the question to you:

So yeah let me know! I’m still pretty busy but either way I want to revisit the animatic, either to paint more frames or to get it prepped for posting (something I’m not sure how to do yet).

(Also good news about Things Happening With School: I graduated yesterday!! Bachelors degree with honours, baby! Maybe now that school is behind me I can turn a new page where that project gets shared 😆)

[anthony-crowleys-left-nut]

this may not be how everyone else feels (which i respect), but i personally feel like since louis "killed" lestat, lestat saved his life, then lestat spent over 70 years sulking pathetically in his self-imposed timeout, if louis wants to call it even atp who am i to judge? how would i handle that? i don't know. but if that's where louis is at then i say let him be there. but maybe that's the loustat shipper in me lol. i'll admit i have a preexisting bias from the books and the movie.

[roseofhybrids]

was gonna write this in the tags, but it got way too long for that, so

short answer: If we're going purely off of the cannon material we've seen in the series I have to say too ambiguous to answer

long answer:

on one hand she did a lot of bad things, abuse, murder, siding with robo-satan

but on the other, we never got the chance to see what she would choose to do when truly free to make her own choices through the series, she's either under control of the Elliots or the solver. Which severely limits just how in control she can be of her own choices. Would standing up for your "boss and coworkers" against people and entities bent on abusing and killing them be the right thing to do? Definitely, but it's also a fast way to get yourself and them killed this isn't meant as a justification of any of her actions, just an explanation of why she'd choose them

and we don't get the chance to see if she'd continue choosing to act the way she did in the series after the solver gets defeated

take N and V for example they also did a lot of murder of both humans and drones while working for the solver. While V didn't physically hurt N, as far as we know, she still did mistreat him. You can argue that it was to a lesser extent than what J did, but even if it wasn't as bad, it still wasn't good either All three of them were made to do horrific things while working under the absolute solver. But we only get to see how N and V change when free from that

N's change is pretty quick He didn't remember the solver at the time of the pilot, so he didn't have to consider the possible consequences of going against an eldritch space demon that has already eliminated at least 1 planet

V on the other hand did remember and as a result takes longer to change In episodes 2 and 3 we see she's still intent on killing the worker drones and tries to convince N to do the same. She asks him to stop looking into the solver and goes to the prom planning to kill everyone there. V can remember the deal she made with the solver, and she knows it's out there. She can't start slacking off just because J is gone, it could show up at any point and there would be consequences for both her and N In episode 4 we see this fear first hand. V sees Uzi is getting taken over by the solver and attempts to kill her. She justifies this to N by saying that if they do their jobs, that thing (the solver) will leave them alone. She is killing in order to protect herself and N from the solver

This is the exact same justification J gives to V in the finale. She justifies siding with the absolute solver because she believes there's no way to escape or defeat it. There's no escape even in death, so it's pointless to disobey it. Had J come back sooner and had a similar encounter with V in episode 2 or 3, maybe even 4. It's possible that V would have agreed with J back then

But when they do fight in episode 8, V now believes it's possible to overcome the solver and as a result rejects J's offer to join the "winning team". Cementing her evolution to a heroic character

J on the other hand has not had the chance to have that growth. While N and V had the chance to be free from the solver for a while. J spent that entire time by its side. J isn't free from it till CYN's core is destroyed

so, would J choose to better herself now that there's no obligation to please a violent master that will kill her for stepping out of line?

well we can't say for sure we can speculate, of course. There's certainly signs and evidence that she has the capacity for it, but we can't see if that change takes place. If it happens, it happens post canon

I personally believe she could if given enough time and the room to atone by the other drones.

But she could just as easily be rejected by the other drones and be left alone to stew and grow resentful

Maybe they try to let her in, but she ends up being unwilling to change and instead isolates herself. Be it because of ego or a fear of diverting from the life she's lived for so many years

How J turns out after the credits roll is left to interpretation. It's hard to call her bad when we take her situation into account and see the potential for growth. But it's also hard to call her good when we don't know for sure what happens

Rb and all that jazz

[harpuiaa]

i've been dead and gone bc of school and jobsearching and everything happening all at once but ive been playing the boktai series games lately and i'm enjoying it a lot. I just got past the third boss in boktai 2. I don't know why but i'm enthralled with these games, i highly recommend them

[casualavocados]

Gun leaving stage, singing to Tinn in the crowd, then dragging him onstage during Rock & Star 💖🌟

     🎶 on a night with shining stars you will see me here for you only      i have no fear as long as you trust me 🎶

MY SCHOOL PRESIDENT, ep12 BONUS: