#basically just the pacing's kinda weird and there's a bit too much dialogue

[doedipus]

New momodora is pretty good but it's starting to give me a blister from holding down r2 to sprint all the damn time

[kylesvariouslistsandstuff]

John Musker recently spoke of his final years at Walt Disney Animation Studios, and on directing MOANA under the stewardship of John Lasseter. There's some stuff worth noting in here...

To start off, he kinda repeated the words Bob Iger said when evaluating Disney's 2023 movie releases that didn't do very well at the box office, in describing what's not working with WDAS' most recent films. Namely the box office bombs STRANGE WORLD and WISH...

We weren’t trying to be woke, although I understand the criticism. The classic Disney films didn’t start out trying to have a message. They wanted you to get involved in the characters and the story and the world, and I think that’s still the heart of it. You don’t have to exclude agendas, but you have to first create characters who you sympathize with and who are compelling. I think they need to do a course correction a bit in terms of putting the message secondary, behind entertainment and compelling story and engaging characters.

The key takeaway here is "you don't have to exclude agendas".

While I found Iger's similar statements to be confounding and toothless, seemingly catering to all the angry assholes on YouTube who call everything "woke" and think about Brie Larson 24/7/365... What John is saying is a very basic thing about storytelling, in that it's character first.

That being said, I personally don't feel the problem with WDAS' recent movies is that the messaging is front-and-center. I think that so-called messaging, like some of the character work, feels like an afterthought too. Specifically in STRANGE WORLD and WISH, not so much ENCANTO. But it is instead the rushed and hurried pacing of their over-crammed stories, the sort-of plainness of the presentations, weird dialogue choices (throughout my first viewing of WISH, I kept saying "Who talks like this?"), kinda reheated old hat tricks. It sometimes feels like the films made under CCO Jennifer Lee's watch are just trying to recapture FROZEN in some way or another... Without understanding why that film ticked with audiences and where the overall zeitgeist was in late 2013/early-to-mid 2014.

Also... Messaging. I'm not taking Musker to task specifically, because I know what he means in his words... But when others say it: All art is either political or about something, anyways. Choosing NOT to say anything is still saying something, it's still a political act to bow out or to be indifferent. Every Disney animated movie is about something, and they are indeed the works of their creators, so that means that their views on life and the world are somehow within the stories themselves. "Message" in this context, to me, reduces a work of art to a mere statement, like an after-school special or something. John and Ron Clements' Disney animated movies simply knew how to mix the themes with the character work, the storytelling, the worlds they put together, etc. You can't tell me with a straight face that something like THE LITTLE MERMAID, ALADDIN, or MOANA aren't about something or aren't political in any way, shape, or form. Especially the first of those three examples. The spirit of Howard Ashman would have a word with you if you think otherwise.

John also points out that the Lasseter years, which a lot of people online alarmingly pine for, weren't these amazing halcyon days. And this statement only confirmed the rumors I had heard about MOANA's production, how both John and Ron Clements were warded off on various things during its making:

MOANA was a very difficult project. It was our idea, but with Pixar and John Lasseter, our story kept changing hands. In the ’90s, we had Jeffrey [Katzenberg]. He was an emperor, you know. But there weren’t 10 Jeffreys. Now, you have too many people to satisfy, before we didn’t have 15 directors telling you how to make the movie. But in some ways, they were right, it was a good thing.

I feel like John's being very balanced in his words, finding the positives of that kind of environment while still calling out the not-great stuff. I love to hear these stories in former directors/animators' own words, and what the Lasseter and Lee regimes have been like. I feel that there are potentially fantastic movies buried in STRANGE WORLD and WISH, the former I rather liked still and the latter I found a fairly pleasant diversion.

I feel the fault lies in the execution, not so much the concepts, themes, or ideas. While some pockets of animation fandom online strongly feel that that earlier iteration of WISH with a younger version of Asha's grandpa being some kinda Star Boy would've been automatically better than the released film, to me it's down to the storytelling itself. Like, I think Asha, the silly goat, and the cute star thing could've been a fun trio and the movie itself a pretty fantasy flick, but it doesn't really get there. The Human-Star WISH, if made, could've also suffered from the same writing problems and similarly underwhelming songs.

STRANGE WORLD could've been this really dynamic sci-fi pulp adventure with a funny and super-enjoyable bickering family at its core, with the environmental themes intact... but it's mostly just kinda there in its execution, the characters kinda flat, the dialogue is forced a lot of the time, the dramatic beats aren't properly built up, and the film's editing makes it feel like it had been thrown into a dicer. There doesn't seem to be the hand and personality of the directors/filmmaking team, it's almost like a template is set for them. And they fill in the blanks and eke out as much personality as they can. See, I don't get that out of Pixar's recent films, all of which feel much more director-driven. And ARE about something, too, whether explicitly political or not. This current iteration of WDAS would not have made a movie like LUCA or TURNING RED.

For the forseeable future, it's sequels to favorites from last decade, who knows how those will be executed. Maybe an original or two sneaks in, I don't know, but I wonder if Lee and the leadership themselves looked at the response to WISH, STRANGE WORLD, et al. and are figuring things out. Or staying the course. But it isn't just people online saying it, nor critics. More than one Disney veteran is saying it... WDAS is in a bit of a rough spot at the moment. The solution isn't as simple as "they need to have romances and villains again" nor "they need to be less left-leaning", to me it's really... Let the filmmakers try something cool, even if it doesn't land. If it doesn't land, it'll be a cult classic thereafter. Live-action directors get to mess up all the time and make these 45%-scoring-on-RT released-by-A24 movies that later get hailed as auteur classics... Why do some animated movies have to live up to this weird nonexistent standard?

Back to Musker... In addition to this, John still expresses interest in adapting the DISCWORLD book MORT, from Terry Pratchett. He and Ron tried to get that going at Disney Animation after finishing THE PRINCESS AND THE FROG, but it didn't pan out, so the pitch that morphed into MOANA happened thereafter. He feels it's a tough sell in today's "risk-averse" environment... Though somehow, the DISCWORLD book THE AMAZING MAURICE AND HIS EDUCATED RATS recently happened as an animated feature. The interview seems to confirm that METAL MEN, the DC animated adaptation that he and Ron were heading up at Warner Animation, isn't a thing anymore. John's new thing is his self-made short I'M HIP, so hopefully that circulates somewhere we can all see it.

[cyandreamz]

Just finished case 5 of SOJ (will be starting the DLC case soon though idk how long that'll take cuz I do be a slow gamer :P) and honestly I am surprised to say I like SOJ a lot more than DD!

More thoughts under cut

I'm surprised because the first case I HATED, it almost turned me off finishing the game! But than I loved the second case (would be S tier if Phoenix wasn't a shit Dad!). 3rd case I found to be overwhelming and too long but, really liked the ending and Maya is still a super cool character, she has grown but, in ways that make sense imo. 4th case I loved Simon's dialogue with Athena and Nayuta but found it to be super mid, I felt completely indifferent to the case itself and it's characters. 5th case was a LOT and felt like a two for one deal but, even though it was so loooooong it was very nice, I loved how it wrapped up the story, the fun Edgeworth and pearl fan service (I guess they both affect the plot but they both felt like they were only there for fans, I don't care cuz I'm fans and they're my faves!), and where it leaves Apollo off I quite enjoyed!

I also loved the new story characters, Rayfa and Nayuta are both so fun and, I was surprised by how much I also ended up liking Datz, Dhurke and especially Ga'ran! Not my favourite aa antagonist (that's Morgan Fey fun fact) but, she's definitely a fun villain and horrible person, she's basically a better Manfred (compared to his appearance in aa1, yet to play aai1-2 plz no spoilers for those) because unlike him she is the law! Until she wasn't because she can't sprit channel lol.

Plus new models! Phoenix and Trucy look so much better, shame that Apollo and Miles still look... weird :/

Though I do definitely have strong points of dislike. For one, the overall story is very "look guys our legal system is so good and perfect, because this fictional country has a ridiculously dystopian legal system that can only be saved if they do what we do!" and look, I expect all aa games to have a stance on law I disagree with (as I don't respect the law at all) but, it was frustrating enough to see Phoenix and Miles being like "our legal system was perfect... before the dark age of the law" in DD, when I don't feel like they'd think that? (Also how did the dark age of law not start with how Edgeworth v state ended when all it took for it to start was a lawyer forging evidence and a procecutor being accused of murder? Though this rant is unlrelated to SOJ... sorry) but they really lean into not just those two but EVERYONE thinking American (Japan in original version of course) has a perfect legal system and I really dislike that (especially since it kinda goes against AA4's message).

Also this game pacing was so weird, like case 1, way too long! Why did I have to talk to white Jesus for so long!? I know he's the killer! Case 2, perfect imo. case 3 too long again! Case 4, kinda short??? Case 5... long is an understatement -_-. Only reason I don't completely hate this is because it's better than DD as that game felt like it dragged on and oooooon (to be clear I don't hate DD! Though it is my least favourite of the aa games and found every case but the DLC case to be mid, DLC case I did enjoy quite a bit and glad I played it 3rd and not last like many recommend :D).

Also fuck insight, I'm sorry but I just hate it.

[yoroshiu]

Translating a Scene From Kingdom Hearts  (Japanese to English) (Part 1)

NOTE: I’ve been studying Japanese for a couple of years but I’m far from fluent. I wanted to practice reading/writing/comprehension by doing this. I can’t guarantee that these are accurate translations so I’m more than happy to hear any corrections/advice from people who know better. This is just for fun and self-study, but also because I love seeing differences between localizations. I also have barely any experience when it comes to posting on Tumblr so I apologize if this formatting just looks weird. I’m thinking about doing this for more scenes and I have specific ones in mind but I’m down to try any other ones.

Scene: Sora and Yozora (KH3 Limit Cut) (Before the fight)

Sora: This place... [lit: Here] 

S: (I) didn't disappear at least...

S: Heyyyyyy! Is no one there!?! Heyyyyyy!

Yozora: Hey! Hey!

S: Someone's there.

Y: Where (are you)?

S: (Over) here!

Y: I'm here.

S: Huh? You’re —?

Y: You know me?

S: Yeah, you’re Yozora right/aren’t you?

Y: Why/How do you know me? Who are you?

S: I’m Sora! Ah, right, there’s something I need to ask you.

Y: Sora...You’re Sora?

S: Eh? You know of me?

Y: Yeah, I’ve heard of you.

S:  If you're here, this can't be the real world? But I've hear about you from that girl...then, you really exist in reality?

Y:  What are you saying? Surely, this isn't the real world and I'm real. This isn't how I originally was [looked]. Why/How did you recognize me as Yozora?

S: Eh?

Y: Why are you calling yourself Sora?

S: Why...It's my name...

Y: If you're really Sora, and it was fate that I met you here...as I thought, you're like that*... (this is where he pulls out his gun crossbow)

S: Eeh??

(setting turns to Quadratum)

S: Eh? Eeeeh?!?

Y:  (I) got lost in this mysterious place, and went through some trials. And, I was told to save* Sora.

S: Huh?!? (You're) pointing that at me for such a thing!

Y: Let's end this

~ ~ ~

Additional Notes:

1* In JPN the phrase is:「やっぱり、おまえ がそうなんだな」I remember overthinking this quite a bit. In ENG, Yozora says “My path is clear” but for JPN, this sort of phrase seems to be confirming how he had thought Sora would be as a person, or more what someone has told him about Sora. It’s not a big deal in the grander scale of things, it doesn’t reveal anything big, but I thought it was interesting. At least, from my understanding of it...

2* The word Yozora uses for ‘save’ here is 救え (sukue) which is the ‘salvation’ kind of save rather than 助けて (tasukete) which I’d say is more of a ‘help’ kind of save. I feel most people who’ve watched anime or seen a good amount of Japanese media probably have run into tasukete more, though correct me if I’m wrong!

- I don’t think there’s any notable differences (content-wise) between JPN and ENG here, mostly wording differences. 

- In ENG, Yozora says "Are you done?" in place to JPN's "What are you talking about/What are you saying?" which is amusing to me due to the different vibes.

- I wonder if some of the pacing issues people tend to have with ENG, have to do with the fact that English doesn’t exactly have the same kinds of sounds for certain things like JPN does. When I listen to JPN, dialogue feels faster while for ENG, I’ve heard/read complaints about conversations feeling slow or drawn out. In the case of this conversation, when Sora says “Ah, right”, in JPN he says 「そうそう」(sou sou). This also doesn’t contribute much to a grander scale of things but I find this idea fun to explore.

Basically, I think about this stuff too much. If you’ve read this far, thank you for reading this kinda unnecessary post! 

[lunatic-fandom-space]

Elisabeth von Österreich (1931) [Elisabeth of Austria]

Alright, Im not gonna lie, I didnt like this one very much

One of the big things that prevented me from really getting into this film was the audio. The volume was all over the place, especially in the beginning, with normal dialogue being way too quiet and stuff like a general (?) at the start yelling being way too loud, and it seemed like a lot of the dialogue was dubbed in, to the point where I thought that maybe they had to redub it years later in order to restore it or something, but the wikipedia page doesnt mention it so Im guessing it was just a consequence of sound being a very new thing in film at that point. There were also issues where I felt like they cut the audio weirdly. Like, during a lot of the silent moments you can hear some background noise that I guess the mics picked up on set, and whenever theres a longer silence they just completely cut that out so its dead-silent and it was very jarring when they went from that back to the dialogue. And it was kinda weird how there was basically no background music or score, but again, this was one of the earliest movies with sound, and it didnt take me out of the story too much, it was just something I noticed, so its not a big deal.

I also thought the pacing and editing were very strange; the movie as a whole had a very slow pace, as is typical for older films, and the editing usually matched that but then there were parts that were cut so sporadically, it was so weird. There were also parts that felt like comedy smashcuts. Like, there was this one bit where Rudolf talks to Mary after theyve been together for a while and after he's been engaged to Stephanie. He gives her a ring, she says something in disbelief (i dont remember what) and he says something to the effect of "And guess what else I did!" and then BAM! smashcut to Franz Joseph talking to the pope being like "He did WHAT??" talking about Rudolf requesting a divorce behind his back, or however you would say that in english. Honestly, this movie had a very weird tone, but I'll get into a bit later, for now I want to talk more about the pacing of the story in general, instead of just the pacing from scene-to-scene, because that also wasnt very good

It felt very meandering and aimless and really dragged on after a while, and Im not just saying that because it was slow compared to more modern movies and had a different story structure than Im used to. I know old movies tend to be slow and I admit that I dont have the longest attention span, but Ive seen a few films from the 1920s-30s and found some of them pretty engaging before so its not just that. I think its the fact that theres no real throughline, its just a series of vignettes that dont feel connected by much more than the fact that they all star the same few characters. Theres no theme or really a point other than portraying Elisabeth's life from shortly before the birth of Rudolf up to her death, and I dont think that was executed very well. One thing that particularly bothered me was how the story would just jump ahead several years or months with basically no visual indication that any time had passed. Like, okay, let me briefly describe to you four scenes that mostly happen one after another towards the beginning of the movie:

Elisabeth is at a concert/dance performance-type thing and starts feeling faint so she leaves the room and her servants tell her to go to bed

A doctor is in Elisabeth's room when Franz Joseph comes in, he tells him that she's pregnant and needs the most rest, leaves, then we see Franz Joseph and Elisabeth be excited about their new child

Sometime after Rudolf is born, Elisabeth is still resting in bed and asks one of her servants to bring him to her, she tells her that he's gone and with Sophie which upsets her. Then Franz Joseph comes up to her and asks her why shes so upset and they argue for a bit

A bunch of business men have an audience with Franz Joseph to tell him that business has been getting worse because the empress hasnt been in Vienna for years and ask him to get her to come back, to which hes just like "sorry, the doctor prescribed her some time in the mountains, theres nothing I can do"

like huh??? And then shortly after that we already see Rudolf as a grown adult with absolutely no transition! I swear, its like a worse version of the second act of Elisabeth das Musical

Speaking of Rudolf, I felt like he took up an awful lot of screen time in this film called "Elisabeth of Austria". And I dont think I would have minded it if his storyline was executed in an interesting way, but it wasnt. I thought it was very shallow and honestly, if I didnt know the historical context I would've found the scene where he commits suicide extremely confusing. As it stands, I just think it was badly executed. Like, he goes to (what I assume to be) his house in Mayerling where a bunch of his friends are having fun, theres music and women and alcohol, Mary is waiting for him in another room, he excuses himself to go to her, tells her about how his request for a divorce didnt come through and that theres only one option for them now, then we cut to this extended bit of all the men getting more and more jovial (I think some of them start singing) and then theres two shots from the other room and everything goes quiet for a long moment before they go to check on them and find them dead. Idk, it doesnt sound that bad when I just lay it out like that, but I dont think its as impactful as it should have been on its own, and also just didnt have the necessary buildup to make it impactful

This ties in really well into another complaint I have, which is that none of main characters (Elisabeth, Franz Joseph, Rudolf) felt fleshed out. They were so shallow and their interactions with eachother were very stiff which really didnt help, although granted, that might just be because its an old movie about monarchs from the late 19th century, so that could just be a case of there being different social conventions at play than Im used to. In any case, Elisabeth was probably the strongest character, I thought she had some good interactions with her ladies-in-waiting and I thought her scenes with Rudolf were sweet and I enjoyed them, even though I wouldve liked their relationship to be less straightforwardly good and a bit more complicated. I will say though, despite thinking that Elisabeth is the best written character, I found it weird how the very beginning of the film makes her seem naive and out-of-touch with her empresshood as though she only recently got married to Franz Joseph, but then they later establish that this is only a while before Rudolf's birth, so she's been at this for some time. I mean, she even says, during that argument with Franz Joseph after Sophie took Rudolf, "Ive gotten used to being in a golden cage by now"

Speaking of the beginning, remember how I said that the movie had kindof a weird tone but that I was gonna talk about it in detail later? Later is now.

The first 10 (or maybe 20, I didnt have a good sense of time watching this) minutes act as essentially an introduction to Elisabeth (and to a lesser extend Franz Joseph and Sophie, who basically disappears after this timeslot) and theyre so much sillier and more light-hearted than the rest of the film. Like, from these first few minutes I thought this was basically going to be a kind of proto-version of the Sissi-trilogy in terms of tone, but instead it was..... whatever it actually was. Honestly, now that Im actually trying to write about my issues with the tone of this movie, Im struggling to really describe what those are. Maybe its the fact that it didnt really make me feel anything other than like, "interested" i guess; it was an interesting watch because it was made in a completely different time and you notice that no matter what you focus on, the cinematography, the sets, the acting, the way the imperial monarchy is presented, but I just could not get genuinely invested, which made the emotional moments pretty much all fall flat, and I think thats the main reason why the tone was so strange to me.

Although to be fair, there was one emotional moment that I thought was good, and by one moment I mean two moments that I unfortunately only half-like.

Moment One was Elisabeth being told of Rudolf's suicide. While all the stuff at Mayerling happens and one of the guys there gets sent off to deliver the news of Rudolf's death to his family, shes sitting in her room being read poetry by her lady-in-waiting. The messenger tells the news to the guards stationed in front of Elisabeth's door, then we see one of the guards enter her room and theres a beat and then we just hear Elisabeth's anguished crying while the guard and her lady-in-waiting leave and the camera never leaves this hallway in front of her room, I think its very strong. Or, I thought it was very strong, because it seems that had mixed up the two women and Elisabeth was actually the one who left the room and I guess her lady-in-waiting was the one who cried ? Idk man, this is a black and white movie where most of the characters dress kindof similarly and the version that I watched didnt have the best image quality, so despite my best efforts and despite the fact that I did not look at my phone once during my whole watchthrough (which is something I have difficulties with) I kept mixing up characters. In hindsight, that definitely contributed a lot to my struggling to get invested

But anyway, Moment Two actually comes right after the first one. The reason Elisabeth left her room was to tell Franz Joseph right away. He's working at his desk and kind of dismissively asks her something to the effect of "huh, how come youre up so early?" when she comes in and Elisabeth doesnt acknowledge it at all, she just tells him but you can tell that she's struggling to even say the words and trying so hard not to completely break down, I think her actress, Lil Dagover, was really strong here. I just wish we couldve actually seen her face and the emotions on her face and didnt just have to hear them in her voice, because most of this scene consists of this closeup of Franz Joseph dropping a pen or a cigarette and then clenching his hand and then burying his head in his hands and crying, and its just like come onnnnnnnn, show me Elisabeth's face! This is her movie and I do NOT care about Franz Joseph!!

Whatever. I was just about to wrap it up because this review is getting long and Ive spent hours writing it already, but I just remembered something that I actually wanted to bring up while talking about tonal issues but then briefly forgot about, and I cant figure out how to organically add it to that section of the post, so Im just tacking it on at the end. Atleast its not completely out-of-place since Im gonna talk about the end of the film, which seems like a fitting end to this review.

Obviously its Elisabeth with her lady-in-waiting in Geneva, about to board the ship when she suddenly gets stabbed. Elisabeth falls to the ground while her lady-in-waiting freaks out a bit, but she just stands back up and brushes it off ?? And like, her lady-in-waiting more or less stops being concerned as well after Elisabeth says shes fine, they just walk towards the ship at a leisurely stroll like nothing even happened. Like, did she not actually get stabbed? is she not actively bleeding out?? And this is intercut with this whole crowd of people swarming around the guy who stabbed her and theyre yelling at him, but theyre yelling like "thief!" and not "murderer!" for some reason?? Elisabeth does start to sway while she's boarding the ship and the other passengers notice, but theyre not like "holy shit, she's bleeding out!" theyre just like "oh, she looks sick" huh??? So then she collapses and they bring her to the ship doctor and they do give her a bandage to cover her unacknowledged wound with, its very strange.

And then she properly dies, this is actually another moment that I find quite effective. The doctor tries to speak to her but she's already delirious and mutters some unintelligable nonsense, getting increasingly quieter until she's silent, then we get this shot of the back of her head as she slowly lifts her head to look backwards directly into the camera. I thought she was gonna have some poignant last words here, but she just goes stiff and then the doctor closes her eyes. Right after I watched it, I thought this last shot was unsettling in a horrorstory kind of way and found it inappropriate, but after thinking about it more and replaying it in my head a few times, I actually found it unsettling in a way that I feel is appropriate for a depiction of a person dying and pretty effective.

So yeah, all in all, while this movie certainly isnt the worst thing Ive ever seen, it does get a big thumbs down from me 👎

Before you go, heres two small, kinda stupid things that I couldnt fit anywhere else but didnt want to not mention:

For that concert/dance performance-thing they put Elisabeth in that white dress with the flowers (or stars?) in her hair from that one really iconic painting, and it looks bad. Or, well, it doesnt look bad in a vacuum, but I think its a bad recreation of a very gorgeous dress. I expect that most of the Sissi-movies will feature that dress at some and I'll be sure to pay close attention to how good it looks there too

The scene where Rudolf gives Mary a ring takes place in what appears to be his bedroom and his bed is just standing right in the middle with two bigass lamps next to it, why would you do that

[lovely-v]

LOTR (films) Review

So I finally watched the LOTR films (20 years later). I’m super excited to review these because I read the books very recently so I feel at least a little prepared to voice some opinions. Overall I loved the films, here’s a very long (but by no means exhaustive) compilation of my thoughts, which are of course, totally subjective:

(Warning: a lot of me saying “well, actually, in the book...”)

THINGS I LIKED

- Casting! not much to say here, I thought the casting was great. One of my favorite actors that I didn’t think i’d have a huge opinion on was David Wenham as Faramir. I was kinda ambivalent on him when I saw pictures but i thought he did a great job. he showed his quality.

- Music. so much has been said about the films on the music front. I can’t offer too much original insight but when a bit of the Shire theme started to play as Frodo tries to make his way up Mount Doom I cried a little.

- Boromir and Aragorn. I liked the scene where they interact a little in Rivendell. I also like how Aragorn saves Boromir in the Moria battle and gives him this little nod of friendship. I think the films did a great job portraying the dynamic they have where Aragorn is clearly suspicious of Boromir’s motivations but grows to respect him to the point where he doesn’t even blame Boromir for being corrupted by the ring because he understands that, at heart, Boromir is a good person. 

- Sam and Frodo in Osgiliath. I expected to be kind of annoyed with the way this plot point played out (I knew ahead of time that it strayed from the book), but I actually liked it a lot. As I’ll say later, there’s some gripes I have with the way the films extremely play up the disagreements between Frodo and Sam, but I loved the scene where Frodo pulls the sword on Sam and then seems so defeated when he realizes what he’s done. I was pleasantly surprised by how emotional this scene made me. It’s admittedly A Lot, but it was done nicely, especially in conjunction with Sam’s “there’s good in this world” speech.

- Treatment of the ending. I almost think I should dislike the ending as it is in the movies, but my heart is soft and I like that they sugarcoated it a bit. I know the whole point of the Scouring of the Shire and Frodo’s depression conveys a lot about war and trauma and I think that is important, but after watching these things for twelve hours I just wanted Frodo & co. to be happy and I was kinda relieved that they cut the Scouring. Does that make me weak and perhaps bad at film analysis? yes. do I care? no. I was also very glad that the movies didn’t portray how depressed Sam was about losing Frodo in the end. Yes, he cries, but when he walks home to his family he seems happy and in the books that scene came off so much bleaker. I definitely liked the lighter tone.

THINGS I WAS NEUTRAL ON/DIDN’T LIKE

- Arwen. (Neutral) I don’t hate her, I don’t love her. I think the story she and Aragorn have is compelling and I 100% get why the filmmakers decided to add it to give her character more depth, but it felt misplaced at times. maybe it’s just because it was the only storyline I didn’t know in depth, but the scenes with the Arwen/Aragorn flashbacks felt a bit confusing and disorienting. Don’t have anything against Arwen as a character though, I think she’s pretty alright.

- Gimli. (Complicated thoughts) I want to start off by saying I don’t dislike Gimli. I like him a lot! I just think the movies did him a bit dirty. He had some good movie-exclusive moments, but I think his character really fell into this place of being the butt of too many jokes. Would have liked to see some more serious Gimli development, especially with his relationship to Legolas. Their friendship felt too much like subtext here, whereas it’s explored far more in the books.

- Two Towers Pacing. (Didn’t really like). The pacing of TTT was...weird. maybe I’m going into this with a closed mind because of the books, but it was odd to have the movie begin with Frodo and Sam and then have them only appear for a few rapid scenes after that. I think the fact that a WHOLE LOT of what happens to Frodo and Sam in TTT is moved to RotK is what makes it feel that way? In the books, Two Towers ends with Sam discovering that Frodo isn’t dead from Shelob’s sting, and I was surprised by how long it took the movies to get to that part. However, I will give the films a little leeway because I think they needed Frodo & Sam content for RotK, since most of what happens in that book is them walking through Mordor basically starving and dying. Doesn’t make for great cinema I guess, so they had to put the whole Shelob/Cirith Ungol saga into the final film. Still, I think there’s a weird lack of Frodo and Sam’s presence in TTT.

- The go home/missing bread arc. (Full of rage abt this one) yeah. so. my criticism of this is gonna sound pretty tired because people complain and complain about this part of RotK. but I’m gonna complain some more!! I don’t think the split between Frodo and Sam does anything for the plot. I really don’t. I guess it emphasizes the fact that Sam doesn’t understand how much Frodo is projecting onto Gollum, but it’s just. unnecessary angst? They had enough angst in the Osgiliath scene! Which I actually liked! And it simply doesn’t make a lot of sense for Frodo to suspect Sam of eating the bread when Sam had already offered Frodo his own food and made it clear that he would very much starve if it meant making sure Frodo could eat. But what I hate most about this scene is not that Frodo gets mad and tells Sam to go home. No. It’s that Sam actually... thinks about doing that? he actually? goes down the staircase? emotionally this is bad because Sam clearly cared enough about Frodo to follow him this far, to nearly drown for him, so why would he leave now. Practically this is bad because 1. how would Sam get out of Mordor alone and 2. where would he go. He turns around almost immediately, yes, but what was his plan. where was he going. why.

THINGS I LOVED

- For Frodo! This line, and every other shoutout to Frodo. In the books, they didn’t really actively talk about/worry about Frodo (and Sam) as much as they do in the movies. I like that they talk about Frodo more in the movies! I like that they’re thinking about him! I know it was implied that they were in the books, but I really like how it’s shown here. I think it gave a more complete picture of how much they all care about him on a personal level in addition to just needing him to succeed from a pragmatic standpoint. 

- Merry and Pippin! I feel like Merry and Pippin were so well rounded in the films. I’ve heard criticism about them being turned into comic relief characters (which they always were a little bit) but it honestly didn’t feel that way to me. They had a bit of a rough start because the films didn’t make their motives for going with Frodo as deep as the books did, but I think that by TTT they were absolutely amazing characters in every scene. In RotK their respective arcs hit really well and the scene where Pippin is singing to Denethor? *chef’s kiss* poetic. beautiful. sad. idk man I just feel like I have such a newfound appreciation for Merry and Pippin.

- Parallels! people have pointed out the parallel of Frodo and Sam’s hands before (drowning scene/mount doom scene) and I love how the movie did that. Just stunning. Also! The moving of the Smeagol & Deagol scene to RotK surprised me because in the books it was like,,,at the beginning of Fellowship, but I think the placement of it in the movies really helped emphasize the similarities between Smeagol & Deagol and Frodo & Sam (and how much Frodo fears this similarity.) There were a lot of other well done parallels between storylines and a few bits of dialogue that were repeated with great timing, but I can’t remember all of them at the moment.  

Edit: here’s one I remembered! when Frodo wakes up after being rescued and sees Gandalf, he says Gandalf’s name in a very similar tone to the one he used at the very beginning of Fellowship. It was a nice little subtle connection.

- I can’t carry it for you...alright this is self-indulgent. everyone knows I love this line. I’m just so glad it made it into the movie intact. Sean Astin’s delivery was amazing. I cheered. My mom cheered. It’s a raw line and it makes me feel secret emotions...like if shrimp colors were feelings. that line makes me feel shrimp feelings. idk i’m so tired i just watched twelve hours of movies this review is decreasing in quality by the minute but i’m about done for now anyway

Various silly afterthoughts

- I would have liked to see Sam kiss Frodo’s hands at least once. This happens 50 thousand times in the books, they could have given me one scene. one little extended edition scene. Please Peter Jackson I’m dyin’ out here

- They literally made Gollum so hateable. kinda the point yes, but I was so on board with Sam’s murderous rage. I know why Gollum’s a profoundly complex character, I know why Frodo pities him, I know why murder is bad, but I too would throw hands with that creature. also he literally body shamed Sam so much what was that skdjksdjksd. Sam is lovely. let him commit a small homicide. 

- the scene where merry and pippin drink the tall boy juice (as someone once referred to it in the tags of one of my posts)... not accurate to the books (since they don’t ever drink it with the end goal of getting tall) but so accurate to life. if I found some water that made me taller than my friends? let me at it

- Frodo panicking when he falls into the spider webs. so real bestie. i felt just as panicked watching that. i am terrified of spiders and Elijah Wood did an amazing job doing exactly what i’d do in the situation. yelping a lot and falling down.

- I feel like it’s never stated that Sam’s a gardener (or at least that he’s specifically Frodo’s gardener) until he tells Faramir he is. Did I miss this. Or do they really never say.  are you just meant to know. are you just meant to pick up gardener vibes from him.

*

This has been a very chaotic lotr movie review. Thanks for reading.

[deeranger]

Fic Writer Questions!

@oddsocksandstuff tagged me in this, thank you so much, sweetie!  ❤️

 1) How many works do you have on AO3? I’ve got 40 so far (of which 25 are SPN fics). There’s more to come! 

2) What’s your total AO3 word count? 486,667, apparently. That tells me each of my fics has an average wordcount of 12,166.675… Seems about right. I was never any good at keeping things short.

3) How many fandoms have you written for and what are they? Uhh… On AO3 I’ve written for Supernatural, Supernatural RPF, X-men (Cherik) and McFassy (James McAvoy/Michael Fassbender). But I’ve written a lot when I was younger that has never made it online, including NCIS, Pirates of the Caribbean, and lots of weird one-shorts starring everyone from Michael J. Fox to Kevin Sorbo from “Hercules: The Legendary Journeys”. 🤨  

4) What are your top 5 fics by kudos? “A Lesson to be Taught” – an SPN Wincest pwp fic where a dominant Dean fucks (and spanks) Sam and they discover that Dean apparently has a daddy!kink. Comes with a photo manipulation too! There be dick.    

“Taking Game” – a semi-dark medieval Cherik (Charles Xavier/Erik Lehnsherr from X-men) AU. Basically, Charles is a poacher hunting on king Erik’s land to his great dismay. And so, he’s captured and gets the choice between losing his life or serving the king for a bit… Dubcon and smut ensues.   “Only Like This” – a little SPN Wincest dub-con fic about hopelessly pining Dean doping Sam just so he can touch and kiss his oblivious little brother. It’s okay. Sam won’t remember when he comes to.   “It’s Only Carnal” – A dark SPN Wincest noncon fic where soulless!Sam needs to blow off some steam. And when it comes to carnal activities his brother isn’t exactly a novice – so why not use Dean’s body to make them both feel good?   “Demonized” – a long and dark af SPN noncon fic written in collaboration with the awesome @palishere. Sam is captured by some nasty demons who use him to lure in his brother. At first it seems the demonic scumbags are just really perverted and have a weakness for sexual torture, but they turn out to have ulterior motives…  

5) Do you respond to comments, why or why not? Yes, always. I think it can be a bit demotivating for a reader to leave a comment and get zero response – and so, they might not bother to comment on the next fic. At least, that’s how I feel personally. And besides, I really want to let readers know that I appreciate them taking the time and effort to actually tell me what they think.  

6) What’s the fic you’ve written with the angstiest ending? Oufff… Seriously? How can I possibly pick just one when 99.8 percent of my fics are not only dark af but have gut-wrenching ambiguous endings as well? I, err… I’m gonna have to think really hard about this one, hold on… *Insert buzzing cicada sound*… Uhh… Well, I guess it might be… “Play or Pay” – a dark female!reader-insert Wincest fic where demon!Dean has you and Sam trapped somewhere underground. Sam ends up being on the receiving end of the demon’s cruelty when he tries to save you. Using Dean’s body the demon ends up raping Sam while the reader tries to escape to get help... There’s a little twist in the end. Loads of dead dove here, including death (not Dean or Sam).     “The Orange Hour” – where undercover inmate!Dean has to rape CO!Sam in order to save both of their lives and get them out of the jail in one piece. It doesn’t go completely as planned. (Comes with an nsfw photo manipulation).  “Demonized” – loads of bottom!Sam torture, full of hurt and absolutely no comfort... It’s just… I dunno, I think I and @palishere had a collective meltdown in the noncon and angst department. Sorrynotsorry.      

8) Do you write crossovers? If so what is the craziest one you’ve written? Nope, I’ve never in my life written a crossover. Usually, I’m too laser-focused on 1 obsession at a time. I can’t multitask, okay?   

9) Have you ever received hate on a fic? Yes, the fandom purity police has visited me on AO3. The usual self-proclaimed know-it-alls vomiting their bullshit all over the comment section about how “problematic” noncon is and how “sick” I must be. I thought about moderating comments for a while, actually – but I just deleted their follow-up comments until they left me alone. 😤

10) Do you write smut? If so what kind? Yes!! Gimme! Usually, I write noncon smut or just good ol’ pwps that feature some sort of dominance. That’s it. That’s my jam. In general, the only smut I don’t write is the cute, fluffy, feel-good, cuddly stuff… My smut’s usually pretty rough and/or some sort of dub/noncon.

11) Have you ever had a fic stolen? Yes. Someone stole “It’s Only Carnal” and posted it as her own on some Portuguese fanfiction site. She even replied to comments, answered questions and talked about how much she loved writing it, etc… Luckily a sweet mutual on Tumblr let me know about it and I reported her for plagiarism. The stolen fic was taken down shortly after and the account deleted. Goddamn thief. 😡  

12) Have you ever had a fic translated? Yes. Honestly, I can’t remember which fic(s). But people have contacted me on AO3 and asked for permission to translate my stuff into Chinese. I have - of course - happily allowed them to. It’s such an awesome compliment to get, I think!  

13) Have you ever co-written a fic before? Yes, 2. “Demonized” and the fluffy Ficfacers prompt fic “The Masks We Wear” starring Sam and Dean taking their pranks a step too far. Basically, the brothers get angry with each other and they need to talk it out… No smut in this one, can you believe it?!! But that was kinda the prompt we received. The prompt was literally: “Sam and fluff”. Anyways, both fics are co-written with the lovely @palishere. You can find her AO3 here. 😊

14) What’s your all time favorite ship? Wincest!!! Definitely. Gimme all the brotherfucking, please. No contest. And coming in on second place I guess there’s Samifer – never paired consensually, though. I just love Lucifer messing with Sam’s head and torturing him in all kinds of cruel ways.    

15) What’s a WIP that you want to finish but don’t think you ever will? Oh, that’s a mean question… I have a noncon WIP where Sam and Dean are in prison. I wrote a whole story outline, gathered my own little dictionary of prison slang, etc… But I never made it past page 10 or something. Sam was supposed to get jumped by a gang of inmates and then Dean was supposed to helplessly watch from the sideline, offering to trade places if they’d just leave his little brother alone… And after that it’s all about a mix of healing and vengeance… But the story has been lying on the shelf for more than a year and I doubt I’ll ever continue it. Oh, wait! I almost forgot – I have a long Cherik WIP sequel to “To Have and to Hold”! Just checked, its wordcount is 18,729! Holy crap…. What a waste, huh? But I honestly don’t think I’ll ever finish it, because I’m not into Cherik anymore. That ship has kinda sunk for me…. So, now I’m hyperfixating on Supernatural, yeah?     

16) What are your writing strengths? Description, I think. I just love details and setting the mood. I like to think I’m pretty good at writing in English too even though it isn’t my native language… I wish to be better and expand my vocabulary but I’m doing okay nonetheless.

17) What are your writing weaknesses? Description, I think. Yes, you read correctly. I often describe things TOO much. Sometimes to the extent where the pacing gets so slowed down that I feel like the scene loses its ‘feel’. I don’t know if it’s just in my head, but that’s my major concern about my writing. That and my signature ambiguous endings, lol.

18) What are your thoughts on writing dialogue in other languages in a fic? Love it. It can be difficult to pull off, but if you get it right it can be magical. Just don’t overdo it and make sure that the reader can follow. I don’t think I have any fics online where I do it, but I’m not a complete stranger to it either.

19) What was the first fandom you wrote for? Ack, my poor brain trying to go back to when I was friggin’ 13… You know how many years ago that was?! 25!!! Okay!? *Huffs*…. Anyway, I THINK it might’ve been Keanu Reeves’ character in “Johnny Mnemonic”. Or maybe David James Elliott’s character as Harmon Rabb in the early seasons of “JAG”. I dunno. Either way this question makes me feel really old and I don’t appreciate it. Don’t @ me. 😅   

20) What’s your favorite fic you’ve written? That’s probably a tie between “The Orange Hour” and “It’s Only Carnal”. They’ve both got nice pacing and that’s my biggest challenge, I think. Also, I love the whole Morse code thing in “The Orange Hour”. I don’t even know what happened or how I came up with it, but hey, I can surprise myself if I want to, I guess! And of course there’s the smutty noncon and all of the hurt… So, those two fics are my personal faves. 😏  

I’ll tag @jackandthesoulmates, @pinkoptics, @palishere, @wrenseroticlibrary, @decadent-prince, @negans-lucille-tblr, @juinae and @impala-dreamer and everyone else who feels like doing it! Feel free to ignore, of course. 

[something-very-special]

Call Her Back

Probably already a post with this title from the Let’s Play but it’s appropriate.

Thoughts on Replicant up to Ending A (and change):

This game is pretty. I guess it didn’t really hit me because I’ve always thought that the original NIER was pretty, but this game can be very pretty.

This in particular just kind of struck me as I was going across the Northern Plains. It had been dominantly gray, overcast skies up to that point because Part II of the game is meant to be. You know. Bleak. But I walked out onto a bright, sunny day with an expanse of blues skies, the mountains in the backgrounds, the ivy a burst of green growing up the rusted sides of the train tracks and it just kind of hit me that the game can be very pretty.

(Then I got punched out by a Shade.)

It’s definitely not a matter of massive graphical overhaul. The models look much better (getting a good look at the Twins during the finale, they really are beautiful) and I’m sure the environmental poly count is much higher and just overall smoother, and there are little touches here and there and just the capacity for better atmospheric lighting... I mean it all helps. But NIER is a game that’s always had fantastic art direction, making the most out of its budget through atmospheric tuning. There’s something uniquely beautiful about its muted palette and the way it uses its spaces that elevates it beyond the its actual technical limitations. It doesn’t look like an end-of-generation PS4 game, but that’s not an insult; it looks very much like itself from ten years ago, with its solid art direction, but touched up where it matters.

Does the sidequest grind seem... better...? I haven’t really dug into the BEST part of the game (spending 30 hours grinding out weapon upgrades) but I mentioned before my theory about how the sidequest grind is supposed to be carried out across multiple playthroughs and that’s why it sucks. To my surprise I finished Ending A missing only one sidequest (your friend and mine, Life in the Sands), with all of the other ones being more or less... pretty natural? The only thing I really needed to go out of my way for was Memory Alloy but all the other components didn’t really give me the kind of grief I remember from my playthroughs of the original. ‘Grief’ of course being relative to getting the platinum trophy, but my first time through the game I gave up finishing a few outstanding sidequests (specifically, fixing the lighthouse broke me-- I could not find 10 Mysterious Switches!)

Maybe I just got lucky, especially with the Machine Oils. Maybe some weird muscle memory kicked in. I feel like there were a few purchasing options that weren’t open originally, too, to ameliorate some of the grind, but it might also be a case of those options being cost-prohibitive so I just didn’t really acknowledge them... whatever the case the sidequest grind felt overall pretty painless. I dunno!

I really need to know how to manipulate events. For literally seven playthroughs straight of the latter half of the game I always did the keystone quest as Junk Heap (start) - Forest of Myth - Junk Heap (end) - Facade - Aerie. It wasn’t until I did a run with my college roommates and Popola gave me the Aerie letter before the Facade in invite that I realized the Aerie wasn’t actually programmed to be the last event.

Absolutely blew my mind, and ever since I became aware of it, it feels like the game goes out of its way to make sure the Aerie always comes before Facade. When I did my Let’s Play of NIER I kept a save file from the start of the kystone collection so I could re-do the events in case they went ‘out of order’ (according to my headcanon)... which they did. I replayed the latter half of the game again in order to get things the way I wanted them to be, same order, and fortunately it cooperated the second time, but I still don’t understand what the trigger is, if there’s a way to manipulate it, or when the determination is even made.

And then they throw the Little Mermaid into the mix, which I wasn’t expecting (that is, I knew it was added, but I’ve been mostly avoiding spoilers -- and happily, the changes have largely been a delight, I’m so excited for the subsequent playthroughs -- but the way it was posted about made it seem like it would happen after and apart from the keystone quest. Not so, my friends).

The reason for this is just the emotional escalation of each factor of the quest. The Forest of Myth is weird and little else (at this juncture, of course). The Junk Heap is a personal tragedy, but the actual tragedy has already occurred and you’re just experiencing the fallout. Facade is a powerful and personal tragedy that deserves to be experienced later on. The Aerie is a terrible place and nobody misses it it’s an enormous loss and profoundly traumatic for the party, and it feels like the appropriate apex to basically force them to go to the Castle and finish the fight, having already lost far too much.

Also it’s just super weird to me that they see that devastation, they literally wipe an entire settlement off the map, and then the next day everybody’s super excited to go to a wedding.

It also becomes even weirder that you go to Popola post-Aerie and nobody mentions ‘yeah that didn’t go so well’ but coming out of Seafront they have a legitimate conversation about the loss of the ferryman and the people they’re never getting back. I guess that guy had a personality but I still think maybe somebody should mention the smoking crater where people used to be.

Then again it’s legitimately funny to me how basically everybody is just agreed the world is better off without it.

This might also just be an issue of familiarity. Maybe if I’d always ended on Facade, or actually known that they could be swapped out as they are, it wouldn’t feel so weird. I definitely got used to the pacing with the Aerie at the end and I feel like I got into a debate with somebody about how it’s more appropriate for Facade to come last so this might just be a personal thing. But it’s still a personal thing and I’m still vaguely irritated I can’t figure out how it works.

Anyway I blew up the Aerie So that’s that problem taken care of.

I feel like the ambiance surrounding Wendy was a little creepier this time. I swear I heard that good stock creepy child laughter in the background.

Then the ferryman left This was a nice bit of foreshadowing; following the Aerie events I wanted to hop over to Seafront to take care of an extant sidequest only to find the ferry dock in the Northern Plains empty. I thought that maybe this was just a weird way of railroading you to make sure you went through the Village first, even though there were no scenes that would trigger just by being in the Village.

Alas.

Not gonna lie, when the couple was first introduced I thought for SURE it was going to be the wife who wound up dead. I guess it’s because the guy had a purpose as an NPC so yeah, I was tricked. Good design decision; the ferryman is talkative and bright and definitely difficult to forget and even though he was kinda obnoxious there’s a definite void where his dialogue was. It’s clever too that you’re forced to use the ferry at least once so you can’t escape the dialogue that you’re presented with, meaning that even if you don’t really make use of the ferry you’ll always have that contrast between him at the start of Part II and the other guy (his brother, maybe?) taking over the job and just not really talking to you afterward.

Episode Mermaid First of all, to be clear, I’ve not done the Route B playthrough yet. All I know about the Little Mermaid is what’s presented on the surface, what can be gleaned from there, what I remember reading in the Grimoire NieR short story. This is very much just an impression and reaction to the first encounter and it’s pretty cool.

I like that they managed to go into yet another genre style aping a point-and-click adventure.

I like the atmosphere of the wrecked ship. It really brought me back to the ‘ghost ship’ level archetype with its little hints of spookiness.

I appreciate that it ties subtly in to the Haunted Manor (technically the Part I Seafront dungeon) with Weiss’ utterly irrational fear of ghosts.

I love every excuse they find to get Kaine and Emil (and especially Kaine) out of a situation. It’s almost a running gag that Kaine keeps getting knocked out of dungeons and boss fights. None of them are quite as great as her getting Rules Lawyer’d in the Barren Temple, but there’s something delightful about “Let’s get you some fresh air, we’ll be right outside, be careful!” and then bookending it with Kaine and Emil just chilling at the end like “Well yeah there are a lot of holes in the hull we just popped in.”

(I forgot to go backward to see what happens if you try to take them into Seafront proper, gotta remember that next time.)

Interesting thing when you find some of the dropped apples is that Nier and Weiss talk about the dinner they had with the couple. This was actually a really sweet and oddly emotional conclusion to the added sidequest between the bickering couple-- entirely missable. I would assume the dialogue just doesn’t trigger if you didn’t do the quest but it was a nice touch.

I appreciate the use of dead bodies in the hold.

(That’s a sentence.)

But for the game’s focus on violence and excess of blood it’s very selective in how it uses actual corpses. Any time you see a dead body it really emphasizes the seriousness of the situation. The corpses in the hold and the blood spatter -- especially compared to how bright and clean Seafront as a whole is -- was surprisingly effective. Again, just good atmospheric buildup.

Bit of an anticlimax as a boss, though. It is a really cool boss, between the environmental buildup to the fight and then actually unveiling her, but for how big and scary she is the fight itself went by fairly quick, and the actual finale (the postman whacking her hand telling her to go away she’s groooooss) felt a bit weird in comparison to the way the boss fights in the rest of the game usually play out. Of course, I don’t have context of her dialogue (I can take my guesses, her holding out her hand to Hans as he freaks out and attacks her is already a palpable tragedy) and by the way the scene was framed I suspect the Route B reveal is where the most important part of the scenario lies.

And the seals came back! It’s the little things.

“I wish I was Fyra.” So in the original Replicant the conversation between Emil and Nier before Sech’s wedding was apparently an implication that Emil had a crush on Nier and wanted to marry him. It was ambiguous enough that people had to ask for clarification and some players interpreted it as a weird, childish expression of looking up to and respecting Brother Nier. It was clarified in the Grimoire NieR that Emil is gay and crushing hard on Brother Nier, and this line of dialogue here seems to have been... not made explicit, but changed even between RepliCant and ver. 1.22 to make the implication a little clearer, at least insofar as he isn’t interested in girls. (It winds up missing the implication that he’s into Nier specifically, though.)

...which is funny, because it colors his introduction to the King of Facade somewhat differently. These two meeting is honestly really sweet on a few levels (Sechs recognizing him from Nier’s descriptions, which implies that Nier’s been visiting Sechs regularly and so proud of his interactions with Emil he told the king of another nation all about him, and the King is legit excited to meet him) but then a couple of minutes later Emil is all ‘I’m so jealous of Fyra’. He isn’t crushing on Nier, but he is totally crushing on Sechs.

Endgame At this point in the game the distinction between Brother and Father has become mostly lost and the final charge is pretty much the same as

wait what’s up with the music in the Lost Shrine? This is Snow in Summer.

Or an arrangement thereof. That particular track level from Snow in Summer winds up getting used in a few new places and it has this kind of weird, vague sense of dread that makes it work pretty well. Utterly threw me off in the Lost Shrine, though (I think it’s appropriate given its connection to the Shadowlord/Gestalt Nier so slowly re-introducing it in the climb is pretty cool). It also builds insanely as you climb, which is a very cool effect but, um, I’m just here to pick up some sidequest items right now this feels like a little much.

There isn’t much to say regarding any impact or differences in the large part of this area of the game. It’s a good final dungeon, it carries good momentum, it works as well as it ever did (that is to say, rather well). The emotional beats are great and translate equally well between the protagonists, although I have to give the nod to Papa Nier during a lot of this just for the imagery of such a big, powerful man becoming so broken the further he goes in (and Kaine being strong enough to toss him around like a rag doll anyway).

The final flashback with Nier and Yonah also feels better with Papa Nier. I always read it as, of course, Papa Nier having his moment with Yonah, giving her the flower, and as he lays back down Yonah does the same big sigh like she’s trying to emulate her dad and it’s really sweet. This is another one of those moments where it’s not something that feels wrong in Replicant, but just having that comparison in the back of my head is something that I just can’t help.

Is Papa Nier still Best Neir? Yes.

But there’s room in my heart for Brother. I’m glad the bizarre marketing decision happened and both of these characters can exist.

...and then we reload the save. Okay, okay, so-- so here’s the thing-- I figured that’s a good place to conclude a session, right? Get to the ending, prepare for the next run. But I also know that Route B starts with Kaine’s unskippable novel segments. I’ve read them, of course, so I figure I’ll just reload into Route B so I can make a save after the novel sections, really get into the meat of Route B when I’m fresh.

So skim through those--

Beat up the Knave--

Skim through the rest--

Educated Warrior... didn’t pop...?--

Wait what’s this camera angle--

Why am I outs--

oh my god

oh my god

KAINE AND EMIL HAVING GIGGLY GIRL TALK AROUND THE CAMPFIRE OH MY GOD WHAT IS HAPPENING

THERE’S MORE.

THERE’S. MORE.

I legit short-circuited. Going in I knew they added the Little Mermaid. I knew they added Ending E. Those were things I suspected would be added and went out to specifically confirm; beyond that I’ve been keeping myself completely spoiler free.

I had no idea there was more. I had no idea this was happening.

I’m so excited.

And a goofy thought for the road

“I polished you with a special cloth, I poured warm water on you--”

“Wait, you poured water on me?”

/imagines Emil running blindfolded eight hours across the Southern Plains with an 8oz plastic water cup, getting to the library, splashing it on Kaine, waiting expectantly

/nothing happens

/walks dejectedly eight hours all the way back to the Manor

[lumilasi]

I saw this in my feed and since I was pretty bored and FINALLY free from the said boredom, figured I could do this one. I generally enjoy question based tags, especially if they relate to art/writing/fandom/are some general things about favorite colors, music, foods, things about your home country etc.

(basically, you can tag me in stuff similar to listed above things and I’ll probably do them if I see them/have time lmao)

Fic Writer Questions!

How many works do you have on AO3? 

44 total. I used to have more but I’ve deleted an old Bleach one I knew I’d never continue to write, and two bnha ones for the same reason (those two were also at the very beginning stages so nobody missed a lot anyway)

What's your total AO3 wordcount? 

4 269 068......wow. It’s even MORE than I even imagined. Over 4 million words. 

....Someone take my writing tools away from me lmao

How many fandoms have you written for and what are they?

 Three. I started with MCU, moved on to Bleach and now I’ve done most ofr BNHA

What are your top 5 fics by kudos? 

Crossroads - 3069 

Family Secrets - 3015 

Reanimate - 1534 

The neighbor - 809 

Espada and Fraccion - 782

.....Admittedly this list surprised me. Not the first three but the last two. The fifth is an one shot for Bleach that I wrote AGES ago. I also for some reason expected this list to match the bookmark list more lmao

Do you respond to comments, why or why not?

I always try to respond to every comment I get, but often times when it’s just one word or a heart emoji I don’t really know what to say, so I might not reply to those. I do appreciate every comment I get, and read every single one, even if I don’t respond

What's the fic you've written with the angstiest ending? 

I don’t do angst endings typically, but Family Secrets is probs the most obvious choice, given what happens at the end. 

- and its not even the real end, because I couldn’t help myself and made two more stories for the AU that was like “hey! this character I made you all love so much actually DIDN’T die, he just had unfinished business back home” lmao

Do you write crossovers? If so what is the craziest one you've ever written? 

Rarely, typically they’re between my own fics (the story that crosses the paths of Crossroads and Family Secrets AU’s, literally titled Crossover, creative name I know OTL I was out of ideas) 

Or between me and other people’s fics. Currently there’s two, both with Crossroads: one with Theteapotofdoom’s fic Something Good, and another with leontheneon’s fic Here with you. Both stories are basically a two part series that is non canon to actual Crossroads. The first story is finished, second one has two chapters left...that...I uh...struggle to write it seems OTL

(not tagging either person into this because Tea is very busy IRL right now so I don’t want to bother her, and Leon hasn’t been around in ages, IDK if they even use tumblr anymore)

Have you ever received hate on a fic? 

Not really no? I can only remember one time with somebody kind of demanding me to completely rewrite one fic in the past. It wasn’t really hate, more just...kinda unreasonable in my eyes? This was years ago by now.

While I did understand their side and the particular struggle they had (once they actually explained it, the first comment at the time came off pretty rude and demanding), I still feel them wanting me to re-write an entire multi-chapter fic just for them is a bit unreasonable, like said.

Like it wasn’t just couple of grammatical errors that was their issue, we’re talking weeks and even months long process of completely reworking multi-chapter story, because the grammar wasn’t tip top perfect. (I’m not a native speaker so there’s bound to be some mistakes; pointing out small occasional things is one thing - asking me to rewrite an entire multi-chapter story is another)

You can imagine that is not exactly high on my priorities list with IRL responsibilities and being more focused on the actual content of what I write, the ongoing stories I’m updating. This fic isn’t even finished yet either, so...yeah. Like after they explained their side of the story I was a bit more understanding, but its still....a bit ridiculous and unreasonable in my eyes to ask somebody to do such a massive overhaul when the story isn’t even finished yet?? Like maybe once its done and I have time I can go and edit it, but not when I haven’t even finished it lmao

Do you write smut? If so what kind?

Nah. I don’t care about smut a whole lot personally. I much more enjoy writing emotional scenes, character interactions and mystery. Plot over porn basically lmao 

Have you ever had a fic stolen? 

I don’t...do people actually do this? It feels like such a weird and pointless thing to do. It’s fanfic. stuff you write for fun and for free, for people to read for free. I’d also imagine its pretty easy to get caught given AO3 shows when you first posted your story. 

Have you ever had a fic translated?

 Yes, a couple of times. In Russian and I think other one was Chinese?

Have you ever co-written a fic before? 

Writing the crossovers was kinda that? Like I asked feedback from Tea and Leon on how to write them. there was also actually third crossover story that was supposed to happen (only I wasn’t going to be the one to write it) but this project has been shelved as the other person had to drop majority of online activity due to some IRL health related things. (I’m just glad they recently contacted me to inform they were doing better)

What’s your all time favorite ship? 

Right now it’s..probably pretty obvious its Shigadabi, but I can never really say any ship is my all time fave, as it always changes depending on the fandom lmao. 

I guess my favorite character x proper sleep/emotional stability/happiness will always be the OTP

What’s a WIP that you want to finish but don’t think you ever will?

Oof. I always try to finish every single one, and if I absolutely know I won’t, I tend to just delete them. Thankfully I’ve only done it thrice. Which I guess is still a lot, but compared to how much I write, in context not really? 

What are your writing strengths?

From what I’ve gathered of feedback, its typically emotional moments/character dialogue and interaction/character arcs and so. Mystery plots too. Or maybe that last one is just me lmao

What are your writing weakness?

Personally, while I tend to get positive feedback on both, sometimes I feel like I struggle to choose a good pacing for a fic, and fight scenes are always a pain. Namely, I might struggle with making the pace too long-winded and slow sometimes. Ironically, my IRL update pacing is probs a bit too fast in turn. (To add another layer of irony, I got an update ready for Unravel that I’ll post after making this tag)

Also writing shorter stories. I’ve been trying to write one-shots more (like the Spinaraki series thing) to kinda try and get myself to pack up my stories better and not let them always spiral out of control haha

What are your thoughts on writing dialogue in other languages in a fic?

I did try to do that once with a fic I deleted, I had a native speaker help me with the canadian french bits. This person is no longer active on tumblr, and I deleted that fic because I realized I’d never finish it. 

Technically tho, as a non-native English speaker, EVERY word is in other language to me lmao. I could only add Finnish as an extra one easily, and it rarely makes sense to do so anyway.

What was the first fandom you ever wrote for? 

MCU. It’s what I originally made my AO3 for, as I felt brave enough to post things. I also can’t remember writing fandom related stuff before that, it was typically more oc related. Writing fics has helped me learn a lot about world-building, character consistency and all that stuff, without having to make everything from scratch (tho I do enjoy doing that as well of course). I feel like my original work writing has improved too thanks to my fic writing shenanigans in a way lmao. Tho that might just be me, IDK

What’s your favorite fic you’ve written? 

Oooof. This changes a lot depending on the time. I can never really pick just one either: my current favorites are Stringmaster, The neighbor and Family Secrets

Stringmaster because I love building the Steampunk AU, and Tomura’s relationship with Dabi and his Sensei, The neighbor because I personally think the romance build up in that one is probably one of the best I’ve done so far (the character dialogue in that is among my favorites I’ve written as well) and FS, because it taught me a lot about character building through writing a character like Hisashi.

 Plus I just really like Hisashi. 

And baby Izuku and little Tenko are super adorable. 

And Inko is the best mum.

 Also the fact the whole story is so ironic in a sense its still kinda funny to me. 

The only writer I know that might be around rn is @nightlilly0110 soo...I guess I’ll tag them if they want to do this! Anybody who’s a writer can snatch this too of course ;)

[demonfox38]

Okay. Made it through the last season of Netflix's "Castlevania" interpretation. Thoughts are below the cut.

I've often thought of this series as the exploitation version of "Castlevania," and hiring Malcom McDowell confirms that.

Although, I find it hilarious that both Malcolm McDowell and Patrick Stewart have ended up voicing the same character. I'm sure there's a "Star Trek Generations" joke to be made in there, but I'm not Mike Stoklasa.

Also, I was cracking up a bit when Varney's plot twist happened. Mostly, because it came off a bit Skeletor-esque in vocal performance.

Also, also—laughing that the final boss went the "Castlevania: Lament of Innocence" route despite barely touching on that game's plot.

Animation had its ups and downs with this season. It seemed like there were some frame issues (not enough inbetweening.) I do appreciate how they incorporated more of Alucard's SOTN animations into his fights, however.

Additionally, some of the fight scenes' pacing seemed to have issues, particularly regarding weapon recovery.

The whole bit with St. Germain was off. Like, he's a weird asshole in "Castlevania: Curse of Darkness", but he's more of a weird asshole there in the same way that casually encountering "Doctor Who"'s Doctor would also be strange. Not a straight up villainous boob. Kinda makes sense thematically to have another character who is willing to do horrible shit for their lost loved one, but the series honestly did not do a good job establishing her. Like, did she even have a voice actor? Or a name? All I'm saying is it was much easier for outsiders to get the Lisa revenge thing Dracula had going.

Also, how dare you joke about not being deaf and then have a villainous monologue, TV show.

Greta's a good girl. Well, outside of being an occasional homewrecker. Point is, she's competent and trying her best to save people in a bad situation, and anyone having issues with her is not to be trusted in the same way that you don't trust people who don't like Rochelle from "Left 4 Dead 2."

Look at me. Do not trust people who do not like Rochelle from "Left 4 Dead 2." Yes, her writing could have been better, but she's still a viable character. Let people Thunder Child their ships on the rocks of your better self. Got me?

Also, y'all really need to embrace more polyamory. Or understand the fact that Alucard's not going to love just one person in his life. Dude lives to be at least 600 in the game's timeline. For a dude who loves humans, constricting him to just one who may live to be 100 at best is cruel.

There are some interesting philosophical dialogues going on here, but I can see where some people may lose their patience for them. Considering one of Castlevania's most popular memes is a philosophy debate, you're just gonna have to suck that up. My personal favorites included the topic of acting versus reacting, as well as having agency in one's story.

Striga's battle theme was cool, but otherwise, the music was forgettable. Yes, that is a sin. Punishable by Death? In this series, maybe!

The gore's still over the top. Which, okay, fine. There's a bit of that in game. It's just generally a bit more reserved with it or uses it in crucial boss fights.

RIP doggie.

The Targoviste plot's a bit of a wash, but it doesn't feel as useless as Trevor and Sypha's previous plot predicament. It's just nothing of a surprise, considering how many times the writing has played the "authority figures are useless" and "dark secret surprise" tropes in this series. Like, Greta being reliable is actually more surprising than anything with this plot.

I cannot emphasize enough how boring I found Carmilla's interpretation and plot arc. You guys could have had a giant, naked lesbian riding a skull and spewing magic at people while her cat-eared girlfriend jumped them for extra damage. But no. Vanilla lady with a scarlet sword for you. So long. Farewell. Auf Wiedersehen. Good night.  

Gotta say, as much of a deviation from his source character as he is, Isaac really turned out well in this series. He's definitely evidence that you don't always need to stick to source material.

His Abel is fucking sick, dude. Way to go, king.

Also, I was expecting more violence from Hector this season. Oh, well. At least he got a teeny bit of a spine.

Look. I'm not an alchemist by any means. I'm just a bit baffled by this season's emphasis of obtaining a Rebis. Like, any time the game series has talked about the Magnum Opus of Alchemy, it's more been in pursuit of making a Philosopher's Stone (or at the very least, a Crimson Stone, as seen in "Castlevania: Lament of Innocence.") Pulling a Rebis out of the aether is…well. Could have been more interesting than it was. I mean, it was a bit nightmarish, but it really didn't do much.

Sypha's really never getting back to her family, is she?

Love the idea that the cross subweapon is basically a fancy chakram.

GERGOTH. BUDDY. FRIENDO.

Really appreciating the monster variety in these last two seasons. I mean, that's a big selling point of the "Castlevania" games. Not so much vampires standing around and bickering in dick-waving contests.

Breaking out of the bullet points to hit on the big subject of this season—that is, the ending being surprisingly happy.

There's been a lot of shit that's happened over the last few years. Obviously, a pandemic. Konami's run by pricks. Then, there's the situation with the allegations of sexual coercion with Warren Ellis. Additionally, the terrible ending of "Game of Thrones" likely impacted how this season was developed, considering it seemed to be chasing its progression in construction. (I mean, look at Carmilla and Daenerys.) I don't know how many people were happy with the last season of "Castlevania," but from my POV, it double-tapped itself in the foot with the way it pushed simultaneous sex and violence in its last two episodes. My point is, there was little taste for additional darkness, considering everything that has been happening. Society is drained.

A happy ending was what people really wanted. And man, did this pull through, in that regard. But, there's a conversation to be had in if this swerved too far or if it violates some artistic integrity to give people what they want. So, let's have it.

Look. Man. Have you seen a "Castlevania" ending? When you do it right, it's crumbled castles and rainbow-colored skies. If you do it really right, it results in a pretty girl holding the main character's hand. There is happiness in these games. Hope. Forgiveness and redemption. If this is supposed to be any bit an accurate interpretation of these games, it absolutely should end in such a joyful fashion. (Okay, maybe giving Dracula and Lisa a second honeymoon at the end was a bit much, but I get where people would want that.)

Did some items need to be addressed more? Absolutely. Alucard staking people and Hector getting sexually coerced into servitude are some pretty big topics to just wave away. (Oh, shit. That second part is even worse now with what Ellis was allegedly doing, isn't it?) I suppose I'm just glad the series didn't go full Sephiroth with Alucard. And at least Hector finally took some stand in his situation, even if it wasn't the bombastic, hateful revenge I'm used to seeing from this character in other stories.

I think the creators of this series were trying to save this show from the fate of "Game of Thrones." (To some extent, perhaps the "Voltron" re-interpretation as well.) There's so much media out there anymore that if a production team doesn't nail the ending, their creation gets wiped out of the collective consciousness. To that extent, I think the creators were successful in saving their series. Did it do damage to itself in yanking out of its construction and themes? A bit. But, in doing so, it pivoted back to being more like a proper "Castlevania" product. (And of course, by proper, I mean anything ignoring "Lords of Shadows." God, people need to stop chasing other products when developing "Castlevania" stuff and just let the series be as it is.)

I am very curious as to how much of this season was part of an original draft and how much was revised in backlash to everything that has happened. It doesn't seem like Trevor was intended to survive, but to some extent, Sypha had to. (I mean, until she has a kid, anyway. See "Lords of Shadows" series for dickery regarding that.) I'm also wondering if there was more intended for the Carmilla subplot, as much as the series was banging on about her invading locations. I'm not even sure St. Germain was intended to be a villain all along. Getting into a bitchfight with Death? Sure. Doing what he did here? That's a weird arc, dude.

If you come away from my POV with anything, it should be this: GO PLAY THE GAMES.

Do it. Do it, you ghouls. Go to the Steam store and download the "Castlevania Anniversary Collection." Boot up your PS3 or 4 or 18 or whatever and get "Symphony of the Night." Throttle Nintendo's stores until "Aria of Sorrow" or "Dawn of Sorrow" or "Harmony of Dissonance" or whatever rattles out of their moldy pockets. Find a ROM. Find an ISO. Just play a game. Especially, one of the ones made before 2010.

"Castlevania" as a game series isn't about hordes of vampires dick-waving at each other or edgy swearing or being grim and dark. Some of that stuff's there, sure. But, at its core, it's what game developers created when they looked at Universal Monster Movie creations and went "That's cool. Let's fight that!" It's a series about pushing technology in MMC chips to make rich, vibrant music. It's about flourishing artwork and layers of sprites dripping particles and gore onto players. It's sober and goofy and very pro curry.

The thing is, "Castlevania" players have their own unique connection to the series. We're the weirdos you see clapping their hands when a mutilated dinosaur shows up on screen. It's not because the monster alone is cool. It's that we've fought and struggled and bodied that thing through several floors like a goddamn "X-Men: Children of the Atom" stage. It's kicked our asses. We've kicked its ass. We've got a connection to it that you just don't get from passively watching it barf lasers through a computer monitor or TV screen. Like, you know how people go, "Well, the movie wasn't as good as the book?" It's obnoxious, sure. But, those who read the source materials have to go to the effort of constructing their own sets and people to understand what's happening. In a similar fashion, game players build up their own skill set to reach that next rung.

Maybe you don't always get a payout when you invest your resources into something. But, there is a sense of accomplishment, seeing what you can do.

There's a reason this series got an adaptation. I mean, outside of Konami's head executives wanting easy money. "Castlevania" is a fantastic video game series. Has it got a few problems? Oh yeah. Especially after outsourcing and pachislot machines became all the rage. But, there's a reason Simon and Richter Belmont are playable in "Super Smash Bros. Ultimate." There's a reason I spent a significant amount of time playing these games and writing or drawing fanworks for it. These games are wonderful. Beautiful. Difficult, but inspiring. Reasons I will still bang on about them decades years down the road.

When I get exasperated by layers of angst and edge lord content this Netflix series generated, I want you to know why. The roots of this show are good games held captive under poor management. Some people on staff know this. I wish they had more scenario and writing control. But mostly, I don't want to shit on them or their work. (Well, other than perhaps the obvious target.) I just want you to see what I love in these games.

And also to watch Crashervania. Because that's legit.

[gregorygrim]

Dragon Prince Hot Takes

!!! Full Spoiler For “The Dragon Prince” Seasons 1-3!!!

So I finally got around to watching The Dragon Prince. Timely, I know, but better late than never i guess. I’m not completely caught up yet as I only got as far as S3E7 “Hearts of Cinder” in this first sitting. Considering I haven’t binged any series in almost two years, I think that’s pretty respectable. This means I won’t discuss the last few episodes here, except for a couple of things I was unfortunately spoiled for already, hence full spoilers.

These are basically my first thoughts and opinions after the binge and a good night’s sleep. It’s gonna be a lot so if you don’t care or don’t want spoilers…

TL;DR: 7½/10. Generally enjoyable, there are some aspects I’m not exactly fan of, but no dealbreakers

Firstly to everyone who told me that this was the new ATLA: you all need to rewatch Avatar stat! Like seriously. There are definitely parallels and given the cast and crew I think that’s what they were going for too (which is why I think it’s fair to compare the two), but still, no.

Secondly I love most of the worldbuilding and love that the series at least tries to give it to us in a bit of a non-linear fashion, even if it is kind of clumsy at times. I know some people are put off by expository dialogue and flashbacks, but I’m an epic fantasy nerd, I need that sweet, sweet lore to live as much as you mortals need food.

I like that there was clearly an effort made to integrate the worldbuilding in more subtle ways. For example you may initially find it kind of weird that all these different human ethnicities are existing perfectly integrated in what looks like a medieval society, until you remember from the opening monologue that the Human Kingdoms are the result of a massive diaspora following the human exodus from Xadia, so obviously people got all mixed up everywhere. It’s representation with an excellent in-world reason and that just brings me joy.

I also love the magic system(s) even though we haven’t really gone into that just yet. it really feels like there was a genuine effort made to create underlying mechanics for the magic rather than just making each spell a vaguely elemental themed ability. I really hope we’ll dive deeper into that in coming seasons.

I also like the little nods to other works of fantasy: Ezran’s ability to talk with animals is a reference to Tolkien’s world where some royal bloodlines had the ability to speak with animals, specifically birds; Primal Magic and its spells being cast with Ancient Draconic runes and words might be reminiscent of the Ancient Language from the Inheritance Cycle etc.

Thirdly the main cast is great. Callum, Ezran and Rayla are all interesting and relatable characters in their own right and as a group. I’m not going into each of them individually here, but while I think the series as a whole falls short of ATLA, as protagonist parties go I dare say this one is nearly on nearly on par with the gAang.¹

And yes, I love Bait, which I really did not expect following the first few episodes. I love his weird pug-toad-chameleon design, I love that he works like a flashbang whenever somebody says a quote from Scarface (I wish they hadn’t dropped that later on) and I love how done he is with everything and everyone at all times. I’ve only had him for 25 episodes, but if anything happened to him I would kill all of my followers and then myself.

On top of that, and speaking as someone who god knows is really not into shipping, I love Rayla and Callum’s relationship. It’s believable, it’s refreshing and it brings out the best in both characters without changing basically anything about them. Just two good friends who fell in love. A++, maybe even S tier.

Unfortunately though I can’t sing the same kind of praises about the villains. None of them are terrible (as in terribly written, most of them are pretty awful people), but with one exception they just don’t stand up to the protagonists in quality.

I could simply not take Viren seriously. Even now that is probably the single most powerful magic user in the world, he just has such strong Karen energy, every time he finishes a speech I am overcome with the urge to say “Sir, this is a Wendy’s” and it does not help the mood. I’m not even sure why. It might’ve been the voice because the guy who did Viren (Jason Simpson) also does a lot of kinda slimy characters in various anime dubs, it might be that over-the-top walking stick, idk.

What I’m saying is that as a primary antagonist he simply did not work for me. Which is doubly a shame because this kind of tarnishes the real “Big Bad” of this story by proxy. Aaravos, even as an invisible ghost, with his voice coming out of a caterpillar and next to no info on his backstory, has more style and gravity than all the human antagonists combined. It helps that he is by far the best designed character and Erik Dellums has the voice of a young god, but I’d argue even without that unfair advantage he has the potential to be a top tier villain. While he is stuck as Viren’s “little bug-pal” though he is just being dragged down.

(I’m aware that as of the final episode the caterpillar familiar is undergoing metamorphosis, probably to create a new body for Aaravos’ spirit to inhabit outside of the magic mirror, so I’m definitely hyped for more of him in the coming seasons.)

As for Soren and Claudia, I’ve got mixed feelings. This was one more aspect of the show that a lot of people compared to Avatar and while I see the parallels to Zuko & Azula, they are still very different, at least where Claudia is concerned. I’d also just like to mention that a lot of people told me that they thought the direction in which their storylines went were really surprising and I can’t disagree more. I predicted that Soren would defect to the protagonists on episode 5 right after Viren told him to kill the princes and I knew Claudia was going to stick with her father from episode 12 onward. My point is, it didn’t feel like some kind of plot twist, the way some people made it out to be, and which I don’t think was the intent.

I definitely got the sense that Soren was at least a Zuko-type character, though still not a Zuko clone, and as with Zuko I was consistently able to empathise and sympathise with him and his predicaments. I also appreciated that his dilemma is the result of his convictions and not him being kind of dense, which would’ve been all to easy and probably would’ve ruined his character for me. As it stands he is extremely milktoast, but perfectly functional for his purpose in the story and I can definitely see him evolving further and getting more interesting as we go on.

Claudia is where it gets complicated. Again, I can see the Azula parallels. But unlike that character, who is her father’s animal 110%, Claudia doesn’t strike me as a victim of Viren’s manipulation the way Soren undoubtably is. The way she talks about and uses Dark Magic, how she talks down to Soren and how even Viren finds it difficult to communicate with her, tells me as an audience member that she is an independent person. Which tells me that the cruelty and enthusiasm for causing harm she regularly displays is her own will. And that was before she straight up leads Callum on to manipulate him.

On the other hand I can absolutely relate to her devotion to her family, her big sister role (even though she is younger than Soren) and the way both the separation of her parents before the story and Soren’s injury in episode 16 must’ve affected her because of this. I know that, if my brother had become paralysed from the neck down and I knew a way to heal him, I would not have hesitated to kill that fawn either. Then again her relationship with her father is very different from parental relationships I am familiar with, so I can’t really say I see why she is so devoted to him, other than she promised her mother to stay with him years ago? ¯\(o_Ō)/¯

So basically Claudia falls into an emotional grey space for me. I can’t really tell how to feel about her either way and I’ll just have to see where she goes from here, which, while fine, isn’t necessarily great for an end of season cliffhanger imo.

Seeing as I’ve already talked about some of the show’s shortcomings, I think it’s time to dive into some of the what I would consider flaws.

Firstly this show needed at least 12 episode seasons. I have never made a secret out of my dislike for the modern short seasons and while I recognise that in the current climate in the industry giving everything full 25 episode seasons isn’t really doable, the pacing of this show, especially for the first season is just outright bad at times. It works as of the second season, but the first season alternately feels like it’s either rushing through or crawling along the whole way through.

The believability of Rayla’s and the princes’ relationship really suffers from this the most. It comes a bit out of nowhere on the boat ride and is then taken for granted way to quickly. Like Callum, seriously, this girl tried to kill you and your brother not even a day ago and you are currently cut off from all allies you have ever had until now. A little skepticism isn’t misplaced here. I also wold’ve liked if we’d just gotten a bit more of a sense of movement with the characters. I get that this is not the kind of show where we can just make an entire episode about the characters travelling and camping, intercut with plots centred around a more expansive supporting cast, but still I really would’ve preferred if Xadia didn’t feel quite so around the corner.

Another issue is with setup and payoff, which I think is partially a consequence of the pacing as well. A lot of smaller plot points are set up within the same episode as the payoff just wreak havoc on the narrative structure. A good example is the episode where they ride down the river in a boat and Bait tires to go into the water, but is saved by Ezran, who then explains the story behind Glowtoads and how they are pefect bait for large water predators. Then Bait falls into the water and is attacked by a massive water monster. This happens within five minutes of one episode and never comes up again. To me that looks like sign of rushed editing, which is probably not entirely the crew’s fault, given that they are on a schedule from Netflix, but it’s still a point of critique.

It unfortunately also manifests in the occasional line of horribly forced dialogue, often for things we can literally see happening on screen. Again, this is mostly the case in the earlier episodes, but it never completely goes away.

Finally, and this is where i get into serious issues that made me want to write this, we gotta talk about representation in this show.

First: disabled representation, meaning Amaya. Why is Amaya deaf? Because it’s good to have disabled representation.

Why is Amaya deaf and a high-ranking military officer? Because they didn’t think it through.

I know this may be a contentious opinion, but it is my belief that the purpose of representation, particularly of disabilities characters may suffer from, in fiction is to, y’know, represent people as they are in life. That includes especially the struggles they face and have to overcome, sometimes their whole life. This is not just me talking out of my ass either. A couple years ago I discussed this with several people that are disabled, specifically blind or otherwise severely visually impaired, in a different context obviously, and the general consensus was that it’s better to have representation that shows their life and their abilities as they are, rather than how they might wish they could be.

A mute or deaf person cannot be a medieval fantasy army general, no matter how good they might be in melee combat or who’s sister they are, because at the end of the day, they’re not able to give commands while they are holding a sword and shield. That such a massive logical oversight, especially in comparison to the extremely well done example of representation I mentioned above, and has so little impact on the plot that it leads me to believe, this aspect of Amaya’s character was tacked on in the last minute without being given any thought for the sole reason of the story having a disabled person in it. All this does is necessitate the existence of two otherwise entirely unnecessary characters, Gren and Kazi, both of which achieve nothing, aside from sometimes being literal set dressing.

That is where representation ends and tokenism begins.

And unfortunately this generally lacklustre attitude also extends to the LGBT+ representation on the show.

As of S3E7 “Hearts of Cinder” we have had two onscreen gay couples on the show (onscreen in the sense that both partners were onscreen and they were somehow confirmed to be in a relationship on the show). One of these, the queens of Duren, literally die in the same flashback they are introduced in, which incidentally also features them invading a foreign nation to poach a rare animal and subsequently starting the conflict at the series’ core. Not a great look.

Aside from serving as a tragic backstory for their daughter, the most impact they had on my viewing experience was that they made wonder how the fuck royal succession works in Duren. (People who know me are rolling their eyes right now because I’m bringing anarchism into this Dragon Prince review, but I’m telling you, this why fantasy monarchies aren’t compatible with LGBT+ politics in the same setting. Dynastic governments are inherently bigoted, you can’t have it both ways.)

The other couple are Runaan and Ethari, Rayla’s caretakers, although if I’m being honest you wouldn’t be able tell based on Runaan’s treatment of Rayla in the first episode. By the time we actually meet Ethari and find out about their relationship with Rayla, Runaan is suffering “a fate worse than death” (direct quote from the show) trapped in a gold coin.

I mean come on. That’s about as “technically not ‘bury your gays’” as it gets.

I think I need to reiterate here that my point is not that this show or its creators are somehow malicious. As i stated in the TL;DR: I don’t think this is a dealbreaker for liking this show. But it does demonstrate that they are prone to slipping to some potentially harmful tropes and this needs to be criticised and pointed out to them.

In conclusion, I really love this show. It’s not ATLA, it never will be, nothing else will ever be ATLA no matter how badly (and terribly) Netflix tries. But it does and should not have to be.

What it has to do though is improve. A lot of the building blocks are already there, such as Aaravos or Claudia’s development, Callum’s father, the origin of Ezran’s ability, the purpose of the “Key of Aaravos”, the true fate of King Harrow (we all know his soul is in the bird, right?) etc. Some things like the treatment of Amaya’s disability unfortunately won’t be fixable as far as I can tell, but if they at least manage to fix the gay representation I can make my peace with that.

¹ I know I said I wouldn’t go into each of the characters individually, but a) you should never trust a stranger on the internet and b) I really want to talk a bit about Callum. Specifically the “mystery” of why the hell he is connected to the Sky Primal. I write “mystery” because I think it’s fairly obvious from whence this talent came: there is only one humanoid species we know of with innate access to the Sky Arcanum and one of Callum’s parent’s is unidentified, presumed dead. 2+2=4. Callum’s father was a Skywing Elf. That’s why he recognised Nyx’s boomerang weapon. He remembered one like it either from his very early childhood (remember that he has photographic memory) or Sarai kept one and he found it at some point.

On top of that the name “Callum” or at least the pronunciation is clearly derived from Latin “caelum” meaning “sky” or “weather” and I already mentioned that Ancient Draconic is just bad Latin. It’s not very subtle. Unless they pull a complete 180 concerning the lore about Primal Magic he’s definitely going to be a half-elf, which would also just so happen to make him the perfect mediator between the Human Kingdoms and Xadia. Hmm, it’s almost as if they are planning ahead.

My question: How the fuck did that happen? Or rather: how did that fuck happen? I don’t think even Harrow knew or he probably would’ve a) paid more attention when Sarai advised against poaching the Magma Titan, because obviously she’s gotten around Xadia more than him, if y’know what i’m sayin’ ( ͡° ͜ʖ ͡°) or at least b) put it in his final letter to Callum. Unfortunately we know basically nothing about Sarai except that she was a soldier alongside Amaya and already had Callum before marrying Harrow. So does Amaya know? This is probably the most interesting plot thread in the whole story and as far as my friends told me it’s not going to be touched on anymore in the last two episodes than it already has thus far, which is basically not at all.

[legionofpotatoes]

alright here’s ma thoughts on that flick I mentioned

we hatewatched a*my of the dead because we were CONVINCED “zombies in las vegas” would be an impossible concept to screw up, but in so assuming we obviously invoked a holy wager with the universe and got reminded, once again, that hoping for improvement from someone who’s dependably put out bad art is never a wise choice 😐

but we were honestly kinda roped in by the marketing??? and expected a goofy fast-paced flick with the odd traditional undead metaphor thrown in, framing some sort of relationship drama maybe or hell even nothing at all! we’d have taken pure indulgent storytelling, idk italian job with zombies in las vegas, I don’t know fucking anything but??? whatever this was???? spoilers below for it is time for One Of My Rants

I mean the main reason I really want to write all this and complain. this film here probably has the most unappealing cinematography I have ever experienced in my life and that is saying something. who the fuck signed off on that CONSTANT shallow-ass depth of field that imprisons your eyeline and turns every shot into bokeh paste???? and I mean every shot almost!!!! I promise if you think I am overreacting just throw a dart at the seek bar and watch twenty seconds from wherever it lands. it is horrifying to look at. at least it gave my girlfriend a good visual shorthand for what it’s like when I lose my glasses

why was sean spicer in this movie. did they pay him to be here. was sean spicer paid hollywood money for his scene in this film because fuck everyone who was involved in that decision

the legitimately baffling hints at the extraterrestrial origins of the infection that went absolutely nowhere and had no dramatic or plot-level bearing. we love to see the franchise sprouts fellas

yet another big budget waste of everything hiroyuki sanada has to offer. and bautista too I guess? I like him but man was this an odd career move

what was the crux of his conflict/resolution with his daughter btw. I understand it was rooted in miscommunication over their forms of grief irt mom but uhh… it was all rather clunky and didn’t land for me. I tried I really tried to buy in but something was wrong fundamentally with the groundwork there, it did not click and their catharsis felt unearned. I know there’s massive amounts of tragic baggage being projected there from the author so I’m not slapping any judgment down really;

but again it would be an easy thing to wave off if they just had a vibrant cast of lovable simpletons with good chemistry and the kinetic sense of plotting the trailers promised (and this premise never discounts good drama, either). but instead it was just two and a half (!) hours of meandering into situations the filmmaking instincts had no idea how to flow in and out of

to wit. I know talking about “bad pacing” is associated with armchair bullshit but consider the example of the scene were dieter does an out of nowhere little dance after childishly screaming but then still-killing a zombie, with the film framing this as a micro character triumph, and not a second later the bg soundtrack instantly fades into an orchestral score dramatizing a nearby mcguffin reveal, completely 180 degreeing the tone without a semblance of deft insert shot stitching or even I dont know a fucking jump cut maybe. now imagine this whiplash for 2.5 hrs uninterrupted

I will keep complaining about the length yeah because this was not a story requiring this much real estate to be told. Uhh in my humble and personal opinion, of course

[man sees zombie tiger] “this is crossing the line!” you can in fact write dialogue that is not utter nonsense that falls apart once you drill down its single fickle layer of referential meta winking. what line are you talking about. you have rules in this insane situation you’re in? total nitpick moment I know but it got burned in my brain for some reason. like a microcosm of the mismanaged dramatic instincts paired with weird writing that dots this movie. I am sure the director calls this either satire or genre deconstruction. I am SO sure

tumblr domino meme that goes from “dude getting sucked off while driving” to “entire las vegas literally nuked”

tig notaro is always great to see but once you know she’s been filmed as a separate greenscreen plate months after photography wrapped - cause she had to apparently replace some abusive asshole but that’s a whole other pig not worth fucking - it becomes impossible to unsee her odd detachment from everyone else in the movie lmao. it doesn’t really “ruin” anything on its lonesome but it is hard to unsee

why. was. sean. spicer. in. this. movie

a very simple key ingredient missing from fully turning lip service sympathy for main uruk hai dude into actual empathy that would generate meaningful conflict with hero family would be to spend a bit more time articulating what he internally wanted the most. because he was obviously trying to do something here with pointed agenda. a family, to have kids, build a caste system, save his wife’s head, return to his planet??? all of these could represent the bigger context in his psychology that spurred his vengeance but none of them are dramatically emphasized long enough for you to cheer him on. I’m not asking too much I promise. Articulating interiority of a mute character is pretty doable with deft cinema language, just gotta linger and hold a shot here and there for a few seconds, frame as his POV, donezo. I know this is also one of those like. “who cares” moments but the movie does, very evidently so, in making this guy an actual character. you can kinda piece it together and create a framework of sympathy for him, sure, but then again he ultimately becomes a foil to be killed and not defeated, so. Ehh whatever

quarantine zone stuff was not a wildly childish covid allegory quarantine zone stuff was not a wildly childish covid allegory quarantine zone stuff was n

the rooftop helicopter fakout at the end was such an ass-backwards, manufactured moment of what could be a simple setup/payoff it just pissed me off??? you gain nothing by giving sad dad five seconds of pointless crisis that flips right back to previous status quo ANYWAY, except for a weaksauce waste of runtime, which could be used instead to get inside notaro’s head and actually SHOW the remorse form as she took off, literally maybe even a frown playing on her face as she’s headed for safety right before we cut back to drax and the kid. just a simple-ass, minimal, momentary setup for what is the most basic filmmaking trick of creating macro catharsis moments. Just???? g o d if you can’t even land that shit why are you even doing any of this

that lil run final pam did was very very charming and super choreographed in a way that was the tiiiniest bit overdone

the whole intro with the simul-backstories and posing with family photos was just… oddly motivated. what was the goal? “here’s what we’re fighting for” vignettes? why? it’s not a functional setup in that vein. what was all that

also I am sorry if this is insensitive but the reasons most characters end up articulating to justify going back into the hell that destroyed their lives makes them sound seriously insane

I dont like complaining about CGI (honestly) but so much of it in modern movies can achieve higher fidelity if the animation is simply subdued. Do not overengineer and over-apply 2D cell methodologies and kinematics to each tiny twitch and movement in a hyper 3D model and I promise you. it will look a thousand times more natural. look at thanos in those last two movies. your rendering and detail are absolutely perfect with the tiger you just have to let stuff sit instead of constantly simulating swaying hair strands and firing off all facial muscles at once. great moment at one point where makeup zombie horse and CG zombie tiger are both in one shot together and just by unnecessary amounts of movement alone you can tell who doesn’t belong. again; detail, rendering, compositing, lighting, all picture-perfect; but y’all just gotta let the animation breathe sometimes, and chill it out

plot holes don’t really matter to me but it was kinda funny how lilly decided not to mention the enormous wrinkle in intel pertaining to an actual territorial tribe of intelligent zombies that require human offerings to let you pass, just so that reveal could play out in real time through the joyous punishment of the cartoonishly misogynistic dude

total chad move for mister uruk hai and final pam to rule from a rusted swimming pool complex

the ending with vanderohe oh my god. with the. cash stacks at the airport register. and specifically them working in his favor. that is literally something you do to get arrested under suspicion of theft. it was almost played for laughs and I respect that. coulda been goofier. make these movies goofy ya dorks

anyway, weird, weird movie. bad marketing. message unclear (something something sins of the father???), baffling editing instincts, literal worst-looking cinematography I ever laid eyes upon. Confidently dying on that last hill

[the-beskar-alchemist]

Here we go again with my recap ramblings! Had to do a bit of nip/tuck for this one, it’s a bit lengthy.

My opinions, as I've stated before, are based on my limited knowledge of the Star Wars universe. I have NOT seen anything outside of the movie franchise, so please bear with me...

- First off I would like to express my appreciation for this episode going balls-to-the-wall with Ashoka, instead of spending an unnecessary amount of time working towards her introduction. Considering we spent two episodes just GETTING to her, the fact that it was like "BAM! There she is!" was very refreshing.

- Also I would like to thank Filoni for establishing her badassery UP FRONT, instead of having her do some sort of "Surprise! These are my special skills!" maneuver. The concept hit home on the first try, and it hit HARD.

- I know people are iffy with Rosario Dawson (I'm not that caught up on her to know the details myself), but she does bring a certain......presence, I guess......to this episode, but just as the character, not really HER specifically.  She seems more powerful when she's silent, versus when she speaks, her portrayal of the dialogue seems kinda monotone for my taste honestly. (I think it's worth mentioning that, while I understand people wish for Ashley, it would involve "black face" makeup on some levels to achieve Ashoka's skin-tone, I don't think it would've worked, no matter how skilled the makeup artists are)

- The ghastly forest makes me think of the lighting technique they used for The Half Blood Prince film

- As I've said, I have not seen the Clone Wars series, so I'm not familiar with Ashoka's animated fighting techniques, but I do love how practical she is with the lightsabers in a dark setting, turning them off to avoid too much attention, and only turning them back on right when she's ready to attack to really take her enemies off guard

- Din narrating to the baby has me in my feels a bit, this dude is really going through the motions isn't he? He's trying so hard to keep it together, acting like he's fine that his whole world is about to change in a way he's not fully prepared to handle.

- Can we take a moment to discuss how observant the baby is? He may not know about circuitry to help with ship maintenance, but he has the wherewithal to know when he's headed to a place that's potentially harmful. Episode 7 in season 1, when Din mentions going back to Nevarro? The baby immediately tries to adjust the ships trajectory to avoid going to a place of which his only memories consist of him being experimented on and possibly almost killed. And NOW? Now he recognizes that the name of the planet Din is taking him to will be where they separate, so OF COURSE his first instinct is to, not only avoid leaving Din's side at the pilot's seat, but to also seek out one of the few tangible objects that brings him comfort: THE METAL BALL FROM THE LEVER........baby boi is so smart, we do not give him enough credit

- Baby REALLY didn't want to leave his papa.......also DIN LET HIM KEEP THE BALL PLS

- Din walking through the town reminded me of the Two Towers when the party arrived at Rohan and Gimli was like "You'll find more cheer in a graveyard"

- I have to wonder what was going through Din's mind upon seeing the prisoners in the electric cages. I'm sure he was disgusted, but everything presented in this series is VERY deliberate, ergo Din was meant to see this to IMMEDIATELY establish that this magistrate was someone he wouldn't want to be allied with, a feat that could've been established with the intro into the town alone, but it seems that the best way to really drive home just how terrible these people are is voyeurism.

- The town versus inside the magistrates gated home? Night and day. The contrast is intriguing, how "dead" the town looks but inside the second gate there's life, somewhat flourishing.

- If Din KNEW that the magistrate was referring to Ashoka, than he basically tricked her into helping him find her under the guise of making a deal. If not, than he figured it out during their first fight upon seeing how she maneuvered around him. Either way, we stan one smart cookie.

- Lang reminds me of Number Two from the Austin Powers series

- BATU BATU BATU BATU

- I love the fact that Din is including the baby in his bounty hunting process, not just telling him they've reached the coordinates, but also letting him know to start looking, IT'S BRING YOUR SON TO WORK DAY......(but like EVERYday for him tho.....)

- Okay but like LOGICALLY I KNEW THAT BESKAR CANNOT BE DAMAGED BY A LIGHTSABER BUT MY HEART STOPPED FOR A SECOND

- DIN PACING LIKE A NERVOUS DAD IN THE DOCTORS OFFICE, POOR BABY

- I have to wonder how the baby "talks" via the Force, is it full "sentences"? Clipped "sentences"? Or is it kinda like Renesmee from Twilight where she "inserted" visuals into another person's head? I know they can "feel" each other's thoughts, but I've always wondered exactly HOW they "feel" them...

- I understand people are a little put-off by the lekku, and that cosplayers have done it "better", but we have to remember that cosplayers aren't doing (multiple) fight scenes, the head-piece has to be practical in its design, as well as authentic. There are stunt-doubles, and having to create multiple versions that not only can withstand constant movement, but also won't break easily. Not to mention when you try to do a live-action based off an animated series, it almost ALWAYS looks "wrong" on some levels (live-action anime? it's awkward af, no matter how hard you try...)

- About the Grogu controversy: I'm on the fence, but will most likely come to love/appreciate the name. Is it within the realm of what I was expecting? Nope. Is it possible that we are ALL projecting our own ideas of what name the baby "should" have had, so much so that almost ANY name they would've given him would've sounded "wrong"? VERY distinctive possibility......this is Star Wars after all, names are meant to sound "weird".  Grogu sounds like a Star Wars kind of name, in fact it's kinda fitting for a species that looks reptilian-ish

- THE BABY HEARING DIN SAY HIS NAME FOR THE FIRST TIME, THE WHIPLASH IN THAT HEAD-TURN, BUT LIKE.....I love the slight parallels to Grogu's and Din's name-arc: They both went DECADES without hearing their own names, and the reveal's are so contrasting, Din hears his name during a time when he's in danger, the baby hears his while having a heart-to-heart. I'm curious about how Din was feeling in this moment, thinking about how long Grogu must've gone without hearing his own name, and how Din longs to have someone say HIS name with an almost reverent tone

- YODA NAME-DROP.....but also Grogu looked at Ashoka when she said the name, I wonder if he knew Yoda

- Some people have mentioned Ashoka's lekku not being long enough for her age, I'm wondering if they compensated with the "wrinkles" in it? Can lekku have wrinkles?

- Grogu trying to be good for his papa, but also NOT wanting to use his powers because he KNOWS it would mean that papa has to leave him (and Din's little head tilt to get him to cooperate) I JUST....I CAN'T

- Ashoka telling Din to connect with Grogu, and Din shifting around all like "LOOK ITS BAD ENOUGH I HAVE TO LEAVE MY SON WITH YOU, CAN YOU NOT MAKE THIS HARDER FOR ME???"

- FATHER AND SON GAME OF CATCH AND DIN'S EXCITEMENT WHEN GROGU CAUGHT THE METAL BALL, MY OVARIES CANNOT TAKE THIS MUCH FLUFF

- Subtle Anakin reference, given what happened to the younglings after he went dark, it's a good thing Grogu was taken.......but by WHO???

- Din calling the lightsabers "laser swords" and Ashoka's little grin like, she WANTED to correct him, but she was enjoying Din's dorkyness???

- Din trusted her enough to let her borrow his pauldron??? I HAD A MOMENT

- DIN GUNSLINGER DJARIN

- Did my eyes fucking DECEIVE ME?? DID ASHOKA CUT THE SPEAR IN HALF????? Like this is the second time I'm watching this, the first time I noticed it I was like "No fucking WAY", but I'm seeing it AGAIN, IT WASN'T A TRICK OF THE EYE....so beskar is only lightsaber RESISTANT??

- Lang vs Din was like Johnny Ringo vs Doc Holliday, "You're no daisy!"

- More name-dropping. Did Ashoka kill Elsbeth? They never show her after the exchange.

- Din could've jetpacked his way back to the ship, but chose to walk instead. The way he avoids actually waking up Grogu at first, holding him for a bit, then taking the time to get him ready. Din baby who are you fooling? You're not ready, and you never will be.

- DIN STICKING HIS FINGERS OUT TO LET GROGU HOLD HIS HAND

- Ashoka knows okay?? She KNOWS that Din and Grogu are meant to stay together

- Din calling out Ashoka for trying to weasel out of the deal vs calling out Bo-Katan for changing the deal: No malice in his voice, he barely put up a fight, then sounded relieved after she gave him an alternative, one that could lead to the baby deciding NOT to become like the Jedi and instead choosing to remain with this buir

[imrandymeeks]

Randy, I simply must hear your review of WW84. Is it everything you dreamed of?

Come to twitter, I’m lowkey non-spoilery hating it there.

Like, in a word, I really didn’t like it. At all.

WW84 has a very simple, Captain Planet level story, but for some reason needs two and a half hours to tell it. And you’d think it maybe fleshes out the characters, or the world, or does a bunch of fun, over-the-top comic book action scenes, and it does neither. I’m kinda wondering where did all this time go.

Like, weird decisions start from the very beginning in the prologue back in Diana’s childhood on Themyscira, which is alright in and of itself and has that Tarsem’s Immortals outlandish look which I don’t think was present in the first movie, buuuuut goes kinda nowhere. Like it probably rhymes with some third act developments in Diana as a character, but I was bored out of my mind by that time and can’t remember. This Themyscira situation wastes ten minutes and is then followed by an actual good prologue, which is delightfully 1980s, well-paced, well-shot, is fun and also for some reason tells us Diana is Spider-Man now, but that’s a minor nitpick. I liked the mall hijinks!

We move on to the actual story, which I won’t spoil, but also spoilers are an absolute non-issue for it if you’re over the age of ten. It just goes where you think it goes. Strange screenwriting and directing decisions keep piling up. Like, we spend too much time with Kristen Wiig and Pedro Pascal for it to be a quick introduction, but not enough to establish them as actual characters and not cardboard cutouts. So when their storylines kinda kick in, they are too early to be an effective twist on the established character type, but too late to be an impressive start of their arcs.

Every plot thread in WW84 is burdened with unnecessary time-wasting shit at the very beginning is what I’m trying to say.

The first act takes AN HOUR. We spend AN HOUR setting this simple cartoon plot in motion, and basically nothing interesting happens during that time. Kristen Wiig is a Saved by the Bell character with self-esteem issues. Pedro Pascal is a Captain Planet villain of the week. Diana is, like, there and kinda still bummed about Steve Trevor, and then he comes back no problem.

AN HOUR.

I won’t go any further for fear of spoiling shit, because I know people like this movie, it’s not universally hated or anything, so I’ll shut up for now about plot. But for me this was wildly underwhelming.

Gone is the screwball energy of Diana and Steve’s dynamic. Gone is the preposterous roid-rage-cello theme, which is now rearranged into the conventional orchestral score. Gone, thankfully this time, is the final CGI-overload battle, but what it’s replaced with amounts to a smaller CGI battle, and not a character moment the story is trying and failing to build to. Diana’s final golden wingsuit Pokemon evolution is alright I guess, but brief.

See, the simplicity of the story is not the problem. The problem is it goes on for two and a half hours when it should go on for ninety minutes. But for that it needs to be rewritten, and I have a sneaking suspicion this one was assembled in editing, as were most DC movies. You can’t effectively recut this footage into a tight hour and a half, you need to write more effective intros for characters, come up with tighter, quicker scenes, delete unnecessary bits and such before you shoot them. Rewrite the dialogue. Rewrite the (spoiler) magic wishes which are all uniformly phrased in the clumsiest ways when they should all be fun little zingers. Alas.

With a siller tone, better jokes, and a budget like few thousand times smaller this screenplay would make for a great Warehouse 13 two-parter finale.

But oh well.

[kaediisarchive]

Final thoughts on the 2021 Mortal Kombat movie.

LOTS of spoilers under the cut! Do not look at this post if you don’t want to see spoilers!

And remember, this is all just my opinion. It’s not like an actual in-depth review because I’m not a film student; this is just my perspective on what I saw as a fan of this franchise.

POSITIVE

Sub-Zero and Scorpion were great. Opening fight was great.

“Eddy Tobias” namedrop lmao

I love the snow preceding Sub-Zero’s attack. Very foreboding.

Score is AWESOME. My favorite soundtrack is probably the one that plays when Sub-Zero is attacking them in the city towards the beginning.

Sonya rigging her house with a secret bunker and trap doors is smart and fits her character.

I like that the dragon logo has an integral meaning to the story.

Loved Jax vs Sub-Zero. Not mad about the origin change of Jax’s arms. I like that he had to work through his feelings of inadequacy and failure; people don’t just immediately bounce back after something that traumatic. I also like that his arcana manifests to protect Sonya rather than in the heat of battle. It shows his emotional priorities and what separates him from people like Kano who manifest their arcana in a fit of rage.

Sonya “Throw Hands on Sight” Blade lmfao. They nailed her fighting style too and I am happy.

Kano is the best thing about this movie. No competition.

Kotal reference!

Nightwolf reference!

Shang Tsung’s soul magic being black and wispy and foreshadowing Noob Saibot.

KANO DID THE HEART RIP

CHEKOV’S GNOME I’M SCREAAAAAAMMMMIIIIIINNNNGGGGGG

I love Liu Kang in this. He is 1000000% a Wholesome Boi. I like that he’s younger and unhardened and not the fully realized champion version of his character yet. Let him grow into it so it feels earned later on. I like that he’s the underdog, and I like what they’ve set up for him in the future. Also, the casting for him was perfect and they nailed his fighting style, too.

That little “the FUCK” that the Kano actor improvised(?) in the middle of Liu Kang’s lines made me laugh more than it should have. I don’t know why that moment got to me so much but it did.

I love Kung Lao. And they nailed his fighting style, too! Great to see variation that represents the characters (though there were less shining examples, which I’ll touch on later).

LOW SWEEP! LOW SWEEP! LOW SWEEP!

Egg roll scene is best scene.

Kabal! I love his dry humor. And his voice reminds me of Duke Nukem, which I’m not mad about. It complemented his dialogue well.

Not mad about Kung Lao’s death because it was meaningful. His fatality on Nitara was sick, too.

Liu Kang taking the ribbon from Kung Lao’s hat and wearing it in his honor, giving an origin for his signature headband is FANTASTIC.

THE PIT!

FLYING BICYCLE KICKS!

LIU KANG’S DRAGON FATALITY!

SONYA’S ENERGY RINGS!

Sub-Zero was a GREAT final boss. They really built him up appropriately to make him feel like it.

Scorpion’s fatality! And his skull face!

NEUTRAL

Not sure how I feel about Sub-Zero being wholly evil and there being no involvement from Quan Chi. It’s more straight forward for sure. It makes him an interesting (and badass) character, and I’m really behind this portrayal in that he is one of the most believable characters in the movie, but I’m not sure if I like the implications for later films in how this has simplified the dynamic in the entire Shirai Ryu vs Lin Kuei plotline. Having Quan Chi be the Machiavelli was always one of my favorite MK twists. And how do we eventually end the feud now? If Bi-Han / the Lin Kuei were wholly responsible, why should Hanzo EVER make peace with Kuai Liang down the line? The complexity feels like it’s been stripped down a bit, but I do love this iteration of Sub-Zero. I truly do. That’s why this is in the neutral category and not the negative XD.

Why didn’t Jax tell Cole when he saw the mark? Why wait until his family gets attacked? Maybe he didn’t want to do it in front of his family to keep them out of it, but that ends up endangering them more. Not a gripe, just a curiosity.

Sound editing was a bit too intense at times for my taste. I have tinnitus, so...big boomy bass with very mild voices is a chore for my ears to switch between. My ears were ringing within the first twelve minutes.

Torn between “fuck you Reiko” and “Reiko deserved better”. He deserved just a little bit better, but Skarlet says “get fucked” anyway.

I don’t like the “shaky cam” used in the fight scenes. Not my cup of tea. Very hard to visually process at times.

Whatever cosmic force is picking the champions for Earthrealm is doing a shitty job at it.

Why did they change the location of the Sky Temple to a desert? Again, not a gripe, a curiosity.

“We will not see another full moon before the tournament begins” THEN WHERE IS THE TOURNAMENT BUDDY???

Not sure how I feel about the “arcana” concept. It’s an okay plot device but kinda hammy.

Kitana’s fan! But why? Why is it there? I could understand the Kotal and Nightwolf references because Sonya has been researching, but why is Kitana’s fan randomly in an Earthrealm temple? Purely cheap fanservice.

Nitara was really cool. Shame she had to die, but her death was cool and there have to be some characters that get killed off. Wish she had more screentime though; feels like another instance of fanservice just having her show up basically as a namedrop and a quick kill.

The phrase “Are you okay?” was said WAY too much in this film. So much that I actually notices how often it was said, and I usually don’t pick up on these things.

Pretty sure a camera operator fell at one point in a Sonya scene because the camera jerked around violently all of the sudden then stabilized. Whoops.

How did Sub-Zero know to take Cole’s family to the gym? WHY did he take them there?

NEGATIVE

Opening scene was awesome, but it’s emotional impact felt stunted. I feel like the order of events should have been twisted a bit. Hanzo find his wife and son should have been the big emotional climax of the scene, but it felt like a passing moment and gave him no time to mourn and no time for the impact to truly set in with me. It was an “oh no they died” moment instead of an “ OH MY GOD THEY DIED THIS IS SO FUCKED FUCK YOU SUB-ZERO” moment. I dare say that the Legacy web series did it better in spite of their lower budget and overall quality; the series of events had better pacing and gave more emotional impact because of it. I said what I fucking said don’t @ me.

Wish we got more Scorpion. I love Sanada, I love him as Scorpion, but they didn’t give us the time we needed with his character to truly get a grasp of him.

Cole Young is like white bread in a parade of decorative cakes.

Raiden, a normally passionate and protective character whose fatal flaw is that he involves himself too much in events because he cares about the people in his realm and ends up fucking things up because of it, now seems to not care in the slightest. He feels completely uninvolved save for an occasional pop in to give a nod of disapproval. I don’t like this unemotional take on one of the most emotional characters in Mortal Kombat.

Small complaint from my perspective as a martial artist but uh...”Throw your uppercut!” was a bullshit line in a bullshit scene. If you’re locked up with someone like that and the guy has his arms around your neck, you physically cannot uppercut. You cannot fit your arms between his arms because they are cinched tightly around your shoulders/neck. YOUR HEAD is between your fist + bicep and HIS HEAD. In that situation, the guy has also left his body completely unguarded, so the most logical thing to do since you CANNOT reach his head is to go for BODY BLOWS. Beat him until he lets go to protect himself, catch his floating rib with double strikes, or punch the dude in his fucking liver as hard as you can to DROP HIM. Cole is supposed to be an experienced fighter, yet he makes one of the most rookie mistakes a fighter could ever make. Normally I wouldn’t care to point out mistakes in fight choreography or whatever because it’s MK and I expect ridiculousness, but this is the WRONG kind of ridiculous. It’s just NONSENSE.

I have SO MANY issues with Mileena. I’ll make this as short as I can. I don’t like the design of her mouth. I don’t like her weird stacked voice. She shows NO personality, not in her acting or even her fighting style, just an evil minion that got angry because she almost got her ass kicked. The turned one of the principle characters of the entire franchise and a fan favorite into a GRUNT. There is NO mention of Kitana outside of literal “fan”-service. Not even a reference to one of the most important plotlines in all of Mortal Kombat. And then they KILL HER OFF!!! When they do inevitably bring in Kitana WHAT THE FUCK ARE THEY GOING TO DO SINCE THEY KILLED OFF MILEENA???? I’m heated and biased and they did my girl dirty.

Speaking of doing characters dirty, poor Reptile. They turned him into an actual animal. What a waste.

Why are they so mean to Sonya if she doesn’t have a mark? She wouldn’t be as much of a “liability” if they would take the time to prepare her and teach her how to defend against fighters that have unlocked their arcana. Mind-numbingly stupid logic.

This movie relies A LOT on prerequisite knowledge to work. It’s like they want fans to fill in the blanks for them. But not everyone watching is already a fan; this isn’t an obscure release, this is a blockbuster movie released worldwide. These gaps in lore and prior knowledge don’t make sense for such a broad audience.

Cole Young literally could have just been Johnny Cage.

Where was Raiden when his temple was being assaulted?

Cole’s arcana is LITERAL PLOT ARMOR IM FUCKING DONE

No but for real that’s the most boring decision they just ripped off Jax’s MK11 heater effect and Baraka’s blades (I know they’re tonfa and they aren’t attached and I DON’T CARE). Also, now he’s suddenly good at fighting again? After being dog shit this entire movie??? And tanks Goro?????

If Raiden is an Elder God in this continuity, why is he allowed to help Earthrealm AT ALL? It seems like favoritism and bends the rules that the Elder Gods are supposedly bound by way too much. They really just shouldn’t have made him an Elder God; I honestly think they just said it to introduce the concept without a fuck given towards the actual lore of the Elder Gods.

WHY DID RAIDEN TELEPORT KANO TO SONYA’S HOUSE AFTER HE BETRAYED THEM I HAD TO REWATCH THAT SEVERAL TIMES TO MAKE SURE I JUST SAW WHAT I SAW  WHAT THE ACTUAL NONSENSICAL FUCK

Cole REALLY should not have been involved in that last fight. Especially not after Scorpion shows up. It should have been Scorpion vs Sub-Zero ONLY for the final fight. Cole tag-teaming Sub-Zero with Scorpion cheapens Scorpion’s revenge.

Camera work in the final fight was not good, especially in the first portion. At one point Cole gets thrown into a fence, but it cuts to an awkward inverse angle that makes him look like he’s bouncing off of a trampoline. This continues to happen and ruins several shots for me.

Honestly Scorpion should have just possessed Cole. Permanently. No switching back and forth. No more Cole, only Scorpion.

PREDICTIONS

Lots of dead characters come back as revenants and / or with upgrades.

Kano comes back with cyber eye.

Mileena comes back with full teeth.

Liu Kang becomes MK champion, wins tournament, and kills Shang Tsung. As it should be.

Cole Young helps Liu Kang become champion somehow idk maybe he sacrifices himself or something just please don’t make Cole the champion I will start a riot.

Next movie will start IMMEDIATELY at the tournament since there was supposedly less than a month until the tournament starts in this movie.

New characters coming in will be Kitana, Shao Kahn, Jade, Quan Chi, Kuai Liang, Noob Saibot, Ermac, and Johnny Cage.

OVERALL

This movie was good, bloody fun! It’s not an A++ Oscar-winner, but if you expected that going into it, you played yourself. It was Mortal Kombat; it was stupid, it was gory, and I had a blast watching it. Kano and Liu Kang were the best parts of the movie for me, with Scorpion and Sub-Zero tied for third. Also I popped a lot for the cheap nostalgia hits. I’m overall satisfied with what we got in spite of my complaints, and I only complain so in-depth about the things I love lmao so trust me when I say I’m not actually mad, just nitpicky. I’ve watched it twice now, and I would watch it again. It’s like a 6.8/10 for me.

[qk1]

gonna post a dang dream cause it was dang weird and I want a link to send

    it was in the form of like, a movie? main character is me but is blonde girl, looking like stock 30-something protagonist chick from an apatow movie. but this is some sort of drama. i can't tell whats going on specifically because the dialogue makes no sense. i am arguing in a room with some other girls, ones older, scolding me i think. i get my things and go.

     i get in my car, but where i was parked was in some grass. while driving into the road, i realize its a much steeper dropoff onto the road than i thought, and it bottoms out and damages my car. brand new car all fucked up. im mad but oh well, i drive on.

     seems the movie keeps switching genres because now its like a dumb 2000s era college comedy where i keep getting into small accidents as im driving. more and more of the car gets damaged. but like, damaged as in gets hit and falls off completely.

     eventually i am driving what is basically a car frame with just wheels, engine, and a couple body panels left (which is funny because that joke doesnt work anymore since nowadays cars dont have frames like that, theyre unibodies, so fuck you dream). i am super pissed off cause there goes my new car, and its all because hundreds of stupid people keep crashing into me.

     im driving out in the woods and its getting dark. now the genre switches to horror as i am forced to abandon whats left of my car, on a dark country road in the woods. the last guy i crash into is one last jock from the comedy who is trying to apologize to me stupidly when he gets utterly gored from behind by some mchael myers killer dude.

     so obviously i take off running. i try to stay on the road but it turns into trail anf then just into forest. i am gradually less aware of my surroundings until im not even sure why im running and i end up on a train.

     there are a couple people on the train, presumably the party i boarded with, but i don't know them. i try to warn them qbout the guy chasing me but they just laugh. then he shows up and kills another person.

     he manages to hit me a couple times, and now im like the car from earlier, pieces of me coming off. but its just cosmetic damage this time, for lack of a better phrase. little bits of flesh here and there.

     i get hit on the head and i think im fine. but when i examine the damage, a piece of my skull, between my temple and forehead, comes off in my hand, sticky strands of blood and meninges detatching as i pull.

     i escape enough to lock myself in a dark-ish bathroom with one other person. i can see enough that i can tell its in a home, not a train. theres a full size tub and a pedestal sink. the other person is pacing back and forth, gesticulating and rambling.

     shes explaining some barely comprehensible paranoid delusion about how dreams, ones with a series of scenarios like I'm having, are some kind of matrix prison thing. our souls or consciousness or whatever are forced to jump from one body/reality to the next while the body is perpetually sleeping, somnambulantly performing menial tasks necessary for the prison to function.

     the dreams act as instructions for the body. like, in the dream im, say, taking a food item out of a fridge, but in physical reality, my sleeping enslaved body is doing some job that requires bending over, opening a container, and taking a thing out to put into some other container.

     but are the dreams just post hoc rationalizations for the otherwise incomprehensible tasks my body is forced to perform, unbeknownst to me, beyond my control?

     I brush off their schizophrenic conspiracy yheory and leave the dark bathroom, abandoning my plan to assess my damage in the mirror. im sure its fine

     i walk out and im in an apartment. but its somehow mine? and im hosting a party? but i dont know the place or the people so i guess it's still movie mode. im hungry as hell and all the fast food burgers somebody bought got eaten. i go to the fridge and try to microwave some white castle burgers.

     but then everyone is leaving and i have to go with them? for some reason? and this is now like, a lame teens dramedy? like, juno or something? i hate it still? i grab the obly thing in the fridge left and leave with them. we're out in a neighborhood street as the sun is coming up.

     its the old abandoned neighborhood trope again. this neighborhood is tree lined and was probably pretty, but recently abandoned but there must have been a storm. everything is wet leaves and branches broken off the trees strewn about, clogging the road.

     i still have this weed in my hands and im idly picking out stems as we walk. but as i pick i come to realize its just about all stems and either i dropped the flowers or there never was any real weed in it. and im finding inchworms.

     i freak out and drop all of it as i realize all the "stems" in my hands are inchworms or some other kind of caterpillar/worm. i try to point out how weird this is but i look up and whoever i was walking with are all gone. im looking around for people and i just see wet broken branches and dead houses.

     i notice a big arm-width, 12 foot or so branch is kinda moving. i look closer and its not a branch, its also a worm thing, with that same dry caterpillar texture. freaks me out. but im thinking i must be seeing things, it looked just like a branch a second ago. i look closer at the end of it and i can see its dead-eyed bug face turn toward me.

     but for slme reason, maybe because of the fear and panic im feeling, i can see far too much detail (this high-res sharp detail thing happens a lot in my dreams). its face, and all its alien bug features, seem to be segmented, or a lattice of some kind, made up of little spider-like eyes. but the eyes start squirming, like im seeing the tips of larvae in a beehive.

     and from these little orifices out pop, one by one, those little stem-like inchworms, the worm was worms all along, all the way down, its all bugs and crawly and wet leaves and dry wiggling worms and i wake up