#because his motivation and characterization ended up being retconned anyway just to make him more shippable

[alistair-blackwood]

yeah so it turns out when you take an unapologetic eugenicist and give him a sympathetic backstory where he's been uwu traumatized you get a lot of people unironically defending a eugenicist. yeah it's because he's hot. yeah they're saying he has girlhood rage

[rmbunnie]

It's most likely just Starlin trying to get to Jason dying faster because he did not like Robin, but the whole "Jason's spiraling because of his grief for his parents" thing they were trying to spin was honestly really weird, not supported by the rest of the run INCLUDING the parts Starlin wrote, and kinda reads like an unreliable narrator situation because all of the information supporting it is given through Bruce's narration, him speculating on Jason's thoughts and actions.

The plot thread of Jason's grief for his family affecting his behavior shows up like TWO issues after Jason first becomes Robin back when Collins was writing, and gets sorted out after one conversation where Jason gets to confront Bruce about hiding his father's death from him for 6 months. After that Jason is behaving normally until they encounter three predators in a row, and each time Bruce insists that they can't do anything because of The Rules and assorted red tape/diplomatic immunity plotlines. (The sister of a woman who got dismembered actually tricked the violent-misogynist killer who dismembered her sister (and then got his serial killings dismissed through a technicality) into attacking her, and ends up killing him in self-defense, and then Jason's like "seems fair" and Bruce is like "no. it's NOT. we need to follow laws and not take justice into our own hands. which like wtf Bruce! you are a vigilante who just used a custom tank to fight an evil televangelist! who then got ripped to shreds by his followers while you watched!)

Bruce kinda just decides with Alfred that it must be grief upsetting him and not the dozens of brutally killed women and their predatory killers who the law inexplicably protected, (all written by Starlin, so retconning it for DitF like five issues later would be an odd move) but the only text claiming that's why Jason was upset is from Bruce's POV and through Alfred's dialogue. Jason himself doesn't display any signs of grief in the story itself, or even act or speak in a way that alludes to Catherine and Willis beyond looking at a picture of them and smiling fondly while he sorts through their possessions. He kinda just happens upon the box with his mother's info by chance, and is like ok i guess we're doing mom searches now. He was only going for a walk through his old neighborhood, not actively searching out info on his family. When Jason is deciding whether or not to run off without telling Bruce, he considers telling him and then goes "no, all he cares about is being Batman, he wouldn't even understand why I want to see my mom." Which, I mean, "Bruce wouldn't get it" is a REALLY odd angle if the sole motivator for spiraling, then getting benched* and running away to search out his bio-mom, was because he was mourning his dead parents, a thing he notably has in common with Bruce. That statement only really makes sense if he's thinking about a different thing that was greatly upsetting to him that Bruce brushed past, like maybe a combo of hiding the murder of his dad for half a year and allowing several cases involving sexual violence to freely develop body counts in the name of the law.

Lots of people have written about how Jason's stay in the manor might have seemed dependent on being Robin with how he was kinda just scooped up, but (if we're including Detective Comics in our characterization,) Bruce had offered to let him resign from Robin and just live with him (a little late, but still. It's worth noting Batman proper shows Jason afraid and uncomfortable at the thought of Dick taking Robin back, which lends more merit to the housing-dependent-on-Robin-misunderstanding interpretation, but canon is pick and choose anyways.) The lack of trust involved in his choice to search out his mom kinda reads like it was bred by more than that alone, and Bruce's prioritization of the law over the protection of the people it ignores is notably upsetting to him in the prior issues. tbh I really do believe the outcomes of those cases could have informed Jason's stance that Bruce's method of justice is ineffective right alongside his own murder and his experiences in Lost Days.

It would make sense for Bruce to not consider his own actions while he's thinking through things that would upset Jason, because from his point of view the things there that were bothering Jason were the criminals alone, not the way that the methods with which they were approaching their crimes continually led to the perpetrators evading actual justice. During the point in DitF where he's thinking through motivations for Jason's running away because something isn't adding up for HIM, the idea doesn't so much as cross his mind. It would also add another layer to Jason's sulkiness upon Bruce's arrival if he held the belief that Bruce is ignoring the consequences his brand of justice has on victims (and the way it's affecting him to helplessly watch it play out), starts to hope that Bruce actually can understand his thought processes/relate to him when he shows up, only to be told to his face that Bruce is prioritizing his style of justice over Jason again. With the way everything that led Jason to his bio-mom was comically circumstantial and the context of the previous issues, it's kind of the ONLY way Death in the Family makes sense to me. Tldr: I feel like the grief claimed as reasoning for Jason's actions leading up to his death is mainly speculation from Bruce and Alfred and the more textually-supported reason for his erratic behavior and lack of trust in Bruce is the lack of intervention in several sensitive cases that led them to worsen unobstructed and eventually permitted them to escalate into casualties in 2 out of 3 cases.

*Also, side note, but the idea that Jason got benched for the Filipe situation, while perfectly reasonable, is not quite spot on. The Filipe situation escalated into the fight in the junkyard where his dad is crushed by a car and Bruce is all "everything you do has consequences" which is kinda big words for a guy whose lack of action indirectly lead to a girls death earlier in the storyline, but true. Jason actally gets benched because he jumps directly into gunfire while fighting the third set of predators and Bruce starts to worry he's getting a little suicidal with it. He baits a guy into shooting at him on purpose again trying to protect mom prospect number 1 later on in DitF, so Bruce might have had a point with that one.

[let-us-cultivate-our-garden]

I’ve seen people state that Dana Terrace has a tendency to emasculate the characters she doesn’t like, especially villains . Like often making them be defeated incredibly easily or making them do things that go against their established characters. From what you’ve seen do you think this is true?

Honestly, I think you can make the case that she does this to characters she DOES like as well; not the emasculation part, but the out-of-character moments. The most recent offender is The Collector who was previously established as enjoying watching Belos abuse and murder grimwalkers and is looking forward to the Day of Unity, but in For the Future, none of these malicious traits are present, and he seemingly does a 180 in his characterization. They're just a Lonely Kid with superpowers instead of the chaotic god child who apparently delights in misery.

It's one thing to present a character one way and gradually reveal the layers underneath but such a drastic change with seemingly no explanation is not character development, it's a retcon.

The show also has a problem with setting up how some characters change: Darius was initially presented as being contemptuous of Hunter but warms up to him once he stands up to him. Considering his history with the previous Golden Guard, shouldn't Darius know what Hunter goes through instead of assuming Hunter is spoiled? Darius' rebellion against Belos is also muddled; he becomes a fully-fledged CATs member because he cares about people and is suspicious of the Day of Unity. Except, I don't believe we're ever shown why this is the case. Darius is a Coven Head and it's his job to get more recruits and was trained by the previous Golden Guard. Logically, he should be a firm believer, but instead he uses his status to climb the ranks to act as a mole. This is a great starting point but we're missing what triggered this in the first place. The only hint is that the death of his mentor is what started his rebellion against Belos. But this isn't really expanded upon and it raises more questions. How did he find out that it was Belos who killed his mentor? How much did the Golden Guard tell him? If the death of the previous GG is what made him turn on Belos, then why does he treat Hunter poorly? If you're going to have a character act as a mole, then at least explain what their motives are and how they were developed.

This shows how fundamentally flawed the world-building in The Owl House is; characters only follow Belos when it's convenient to the plot. So in the end, you have characters who oppose Belos because they're on Team Good Guy (Darius, Raine, Eberwolf), the ones who support him because they've always been Evil (Kiki and Terra) and the rest of the isles who either celebrate him at a parade or denounce Eda's potential execution because two teenagers said so.

Anyway, onto the villains...

Odalia is essentially a war profiteer who doesn't care that her entire species is about to be wiped out by the DOU, even though logically she should. She cares about her company and a company can't profit if the majority of your customers are dead. She is tyrannical, cruel, and greedy and it's fun to watch her be reduced to a mere servant. I don't mind this development for Odalia, however, it does point to the trend of taking powerful enemies and reducing them to a shadow of themselves for comedic purposes.

Kikimora was presented as a terrifying enforcer of the Emperor's laws but she got progressively more pathetic to the point where she had to impersonate a teenager and serve as the right hand to Boscha, a character we haven't seen properly since Season 1. She is presented as power-hungry, pathologically ambitious, and has an intense desire to earn Belos' favor, but when he turns against her, she helps King find the Collector, effectively helping defeat Belos. But recently, she is back to her Season 2 shenanigans by taking over Hexside and the question is why exactly? We saw her world crumble before her and she reverts back to her previous traits instead of actual characterization. A common interpretation is that she is just THAT obsessed with power that nothing can break it, which isn't...realistic. FtF doesn't show why Kiki does this, she just does. Perhaps because of the psychological damage of Belos betraying her she decides to continue with what she's always done, except that this isn't telegraphed clearly. Instead, she just comes off as a mini-boss before the final showdown.

That leaves Belos as the only real credible threat and while he is terrifying on a personal level, we never see him at his full power; for apparently being the most powerful "witch" in the isles, his magic doesn't really stand out from what was seen before. And in King's Tide, he was just playing with Luz. He is ultimately brought down by his own hubris and misplaced trust, and an over-powered god child. Belos' defeat is thematically appropriate so it's not as egregious as Kiki's but it does fall into the category of "Easily Defeated." Obviously, we'll have to wait for the finale to see if that trend continues.

Belos' defeat by the Collector seemed to set them up as the new threat in town, that Belos, for all of his power, was ultimately nothing and the mysterious Collector is a force to contend with. But no, the Collector is largely kept in check by King. So Belos' defeat doesn't do anything for either character; we don't get any reaction from Belos about his centuries-long plan blowing up in his face and the Collector isn't even bad, just misguided. As for the misunderstanding between King and the Collector and their "new game"? I don't think the Collector will actually do anything that will have lasting damage, not while Belos still breathes.

And that's a common problem the villains in this show have, any attempt at interiority or psychological depth is explicitly rejected by the show (remember Kiki and her family, how she was worried about being disowned? Psyche! She'll drop everything for even a smidge of more power!) and the lesson seems to be "these characters have always been Evil and nothing will change that."

It can be fun watching villains go from intimidating to pathetic, but if that's all you do with them then it becomes boring fast, at least for me. Ultimately, I think the biggest problem with the villains is that you're supposed to take them at face value: Belos, Kiki, Odalia, are Evil for petty reasons and will do anything for power. Not all villains need to be nuanced with complex characterization but if all of your villains are just Evil all the time and the text explicitly does not want you sympathizing with them or even showing a different side to them, then that's just a wasted opportunity to flesh out your world with interesting characters.

[lucianalight]

What If 1x03

OK, that twist was good, but not really hard to figure out. When Betty said a tiny projectile was fired from the destroyed needle and Natasha asked about nano tech, I became sure that it has sth to do with Pym technology, but I didn't know who was behind it. Seeing Janet's profile on the screen and Natasha saying sth about a girl who died two years ago, made me sure that Hank himself was behind all of this.

As much as I love Coulson's fanboying, smelling a dead body was uncomfortable to watch. But maybe it's just me.

I loved Loki more in this episode than his own series, despite him being two dimensional, which is saying sth about how ooc he was in his own series. He was more witty in this one, got to use his magic and intelligence and easily beat Pym's technology. And I liked that Loki came for vengeance because of Thor. But that doesn't mean it was a flawless portrayal. In fact it was far from it. Because apparently MCU can't remember its own movies.

MARVEL REMEMBER YOUR OWN CANON CHALLENGE 2K21!

"The rightful king of Jotunheim"? Really? Does everyone collectively forget that finding out about being a Jotun made Loki having a freaking mental breakdown? That he thought himself a monster? That he thought he was nothing but a political pawn? Feared that Thor would kill him if he finds out? Killed Laufey to prove he was a son of Odin? Tried to destroy "that race of monsters" to prove himself a worthy son of Asgard? Has everyone forget that Asgard is racist? So How is it that Loki is so calm and accepting of all this, considering the same things must have happened to him until Thor's murder? And while we're at it, do you really think Loki would be really that much calm and collected and stable about the whole thing, if Thor ends up being murdered on top of all that?

And why the hell he doesn't turn into his Jotun form when using the Casket? Every time he did in Thor 1, it changed his skin.

Also I'll-kill-you-if-you-betray-Thor Sif stops Loki, because I'll-sacrifice-as-many-Asgardian-lives-as-needed-for-revenge Odin would want Loki to listen. Right. That makes so much sense. It's not like it was Loki who always chose diplomacy over physical attacks. Not that he would care about diplomacy if someone murdered Thor, but neither Sif nor Odin of all people.

Anyway, what was with Loki's speech at UN? That speech was clearly nothing but projection of Loki's own situation, you know being under duress and everything, in Avengers movie. It would absolutely make no sense for Loki to repeat it in this universe. Also what was about him taking over the Earth? Again has everyone forgot that Earth was "uUnDeR aSgArD's PrOteCtIoN" already? So this is just Asgard making humans aware of that. Not to mention with Thor gone, Loki was already going to be king of Asgard. Remind me again why the hell he needed Earth? Oh, yes, he is nothing but a power hungry villain who just can't get enough thrones. Right. Well done Marvel. It wasn't like he said himself that he never wanted a throne, and only ever wanted to be Thor's equal. Smh. But what else is new. It's not like I expected anything different from MCU, considering their attempts at retconning Loki's characterization and motivations in his recent portrayals.

[snkpolls]

SnK Episode 69 Poll Results (for Manga Readers)

The poll closed with 200 responses. Thank you to everyone who participated!

Please note that these are the results for the Manga Readers’ poll. If you wish to see the results for the Anime Only Watchers’ poll, click here.

--

RATE THE EPISODE 193 responses

The anime continues on with it’s hot streak, with episode 69 receiving only 1 vote in the negative direction. The vast majority were very pleased with this episode. 

this time the pacing felt quite weird, specially with how they managed the flashbacks. sorry mappa, but for the first time i feel like this was a 7/10 episode

nice i guess.

Beautifully done

It was great especially the confession part hahah

I love MAPPA's takes on the series so far!

Overall, very good episode. MAPPA is doing a great job. 

i liked it!

A little iffy but still solid.

WHICH MOMENT FROM THE PRESENT TIME WAS YOUR FAVORITE? 194 responses

There were many significant moments in this episode, so we opted to divvy up the options. For favorite moments during the present time, Eren’s harsh tone with Hange garnered the highest amount of votes at 34.5%. Not far behind, 26.3% most enjoyed watching the 104th talk about Eren and what happened in Marley. Behind those two scenes were Hange asking Eren why he was talking to himself in the mirror (12.4%), and getting the small zevi crumbs at the end of the episode (8.2%).

WHICH MOMENT FROM THE KIYOMI FLASHBACK WAS YOUR FAVORITE? 192 responses

For the flashback where the Survey Corps meets Kiyomi, nearly half of the fandom (43.2%) were ecstatic to finally see the scene between Historia and Mikasa animated. 24% most enjoyed Eren’s rejection of Zeke’s plan in Historia’s defense. 14.6% were immersed in Hange’s dismay at considering making Historia continue the cycle of children eating their parents, and 12.5% were thrilled to finally see Mikasa reveal her tattoo to Kiyomi. 

Tfw you think MAPPA cut Kiyomi’s drooling scene due to tv lag and later you find out the scene was changed to something equivalent: O__O 

5head pixis made me laugh

WHICH MOMENT FROM THE RAILROAD FLASHBACK WAS YOUR FAVORITE? 193 responses

Eren’s confession at the end of the railroad flashback took the most attention from fans, with 41.5% enjoying that portion the most. 20.2% enjoyed the 104th all discussing who is most suited to inherit Eren’s titan. 19.2% got a kick out of seeing smol Armin chasing around smol Sasha, and 13% were happy to see Levi (and his annoyance that everyone is taller than him). 

Armin's :o face was just adorable! Had forgotten it from the manga

MIKASA REVEALS THE AZUMABITO CLAN SYMBOL AS A TATTOO ON THE TOP OF HER WRIST. THIS IS A RETCON FROM SEASON 1 WHEN WIT REPLACED THE BRANDING WITH EMBROIDERY INSTEAD. THOUGH THE TATTOO IS WHAT’S FAITHFUL TO THE MANGA (MIKASA’S MANGA COUNTERPART HAS ALWAYS HAD THIS), WAS THIS A GOOD DECISION ON MAPPA’S PART? 192 responses

When it comes to the tattoo retcon, opinions seem to be relatively mixed. 22.9% of respondents felt that the retcon was a good move, because they feel that faithfulness to the source material is the most important thing in an adaptation. 21.9% felt it was a mixed situation, because they appreciate faithfulness to the manga, but also prefer for things to have proper continuity. 20.8% agreed that it was a good move, but mainly because the embroidery was “lame and forgettable” anyway. At smaller percentages, 16.1% felt that it wasn’t really a big deal either way since the family symbol was acknowledged regardless, and 9.4% didn’t care at all.

Mix of 3 and last point

Yes because faithfulness to the source material is important and I don't think the existence of the embroidery means that the branding didn't also exist.

No: continuity issues in the anime, but Yes: the embroidery thing was stupid.

1) we never saw the embroidery being kept by mikasa 2) kiyomi could have thought they just found it and stole it from the shogun's descendants' tombs or something. we as manga readers know mikasa is truly a descendant of the shogun, but anime onlies would have thought it could be possible for kiyomi not to trust them. so a tattoo is the best choice

Yes, MAPPA made a good decision. The anime onlies probably don't even remember the embroidery thing anyway. 

Bruh, if I hadn't read the manga, I would've forgotten the Mikasa mom scene.

Options one and two.

HYPOTHETICALLY, IF ONE OF THE 104TH WERE TO INHERIT EREN’S TITAN POWER, WHO DO YOU THINK WOULD BE THE BEST OPTION? 191 responses

The notable majority of respondents feel that Jean would have been the best candidate to inherit Eren’s titan. At a distant second, people would opt for Armin to inherit Eren’s titans (perhaps because he is already a titan anyway). The rest of the characters were relatively evenly chosen.

WHICH ���SHIPPY” MOMENT FROM THE EPISODE WAS YOUR FAVORITE? 193 responses

This piechart turned out to be very colorful. Nearly a quarter of respondents couldn’t choose just one moment, so they voted for “all of them.” Behind that, 14.5% most enjoyed the scene where Eren showed determination to ensure Historia wouldn’t have to be sacrificed, 13.5% swooned over Eren and Mikasa’s blushy glances at each other, and 11.9% most enjoyed Connie and Sasha’s increasingly awkward conversation about who’s the bigger idiot. 

I loved the Erehisu moments 

sasha and connie <3<3<3

Erehisu canon

MAPPA DIDN’T INCLUDE THE PART OF THE CONVERSATION BETWEEN ZEKE AND KIYOMI WHERE ZEKE EXPLAINS HIS PARENTAGE, WHY HE SOLD THEM OUT, AND CLAIMS THAT HE’S THE “TRUE ELDIAN RESTORATIONIST.” THOUGHTS? 192 responses

The conversation between Zeke and Kiyomi got shaved down quite a bit, losing the claim of Zeke being “the true Eldian restorationist.” 30.7% aren’t sweating about it and feel it’s something that will be included in a later episode. 27.6% feel that it’s removal isn’t a big deal. 18.7%, on the other hand, feel that losing that moment watered down Zeke’s characterization and would have preferred its inclusion. 8.9% don’t care. 

I feel it will be brought up next episode

I think leaving it out makes the moment with ksaver telling him to sacrifice his parents more impactful to the anime onlies.  

they may have prepared an anime original scene where this is explained, probably at some point. this chapter was loaded with tons of info

I think everything zeke is going to be saved for his big flashback after losing to levi

Maybe they'll include it at the part where Zeke has his flashbacks when he was injured by Levi.

MAPPA ALSO LEFT OUT THE PART OF THE 104TH’S CONVERSATION WHERE ARMIN THEORIZES THAT EREN WOULD BE IN CONTROL OF THE COORDINATE ONCE HE AND ZEKE MAKE CONTACT. THOUGHTS ABOUT THAT? 185 responses

Another dialogue that was axed this episode was Armin brainstorming about who would be in control of the Founding Titan if Eren and Zeke make contact with each other. 35.7% (a small jump from the previous question) feel that this, again, will be included in a later episode. 28.1% feel that its inclusion wasn’t wholly necessary. 18.4% feel that this fact was already obvious anyway, so it doesn’t matter. 10.4% feel that the anime will get to that point so quickly that the exposition isn’t necessary to begin with. 

Armin's motives don't necessarily change either way so I'm fine with the cut. I do hope it's mentioned later on though.

Every episode is only 25 minutes long, so some parts of dialogues need to be removed. 

I honestly think they're going to retcon this so zeke's reverse uno in chap 120 doesn't seem so wild

I do understand that they need to make cuts (and there's still to many manga chapters to fit in the rest of the season) but that one was really important bc they might not explain it fully later on

If they animate Zeke's backstory, it will be there. It would've been nice to show Armin still using his brain though.

DO YOU THINK EREN SEEMED MORE INTIMIDATING IN THE MANGA OR THE ANIME? 191 responses

Manbun Eren was introduced as being intimidating, cold, and generally mean. His outburst at Hange was the first of many examples of this behavior as he lashed out at them for having no good ideas. 65.4% of respondents felt that MAPPA did a much better job at portraying Eren as a much more intimidating figure than Isayama did.

IN RETROSPECT, DO YOU FEEL THAT EREN WAS TOO HARSH ON HANGE? 190 responses

Almost a total opposite from the previous pie graph, 66.3% of respondents felt that Eren was much too harsh on Hange, given the circumstances and their dwindling options.

DO YOU THINK THAT, EVEN AFTER READING CHAPTER 123, PARADIS COULD HAVE FOUND ANOTHER WAY TO RESOLVE THEIR ISSUES THAN THE PATH THAT EREN TOOK? 191 responses

One of the constant questions in the manga since the timeskip is “could there been another way?” 59.7% think it’s just a solid maybe, and that there’s no longer any way to know that now that Eren has stripped Paradis of all their options. 23.6% feel that the rumbling was the inevitable outcome against a world that would never give them a chance. 14.1% feel the opposite, however, and believe there was always another way, and that Eren didn’t give them enough time to figure it out. 

I wonder what would happen if eren talked about his future memories 

There is always another way than violence. The problem is that no one on Paradis was able to find it.

Maybe we will find out in the last 2 chapters, this might be correlated to a possible "the mist" ending that Isayama originally planned

Who even knows? All I know is that there was too much distrust, secrecy and mystery for anyone to get anything done before shit hit the fan and now here we are. I also think it was a huge mistake to keep Eren so isolated.

There's no good way and never only on path but eren choose one who solve the problem

WE’RE GONNA ASK THIS… WHO IS THE FATHER? 196 responses

The never ending debate of who the father of Historia’s child hasn’t slowed down since the introduction of her pregnancy, though the question has ultimately boiled down to whether the child is Eren’s or not. Only 33.2% of respondents seem to think so. 28.1% presumably feel that it’s not Eren, but are overall tired of this debate in general. 21.4% are firm in their stance that it’s the farmer. 13.8% just wish it had anything to do with Ymir and nothing to do with the other options. 

I’m tired of this whole damn debate... but it's the farmer

LEVI SEEMED MORE VISIBLY IRRITATED ABOUT HOW TALL THE 104TH HAVE GOTTEN IN THE ANIME. THOUGHTS? 192 responses

MAPPA animated this scene with their own take and made Levi more irritable in the anime adaptation than he appeared to be in the manga. Generally, half of respondents felt that both ways were effective and funny. 25.5% seem to enjoy MAPPA’s rendition of it more, while 18.2% prefer the original manga portrayal of Levi’s grievances.

THE TRAIN SCENE WHERE EREN CONFESSES TO HIS FRIENDS IS TREASURED BY MUCH OF THE FANDOM. DID MAPPA DO IT JUSTICE? 193 responses

For fans of the 104th in particular, this scene has felt like it’s taken 84 years to finally be animated. And very few were disappointed, with 56.5% stating that the scene was cute and they are content with it, and another 36.8% showing a little more enthusiasm, feeling that it was more beautifully done than they ever could have imagined. A handful felt it could have been better, but was still good, or just didn’t care. No one agreed that the scene was ruined.

DARK!CONNIE RETURNS! WHO DID HIM BETTER? 190 responses

Another highly anticipated moment… the return of Dark!Connie! MAPPA didn’t quite hit the mark on this one, with Connie’s aura in the manga still being much more preferable to manga readers than the way MAPPA portrayed him in the anime.

WHEN CHAPTER 108 WAS PUBLISHED, READERS WERE ASKED IF EREN STILL PRIORITIZED HIS FRIENDS. AT THAT TIME, THE MAJORITY BELIEVED THAT HE DID, ALTHOUGH THE LARGER HALF OF THAT MAJORITY FELT IT WAS TO A LESSER DEGREE THAN BEFORE THE TIMESKIP. WE’D LIKE TO ASK AGAIN, DO YOU THINK THAT EREN ULTIMATELY TOOK THIS PATH OF DESTRUCTION BECAUSE HE PRIORITIZES HIS FRIENDS? 190 responses

Overall, the majority of the fanbase believe that Eren’s actions are generally in the interest of his friends and their lifespan, though to varying degrees (38.4% feel he prioritizes them wholly above all else, while 34.7% feel that he prioritizes them, but to a lesser degree than he used to). 21.1% still think that Eren’s contradictory actions make it hard to come to a solid conclusion on this front. A handful feel that Eren has abandoned them completely and only cares about himself and his own freedom at this point. 

I want to believe that hes prioritizing his friends, but too many of his actions contradict that, like forcing them into the battle in liberio and sending titans after the alliance 

Eren wasn't able to save his mother and this fact still torments him. I think that his friends matter to him a lot, but there is something darker in him what causes all the mess he is doing. 

He’s selfish and doing whatever he wants.

DO YOU THINK IT’S POSSIBLE THAT EREN PUSHED HIS FRIENDS TO THE FRONT LINES BECAUSE HE ALREADY SAW IN HIS FUTURE MEMORIES THAT THEY WOULD STOP HIM, THUS KNOWING THEY WOULD NOT DIE? 188 responses

When chapter 108 was published, we hadn’t yet learned that Eren saw memories of the future and so we couldn’t speculate on such a thing. Now that we can, we thought we would ask. 42.6% believe that regardless of whether Eren saw his friends in those memories or not, Mikasa is correct in her belief that Eren simply trusted them to survive. 33% feel that he already knew that they would survive, which is the only reason why he dragged them to Liberio in the first place. 18.6% don’t want to say either way, and a small percentage believe Eren had no way of knowing about the fate of his friends. 

He said "I HOPE they will have happy long lives". It means he didn't see much.

WILL WE SEE THE WARRIORS + MAGATH AND COLT NEXT EPISODE? 187 responses

With things shuffled around, we still have yet to see the Warriors recuperating and planning their next move. Half of the fandom feel that MAPPA was waiting to put the focus back on Gabi and Falco before giving us this moment. 32.1% aren’t sure if we will get it in episode 70 or not. 14.4% think it’s something that will come later, and a tiny fraction think it will be cut entirely.

Need my warriors back

WHICH SCENE FROM THE PREVIEW ARE YOU MOST LOOKING FORWARD TO? 193 responses

The largest percentage (48.2%) went to the scene with Hange confronting Floch and the Yeagerists, though it is edged out by both of Gabi and Falco’s preview scenes combined (42% for the visit to the Blouse’s, and 9.8% for their scuffle at the river). 

Can't care less about to gabi and falco, it's the final season cut the filler please.

ADDITIONAL THOUGHTS ON THE EPISODE?

I miss Sasha

No thoughts, anxiety only. 

Hope to see the cut scenes in the next episode

Maybe I'm the only one, but I'm not so hyped for this season anymore. Sure, I'll still watch all the episodes no matter what, and I don't think Mappa is doing a bad job. But it's just a good adaptation. For the anime-onlys, I'm sure it's great because they're discovering the story we already know, but for me, this season doesn't add much to the manga. I probably had too high expectations for this season... (I'm also watching/reading Jujustsu Kaisen from Mappa and I don't have that feeling at all, so I'm pretty conflicted)

The episode was fine but I had a feeling that it was going a little too fast. However, I'm not complaining because I overally liked it. I could finally see adult Historia. She looks different than her manga counterpart. In the manga she was more mysterious and mature, while in the anime she still has cute baby face. I think that the moment between her and Mikasa was sweet. I feel kinda tired of the whole "who is the father" theories. I think that people waste their energy on fights and debates. If I wasn't part of the fandom, I wouldn't even think of Eren having a child with Historia. They never had romantic relationship and their last conversation was far away from being loving. Eren is an amotional mess. He has never mentioned the child in his POV, he says that his friends and Paradis are the most important, so I will be surprised if all of sudden he turns to be a father.

The lightning around eren when angry at hange was amazing addition (I think it's new) and historias situation feels more real in the anime. (ps: hail ponytail mikasa is bea)

Did a great job imo, but I don't think it's possible to make it anywhere near 122 at this point

Scenes were great as usual. The pacing was a little bit jarring though. I don't know how anime-onlys will take it since we do have different perspectives given our forehand knowledge of the events.

Where's shirtless Reiner??

Good episode, can’t wait for Gabi and Falco’s realization next episode 

I wish everything from the manga could fit into the episode or that the episodes were longer.

There's really no where else I could've put this so I'll just put it here......lol. I feel like it's not as obvious in the anime how much longer Jean's hair has gotten sometimes (specifically during the railroad scene here) and I wish that wasn't the case.

WHERE DO YOU PRIMARILY DISCUSS THE SERIES? 180 responses

Thank you to everyone who participated! 

[mashounen2003]

Sonic opinions - 2

In large portions of every fandom, it looks like it prevails the idea that you can only take one of two positions: praising the story in every respect, including both the ideas themselves and their execution by the writers, or admitting not to like the story and not to praise any element of it at all. I think my ideas regarding the Archie-Sonic comics and the Sonic franchise in general cannot be pigeonholed into either of these two extremes.

More below the "keep reading" cut.

I loved all the world-building in Archie-Sonic, the elements the comic introduced, their many characters and the potential to tell stories about them; I also really liked much of the art and personal styles of several artists Archie-Sonic has had throughout its history, with very few exceptions (and such exceptions include Ron Lim, of course). That's why, of all the Sonic continuities, I often use the pre-reboot Archie-Sonic comic as the primary source for world-building elements and story ideas.

What really makes me feel bad about that comic, what motivates most of my criticism, is the ideas’ execution by the main writers, as well as aspects that I think are more linked to each writer as a person, the unique way in which each of them has written their stories.

Firstly, Michael Gallagher: the writer for the first few dozen issues of the comic had a terrible sense of humour, and this hurt the comic hugely since those first issues were fundamentally based on that low-quality comedy style. The characterization of the entire cast also suffered greatly from this; in Sally's case, something quite ironic happened too: Gallagher portrayed her as bossy, annoying, temperamental, usually bickering with Sonic, and now that's also how Sally is seen by many fans of the videogames’ continuity (at best). Other than this, not much more could be said about him.

Karl Bollers wrote quite decent stories with some nice comedy, with “Return to Angel Island” being his best work, one of the best stories in the entire comic and perhaps even one of the best in the franchise; but Bollers’s work was "torpedoed" by Ken Penders and then-editor Justin Gabrie, which ruined the stories’ final versions sometimes or led to elements introduced by Bollers being "retconned" and overwritten by whatever Penders smoked and decided to do when taking over. The characterization of Fiona Fox is one of the main examples, with Bollers's Fiona being a quite under-utilized character but with a great potential that would later be wasted by both Penders and Ian Flynn. Another similar case was Sally breaking up with Sonic: Bollers tried to give context to such a drastic decision by Sally and show how she was the one who was suffering the most at that time and also that both she and Sonic were partially right, but Penders and Gabrie didn't let Bollers develop this subplot properly and all we had was a quite infamous scene that unfairly made Sally one of the most hated characters. It’s also known of several plans Bollers had for future stories, and one of them was Antoine being corrupted by the Source of All and turning into a villain; this had the potential to be a good story by subverting the concept of the Source of All and making it an actual threat, but on the other hand, it’d have meant resorting once again to the resource of "this character isn’t doing anything, let's make them evil", something quite disappointing, which later would have disastrous results when Flynn did the same with Fiona a few years later. However, these plans of Bollers were just ideas, and the quality of a story created from them still depends a lot on execution. In the end, I can't say anything about how good or bad Bollers was as a writer, simply because I have no way of knowing what his stories would have been like if he had been given more freedom and had stayed as the writer longer.

There were two writers who influenced Archie-Sonic comics far more than any other writer in its history: Penders and Flynn. The first of them was a retarded pervert with an overly inflated and fragile ego. He became obsessed with the primitive, toxic ideal of "family" North-Americans have. He wrote nonsensical, contradictory stories, having already decided the end down to the last detail long before even thinking about how the story would come to that end (I also made this specific mistake a few times when I was just starting to write fanfiction, I must admit). He increased Fiona's age in order to be able to pair her with the Don Juan that Sonic had become, which also ruined Fiona's characterization forever. The issues 150s -right before being replaced by Flynn- were the worst part of Penders’s run, as Bollers was no longer there to put a stop to his madness in any way, and it was at this time when there was the most egregious case of Penders pouring into the comic his worst perversions and retarded ideas: he hinted at a sex scene in one of the most infamous cases in the history of the entire Sonic franchise, although it wasn’t infamous for the implied sex per se but rather because what happened was technically a rape by deception; to add insult to injury, the writer implicitly blamed the victim some years later when asked about it on Twitter.

I could go on talking about “Ken Perverts”, but I think that's not necessary and would be a waste of time since, as everyone here already knows, he's been the laughingstock of the entire Sonic franchise for years; @ponett even has a whole secondary blog, @thankskenpenders, mainly dedicated to this. On the other hand, there’s still another writer who has also contributed a lot and also made huge mistakes but is not criticized in the least by almost anyone, simply because he was better than Penders.

Ian Flynn usually reduced the characters to slightly oversimplified portrayals, similar to the personalities of the characters in the most recent videogames. Under his pen, Sonic was more sympathetic but his words sometimes sounded too empty and shallow, his apologies for past mistakes didn’t lead to genuine changes on his part, and sometimes he even seemed plain insensitive to all the tragedies happening around him, especially at the Mecha Sally Arc (I nickname Ian Flynn’s Sonic "Plastic Smile" for this). Admittedly, this had already happened several times with previous writers (Penders portraying Sonic as a Don Juan, as I already mentioned), and this is why I think the original Sonic from Sonic SatAM was always better for feeling more "genuine", less "empty", and more heroic and likeable as a result. Perhaps the only ones to escape the oversimplified portrayal have been Shadow and E-123 Omega, whose characterizations in Archie-Sonic were the best in the whole franchise.

Besides, Flynn had strong favouritism for Amy Rose, which only made things worse because this Amy was much more similar to the one in the videogames from Sonic Heroes onwards. Anyway, this also happened with previous writers, like when Amy wished to be younger at the cost of a chance to save Sally's mother and no one ever berated her for it.

Let’s look at the villains. Unlike the typical Eggman from the videogames, with his follies, eccentricities and other absurd aspects, the Robotnik “inherited” by the comic from Sonic SatAM was explicitly a genocidal bastard and crueller while at the same time being sane enough to realize everything he was doing (@robotnik-mun already spoke in detail about this once); however, Flynn tried to combine the two characters into the pre-reboot Archie-Sonic Eggman, and the result created some severe problems with the stories’ tone. Something derived from this was how Sonic let Eggman live and even felt sorry for his fall into madness, in addition to treating him as if they were the Sonic and Eggman from the videogames, Sonic X or Sonic Boom; it’s worth remembering this Eggman technically is a sort of reincarnation of the SatAM Robotnik (his exact nature is quite complicated and includes parallel universes, but yes, he’s supposed to be exactly the same as the SatAM Robotnik, with memories and everything) and this Sonic is supposed to have fought a bloody decade-long guerilla war against him just like his SatAM counterpart.

Scourge was turned into a massive Mary-Sue who achieved easy victories, as subtle as a huge neon sign saying "the bad guys win"; he was also an abusive manipulator towards Fiona Fox, and Flynn was unable to show that properly for fear of making his pet look no longer cool, which makes you wonder how alike Flynn and Penders might actually be in some ways. To clearly understand the horrible damage this has caused: it not only created a generation of young Sonic fans -mostly boys from the USA- who romanticize abuse either consciously or unconsciously, but also there are even women -including scholars, committed feminists and transgender people who are also activists for social justice- who either sympathize with Scourge or think Fiona made a right, wise, rational or informed decision by joining him in the story (I’ll not give names of those women, I’m not really eager to get into heated fallacious discussions about “the true meaning of Feminism”); to top it off, among the writers who started working with Ian Flynn either on IDW-Sonic or the last years of Archie-Sonic, there’s at least one person who got the job of writing official Sonic comics after gaining quite a bit of fame with a fan-comic where they used the pairing of Scourge & Fiona to inspire its readers to feel sorry... for Scourge. And speaking of Fiona specifically: the subplot of her career as a villain was ill-conceived, was built by using as a cornerstone the A-story of Issue #150 (that quite infamous and widely known story written by Penders where Scourge may or may not have raped Bunnie by deception), and was also seemingly "abandoned" as Fiona ended up merely being Scourge's new abuse victim girlfriend and her status as a traitor didn’t even have a significant emotional effect on the Freedom Fighters.

Flynn also followed something like a pattern of taking tropes from famous works and then using them when writing the comic but not actually understanding why those tropes had worked in the first place. Perhaps the prime example of this was Scourge giving Sonic the Joker's "One Bad Day" speech: it almost felt a bit like giving the same speech to the Batman of Batman vs. Superman, as Sonic had already had a whole "bad decade" and was still a hero despite it; also, Sonic's answer to that speech (telling Scourge it only takes a tiny bit of selflessness and decency for him to be a good person) wasn’t that great, not at all compared to the mildly masterful answer Batman had originally given to the Joker in The Killing Joke, and it even made Sonic look more like a bad judge of character.

Lastly, the entire Mecha Sally Arc was poorly planned, had some contradictions with itself and with previous stories, was stretched through dozens of comic issues no matter if that felt forced, and the main events and plot twists throughout the story arc were heavily based on shock-value without giving any substance to this or making it a bit more sense when putting it under scrutiny; meanwhile, Flynn always seemed to have quite a hard time when writing long story arcs, so these long stories looked like he was trying and outright failing to imitate Toriyama (someone quite known for putting together stories ad-lib according to what seemed most convenient at the time).

Despite this, it looks like those Sonic fans who are still interested in material outside of the videogames will keep buying and reading whatever Ian Flynn or one of his colleagues writes, simply because they’re better than Penders... even though it's been 15 years since Penders wrote something official about Sonic. Seriously, we should have gotten over it by now, instead of continuing to compare all material in the franchise with Penders's work, which sets the bar too low for any official content creator. Now that I think about it, Penders's work is to the North-American Sonic canon what Sonic 2006 is to the videogames: people can criticize the latest games all they want, and rightfully so, but if someone even casually mentions Sonic 2006, any Sonic game from 2010 onwards instantly becomes a masterpiece just for being marginally better than Sonic 2006; the same happens between Penders's work on pre-reboot Archie-Sonic and any other North-American Sonic comic written by Flynn after Penders left.

Right now it looks like it's also forbidden to criticize Flynn as a writer at all just because he's much nicer in his personal life and engages with fans more directly through his podcasts, or because Flynn is truly progressive while Penders claimed to be progressive and a feminist and was affiliated with the USA Democrats but his work showed how misogynistic, perverted, retarded, reactionary and downright sick he was. Also, now saying something about Flynn other than total blind admiration for him and his work, even asking for the Freedom Fighters to return in the IDW comics, has become synonymous with agreeing with those assholes who cry "Rally4Sally" or "Udon4Sonic" on Twitter: "nostalgic" fans of SatAM and Penders's work on Archie, in their 40s or 50s, deeply conservative and absurdly paranoid, who claim that those new inclusive cartoons such as Steven Universe or She-Ra "are ruining their childhood", are mad at Flynn just because he hinted Sally and Nicole may be a lesbian couple (and in a rather platonic way, not even romantic in the traditional sense), and try to justify their own warped ideas and fantasies about SatAM by ignoring any “liberal” political messages SatAM may have had at the subtext level.

[scarlet--wiccan]

I don’t think Wanda’s mutant status actually matters nearly as much as it should for Billy and Tommy especially, mutants are born with their powers (though usually dormant), Wanda and pietro (currently) got their powers from the HE but the twins were seemingly born mutants. Either she made them mutants subconsciously bc she believed she was, or they’re the mutant children of a mutate (like Franklin Richards). Not defending the retcon and DEFINITELY not defending the way Wanda’s been treated and how weird that makes Tommy’s relationship status but I don’t think non mutant Wanda necessarily means Billy and Tommy aren’t. They should clarify, where Tommy’s powers even come from if pietro got his from THE especially confused me, but usually powered kids of mutates have been considered mutants.

That being said it probably doesn’t matter bc Sc*rletVisi*n is probably going to make all of them mutants point blank so the comics will shift to accommodate that. Apparently Peter from the xmen is going to come in and bring mutants somehow which sounds horrible (and though ATJ still shouldn’t have been playing pietro as a white man he was at least semi recognizable as quicksilver from the comics and Jewish. I hate xmcu quicksilver A LOT more than mcu QS even though neither is good) and ridiculous but the leak has gotten a lot of crap right so far.

I’m assuming the plan is to retcon the retcon with this krakoa event but they’re waiting until the big tv reveal because unfortunately the movies/shows are their priority now. I think the only good think is that krakoa seems so far divorced from any status quo (mcu or otherwise) that making the maximoffs mutants (again) will have to be completely divorced from the mcu so there’s a chance the storyline might not be terrible? I don’t want the whitewashed maximoffs to have any more of an impact on the comic characters, even though I know that’s impossible.

Well, for one thing, they just retconned Franklin as a "false" mutant, too. I'm not saying that was a good choice, but if we're talking about the current status quo, he definitely doesn't hold up as an example. The definition of "mutant" has shifted over the years, but, generally speaking, when we talk about X-Men mutants, we're talking about people with a specific genetic feature, the X-gene. I suppose that a child of a human mutate who inherits superhuman or abnormal genetic traits from their parents would be, by definition, a mutant, but if they don't have the X-gene, it's not the same thing. Are there a lot of other characters like Franklin, who were allegedly born with the X-gene because their parents are mutates? Because I can't think of any off the top of my head.

Anyways, this is a hard point to debate because the 2015 retcons were poorly executed and poorly justified-- it's, like, impossible to retroactively view Wanda and Pietro as non-mutants when, in the past, their mutant status was an integral part of their characters and a key plot point in several major events. House of M, Son of M, and AvX literally don't make sense if they aren't mutants-- Pietro was depowered by the "no more mutants" spell, and Hope was able to mimic Wanda's powers. Neither of these things would be possible if they weren't real mutants. The explanation can't just be that Wanda believed herself to be a mutant, and so her magic functioned accordingly-- if that's how it's supposed to work, the reveal in Axis never could have happened the way it did. Do you see what I mean? I'm running circles around myself trying to make it make sense.

That aside, Billy and Tommy's status as mutants has always been a little nebulous-- I don't think they're ever clearly identified as such in any Young Avengers titles, although they were definitely described as mutants in some of their other appearances-- Secret Invasion always comes to mind. You could argue that their powers are a factor of their magical resurrection, rather than being genetic, but, as I've said in the past, I do think that the twins are genetically continuous to their original incarnations. More to the point, their "mutations" match Wanda and Pietro's almost exactly. This is taken as proof of their connection to Wanda, so, based on that significance, I'm inclined to say the nature of their powers should also match, mutant or not. Plus, don't you think it'd be a weird coincidence if they had the same abilities, but from a different source?

[As a disclaimer, I do tend to think of/refer to the entire Maximoff family as mutants when I'm not directly addressing the retcons. This is because they were written as such for decades, so they are still mutant characters within most of the existing material.]

__________________________________

I have heard some of those leaks and rumors, and I agree that if the Axis retcon is going to be reversed, even partially, it will probably happen if and when MCU!Wanda comes to be known as a mutant. As I've said, I'm not invested in that character and I don't think there's any way, at this point, to fix the problems that she represents, so I don't really care where she ends up in the movies. I will say that I'm not terribly worried about the films influencing Wanda's appearance or characterization in the comics-- even after the Axis retcon, which was clearly motivated by IP concerns related to the movies, the changes she went through had nothing to do with MCU!Wanda and actually differentiated them even further.

That said, while Hickman's treatment of Wanda may be a red herring or set-up for some big reveal, I don't trust him, or Howard, with the character in any circumstance. More importantly, I care less about Wanda being a mutant than I care about the way Hickman, like Remender before him, is carrying on with the worst, most offensive aspects of her mid-2000s characterization. The levels of ableism and misogyny House of M, Disassembled, etc are too great to ignore. It is irresponsible for contemporary writers to refer back to those stories without acknowledging those problems, or at least attempting to shift the narrative for the better.

It's also really hurtful to me, as someone who sees their identity and history reflected in this character, to see her painted as pseudo-genocidal, or a race/class traitor, or a self-hating minority. Wanda has only become that character because gadjekane writers have chosen to project those those notions onto the image of a Roma woman. That sucks, and it sucks even more that so many fans, and industry pros, turn their ire onto the character, rather than reckoning with the real problem.

[veryvincible]

How’s Tony relationship with Wanda in comics? I wonder if there’s friction between the comic fans as well

Despite being on-off Avengers for a long, long while, they didn’t actually have much of a meaningful relationship until something called Force Works in ‘94. Even when they were teammates, most of their interactions were little bits of dialogue to acknowledge that they knew each other and would talk to each other if they happened to appear on the same page, but... not much else. 

I am not as well versed in Wanda as I am Tony, so keep that in mind.

Before going in-depth about the things they experienced together, there are some differences in ideology that don’t give them the best set-up in the world. They have different circumstances of birth, different “powersets”, and overall different approaches to things. Tony tends to be the oddball in most teams when it comes to his foresight and utilitarian mindset, but this is especially the case compared to Wanda, who sometimes doesn’t have the privilege of utilitarianism because of how her powers work; she’s capable of a lot, and on a daily basis, she exercises quite a bit of restraint. 

Tony’s biggest mistakes were directly caused by him making decisions that were, at times, devoid of feeling (not that he didn’t feel anything making those decisions, he just discarded his feelings entirely). It’s a common theme with him to assume that he needs to disconnect himself emotionally from the “right decision”, because the right decision is often something he can’t handle. And when he can’t handle something he thinks needs to be done, what does he do? He does it anyway, and he lets it destroy him. That isn’t to say that his decisions are never based in feeling-- he is an incredibly emotional person, after all-- but his predominant feeling is guilt, and it serves more as a motivator than something that directly impacts which conclusions he comes to in the first place. We can clearly see where his head’s at when it comes to certain conflicts based on Civil War and Civil War II, where CW was rife with him making decisions that broke him in order to avoid the worst possible scenario, and CWII showed a side of him that wanted to believe his choice was the right one, wanted to believe the conclusions he’d drawn were correct, but was willing to give that up if trusted friends told him it wasn’t worth it. At no point does he say “maybe my plans/views/conclusions are garbage!” because he’s always had a complex relationship with his own ability to find best possible outcomes. He doubts himself constantly, but still acknowledges evidence and probability where he can find it. What changes is how willing he is to go through with these plans. Suddenly, when CW backfires harshly, he’s more likely to ask the questions of, “is this worth it?” and “do people want this?”

And then there’s Wanda, who isn’t... like that. Her biggest mistake wasn’t actually that well thought-out, and it’s built more on a feel-good sentiment than anything; if there’s this awful, awful cloud of oppression hanging over the heads of mutants and conflict between mutants and humans, then the best thing to do to make sure no one has to deal with that would be to... forcefully break those barriers down, right? It’s worth mentioning here that she’s been through a lot at the time of this decision, and when you compare her “I’m going through a lot” decisions with Tony’s “I’m going through a lot” decisions, you can kind of see a huge, huge difference between them.

Tony ignores his feelings, ignores the pain and suffering he knows he’ll have to see, and goes for numbers games. It’s a coping mechanism he’s had since he was a child, and it lives on in his superhero-ing to some extent; when he is at his worst (barring when he’s not sober, because that’s a different, more self-destructive beast entirely), he tries (or tried? he still kind of does this, but again, to a lesser extent) to disconnect from himself and from others when problem-solving.

Wanda, on the other hand... does not and cannot really disconnect herself from that. The suffering of the people is on her mind constantly, and it’s the main thing she chooses to remedy as soon as it crosses her mind to. It’s a deeper look into the mind of a woman whose life has been damaged many times over by prejudice and discrimination. Her pleading with reality to give everyone a happy ending (which, ironically, I don’t think Tony actually got in the new reality? but I don’t think that’s meant to comment on their relationship at all. I may be wrong on that one) is understandable if you’re also from a marginalized group, or if you can empathize with them. Even if everyone’s in agreement that she really should not have done that, it’s not hard to understand why. She didn’t just live in the suffering, she took it on entirely, forcing herself to bear the burden of a world that wasn’t real in hopes that it would be preferable to the world that was.

Tony can be aware of marginalization (and, as someone who was physically disabled and is probably still mentally disabled, can empathize to some degree), but he can’t ever really feel what Wanda feels as someone who really can’t go two seconds without identity-based conflict totally obliterating her. On the flipside, Wanda herself can never feel what Tony feels-- a disconnect from identity for the sake of discussing “best case scenarios” where everyone’s still in pain, the ability to separate oneself from these conflicts and allow for vague concepts like “short term suffering/hardships” to refer to years, decades, generations, worth of struggling for the sake of a better future when there are struggling people now. That’s not to say Tony’s never sensitive to current issues (he tries very, very hard to help people who are struggling now, and pours a lot of money into it) and it’s also not to say that Wanda’s somehow incapable of rational decision making as a result of her constant oppression; neither of these things are true. But their gut responses to certain problems are different. On top of that, they can both afford different levels of consequences, and they’ll be viewed differently by people by exercising roughly the same amount of influence. They just aren’t the same, and where characters like Steve and Tony find common ground anyway, it’s harder for characters like Wanda to find common ground with Tony.

Now for what we’ve all been... waiting for...

Force Works!

This really isn’t my favorite run of all time. The writing’s kind of weird, the art is garish at best and totally problematic at worst, and though there are elements of characterization that are kind of true to the core of the characters involved, it’s still, uh... I don’t know, executed in a way that’s disconcerting? It’s kind of like if Civil War II did what Civil War II did, but then also made Carol wear a Warbird-style bikini, and also added cool plot elements like Tony saying, “Carol, you’re right!” right at the start and then... continuing to believe Carol is wrong, because that’s the plot. Oh, and then Tony kills some people and is later retconned to have not killed people, because that sucked of him and was super weird for his character.

There’s just a lot of weird stuff in Force Works. If you like it, it’s fine to like it (honestly, we’ve all flipped through pages of difficult-to-decipher art and less than flattering outfits for women for the sake of reading the stories we want to read), but. You know. Not my cup of tea.

Anyway, everything that I mentioned kind of comes into play with Force Works. 

Here’s the gist. The Avengers are having some conflict (when aren’t they?) and Tony runs off to make a team that works to prevent villainy, not a team that just fights it (despite prevention being part of the “fighting bad guys” in many runs up to this point, as far as I’m aware, but, sure, it works within the context).

And who does he want to lead that team?

Wanda Maximoff! 

He’s like, “Wanda, for realsies, I need your help.”

And Wanda’s like, “Shut up. Yes, I will do this,” but sexily, for some some reason.

And they have an issue of relative peace, until Tony starts to realize that he doesn’t actually like... not leading this time. And, sure, he said, “a partnership of skills leading the team together”, but he also said, “I want Wanda to lead the team!”

So, Wanda’s leading the team.

So, Tony’s not having a good time, because Wanda’s doing what he asked her to do. He probably should have seen that coming.

At some point, the Force Works band together to deal with some stuff in Slorenia, which is Marvel’s fun way of saying they’re going to have some commentary on the Bosnian war but they weren’t going to call it Bosnia, like they have commentary on the government without naming the president. Everyone knows what it’s meant to be, but they’re just not calling it that.

Already, you can see the differences in how Tony and Wanda's first interactions with the news go. Wanda has a much more personal connection to the place, and Tony’s thinking of it as a location for a mission, sharing what intel he has available. Tony’s not exactly being callous here-- it’s not inappropriate for him to say, “Oh, here’s what I know from owning the company I own”-- but he is starting off with less investment than Wanda.

This continues into the start of their mission, where Wanda’s taking charge and using her connection to Slorenia (the language, the knowledge of the politics, etc.) to make the mission run more smoothly. In the beginning, Tony actually falls in line, letting her take the lead without grumbling this time. 

(This isn’t important to anything, but I’d like to mention here that “hex energy” is kind of like the 90s Wanda equivalent of “transistor-powered!” objects for 60s Tony, which is... very funny.)

So, they deal with one antagonist in Slorenia, some things are resolved, and... Wanda would like to stick around to maybe keep helping people here.

And Tony says:

Tony’s argument is that the issue they’d gone to deal with had been dealt with, according to their funky computer that tells them when things are dealt with.

And Wanda’s like, “Well, I think what we just dealt with was part of a bigger thing! That we should deal with more!”

And Tony’s like, “Nope!” despite Wanda being the official team leader. So, they’re not having a great time there.

There’s a little more, but it’s all pretty much to do with the same kind of stuff (and then also the part where Tony kills people, but again, that technically didn’t... happen, anymore, so. Yay?)

And this kind of just... fizzled out eventually, and canon put things back together as canon often does, and now they don’t have much of a problem with each other again. They’ve had some positive interactions and on multiple occasions, they’ve been cool teammates who respect each other, so.

I don’t know.

What I can say is that, aside from House of M and Civil War (wherein people who aren’t familiar with Wanda and Tony use these two events to heavily criticize Wanda and Tony despite really having no stake in the argument, which is kind of a comics dudebro move that’s never been awesome for anyone the way it’s usually handled), Wanda and Tony fans don’t tend to... think much of each other, I guess? There’s really not enough basis in canon for either group of people to have longstanding personal gripes.

616 operates like that a lot; where the MCU has very clear relationships between characters, plotlines, and messages, 616 has... inconsistency and sometimes-poor writing and political commentary with characters literally changed at their core sometimes to fill a certain role (hence why some ships can seem to have totally different dynamics based on the fan you’re talking to, why primarily X-Men fans often don’t like the Avengers, and why some debates about characters will never be settled using only the evidence we have now).

Here’s something I’d like to say before closing out:

I think, due to the fact that this was a very specific kind of political commentary intermixed with some strange characterization choices, I don’t really think this needs to be the end-all, be-all of Tony and Wanda’s potential friendship. Sure, they have these differences, but Steve and Tony have very similar differences that they’ve overcome through mutual understanding. I’m not saying that Tony and Wanda would be friends, nor am I saying that they should be. All I really want to say is that they certainly could be with the right plot beats and characterization, and that’s a nice thought.

So, if there’s any desire at all out there to write a very positive Tony and Wanda relationship, I’d say go for it, 100%. There is some canon basis for it, despite most of it being in between the lines or... contained within one or two scenes. We could all use more friendships to gush over. :)

[tanadrin]

So all the terrible retcons and geographic inconsistency (Kul Tiras wtf) and the time travel and the bullshit with the night elves is bad (Illidan is the worst character ever, don't @ me), but the most frustrating part of WoW lore to me is its failure to explore certain complex emotional themes in a really satisfying way--like, the people who expound and expand on Warcraft lore are canny enough to notice that these emotional themes *exist*, but not clever enough to actually work with them or build them out, and so the whole thing collapses into rule-of-cool melodrama. There's nothing wrong with rule-of-cool melodrama; I love rule-of-cool melodrama. But Warcraft lore is *begging* to combine that rule of cool melodrama with some really rich and interesting emotions and character interpretations, it sets them up and is all ready to knock them down, and just... doesn't.

Take the conversation between Saurfang and Garrosh in the Borean Tundra, in WotLK, the one that ends with Saurfang saying "I don't eat pork." I think that's emblamatic of the big theme that unites the Horde, that makes it make sense as a faction. The Alliance, after all, started as a defensive association in the face of the Orc invasion; its renaissance after the creation of Durotar and the invasion of the Scourge is only natural. But what is the theme of the Horde? Is it honor? Strength? Sheer brutality? Well, none of those things. Orcs claim to value honor and strength; the Forsaken are certainly various shades of very dark gray at best, the Tauren and the Orcs *do* seem like natural allies of a sort, but all the races of the Horde have something even deeper in common: trauma. The Orcs are still (cf. Saurfang) dealing with the emotional turmoil of having been both forced and partially complicit in the atrocities of the First and Second War--after which their homeworld was destroyed, they were forced into concentration camps, and they had to rebuild their culture and their identity from the ground up. They have to find a new place in a new world, and there's this tension between the younger generation that doesn't have firsthand experience with any of this and just remembers that the Horde used to be a name that struck fear into the hearts of their enemies (Garrosh Hellscream, for instance) and the older generation that remembers how awful that time really was, and doesn't want to see the old ways revived because it might just destroy their people for good this time. Then there's the Darkspear Trolls and the Tauren, who were both driven out of their old homelands, and fell in with the Horde as natural allies with similar cultural points of reference; and the Blood Elves, whose suffering in the Third War was severe enough to radically alter their culture, coupled with being betrayed by their ruler who decided that joining the Burning Legion and abandoning them sounded like a better time than rebuilding Quel'Thalas.

And then there's the Forsaken. Oh, man, the Forsaken. The Forsaken and Sylvanas are some of my favorite characters in all of WoW, because sure, you could look at it and say, "okay, creepy undead who like green things that go plop and mad science = evil, bad guys." But you'd really be missing what makes the Forsaken interesting. They're not the Scourge--they explicitly broke away from the Scourge when Arthas left Lordaeron. They're not invaders, either. They're in fact mostly the human population of the destroyed kingdom of Lordaeron, the inheritors of that land, but who are treated by the Alliance as interlopers with no right to the very towns and villages they have *always* called home. They're treated as monsters by every living person who ever knew them, and they can't help but regard themselves that way, too. "What are we, if not slaves to this torment?" is one of the casual interaction lines you get when you click on Sylvanas: they do not *like* being dead. But Sylvanas is ruthless and cruel and after Arthas is killed, wins the Val'kyr over to her side so she can keep making more Forsaken. Why?

Simple. Let us imagine: you are an ordinary person, of no unusually great or poor moral virtue. You are hurt, badly. Grieviously. In a way you will never recover from. And everyone you love, all of your friends and your family, the whole society you come from, now sees you as an unredeemable monster that should, no, must be destroyed. How long must you be called a monster before you decide--fuck it, I *will* be the monster they call me. Because, at least that way, no one can ever hurt me again.

The overpowering motivation for the Forsaken is not power or bloodlust; it's not money, or forbidden knowledge. It's making sure no one in the whole world is ever able to make slaves of them again. To make sure they will not be hurt. And the biggest misstep the Alliance ever made was not reaching out to Sylvanas with overtures of friendship as soon as she established her kingdom--because like it or not, she has the support of the people of Lordaeron, and thus a damn good claim to her position. Maybe, if they had, they could have influenced the Forsaken, shown them that they had friends and didn't need to resort to amoral methods to defend themselves. But as it stands, they only have allies of convenience in the Horde (at least until Sylvanas becomes Warchief), and they know that no one in Azeroth is quite happy to see them continue to exist and be free. Everything else about the Forsaken--their use of dark magic, their development of a new, even more destructive plague, their recruiting former servants of the Lich King and raising new Forsaken from among the dead of the ongoing wars--makes perfect sense from the standpoint of a people that knows they are under threat from all sides, and will do anything to survive.

(The Draenei could have been something like this, too, FWIW. Like, a broken people, a people of exiles who are most comfortable in the shadows and with moral ambiguity. But then Metzen had to go make them Righteous Space Goats. I mean, come on. They're just boring now. They were never going to be Horde-aligned--there's too much history with the Orcs  there!--but having a group like that on the side of the Alliance, to help drive home the point that there is not a clear good guys/bad guys distinction here, would have been really nice.)

That actually makes them a pretty damn good fit for the Horde. Moreover, it creates an interesting point of tension with the Alliance, which is clearly *not* always the good guys. I mean, there's the matter of orc concentration camps, but also consider the refusal of leaders like Daelin Proudmoore to contemplate peace (and the subsequent, somewhat... forced turn of Jaina Proudmoore from dove to hawk) and the steadfast refusal of many on that side to deal fairly with the races of the Horde just because they appear monstrous. And arrogance, hoo boy. Dalaran, Gilneas, the Night Elves--huge swathes of the Alliance are characterized by being arrogant and not a little cruel.

And what of Sylvanas becoming Warchief? I don't know where the BFA lore is going (I'm not playing retail anyway), but right now it looks like they're setting up another Garrosh type situation, and preparing for Thrall to retake the Warchief-ship, but if they do that it would be a real pity. First of all, because, well, we saw that already in Mists of Pandaria! What, are we going to besiege Orgrimmar again? Second of all--Sylvanas and Garrosh are *very* different people. Garrosh was, well, Proud; hence the Sha of Pride. He wanted glory and power, he wanted war for war's sake, so he could live up to his father's reputation as a warrior. He was willing to sacrifice everything else that made the Horde the Horde for that. Sylvanas, though, has one overriding motivation: Keep Her People Safe. Punish the people who hurt her is a strong secondary motivation--but it's part of that first one, because if she can make her enemies' victories painful enough, she might discourage them from trying to press their advantage. And her people *trust* her on this: "Dark Lady watch over you," they say when you take your leave. She is not an autocrat--she is their beloved protector. So, she makes the ruins of Lordaeron uninhabitable. She annihilates Teldrassil. Does she spend very many Orc and Troll and Tauren lives doing so? Very well. They aren't *her* people.

I don't think this has to be a tragic flaw leading to her downfall. It sure doesn't make her a good leader for the rest of the Horde, though (even though, on an emotional and aesthetic level, I am 3000% here for Warchief Sylvanas, even more than Warchief Vol'jin, who also had a lot of the creepy threatening vibe that made him a much more interesting choice than either Thrall or Garrosh). But you could make it one, and you could do it very well--they've already mentioned in the tie-ins that Calia Menethil, Arthas's sister, teeeechnically has a claim to the throne of Lordaeron. And, even more interesting, is no longer quite among the living, even if the mechanism of that unlife is happy fun magic instead of evil death magic. Moreover, she has some sympathy for the Forsaken. You could have a squaring-off between them, and you could have a Queen Calia--maybe. If you could bridge that gap and make her understand that the Forsaken feel fundamentally apart from the other human kingdoms now, if she could come to understand just how much evil the Alliance has done to them, if she could really grok what it's like to be them. Then you could have a leader who understands their trauma--but also wants to heal it, rather than lash out at anyone and everyone that might conceivably be a threat. That, too, would be very interesting.

(There’s a reason that, while I loved the Alliance as a kid, I only play Horde toons as an adult. It’s not just that the Horde feel more interesting and vivid to me. It’s that the hypocrisy and the arrogance of the Alliance stands out in much greater relief now. The Horde aren’t good guys--nobody’s the good guys, here--but they don’t lie about their motivations, and they don’t act with cruelty and then play the victim in response. Jaina was an important exception, but they badly mishandled her character in the runup to MoP, which I find very hard to forgive.)

But knowing Blizz, even if they go vaguely that route, they won't stick the emotional landing. There is a very good, if very OTT and melodramatic (in the best possible way), series of fantasy novels or games lurking *behind*, or perhaps parallel, to Warcraft's lore. It is a shame that Blizzard has done so much to obscure it with obnoxious cruft, retcons and timeline compression, repetitive use of the same handful of characters, stupid-ass time-travel plots that create ten thousand plot holes and inconsistencies, shitty tie-in novels (cf. everything by Richard Knaak), and a total failure to make half the world's characters (i.e., everyone in the Alliance) at all interesting. I have a daydream of doing my own version of WoW lore and posting it somewhere like on AO3, but one of the things that makes WoW lore simultaneously so interesting and disappointing to me is that it's embedded in the explorable, realized space of video game worlds. Hard to reproduce that in print, I think. Might be worth it to try.

[oodlyenough]

aight... here’s a pretty long yet tip-of-the-iceberg collection on my overall thoughts on bl3 now that i’ve finished the damn thing, every main mission & every sidequest (dynasty dash don’t interact). 

obviously mega spoilers

the good

aside from that one infuriating difficulty spike when i arrived on promethea, i had a lot of fun playing. i found the gameplay a lot smoother than the others in the series (as it should be), i liked being able to climb stuff, i liked having an easy mode tbh!!

i really liked playing amara and i like the flexibility of action skills and being able to swap on the go without having to respec. the brawl tree ended up being very well suited to my type of play, it hindered me only during boss fights and even then at least i could switch to phasecast y’know

i had a lot of big fears about what this game would do and it managed to not do anything that makes me want to, like, burn and salt the earth, so that’s a win

i thought it was pretty funny! or at least on par with the other main games, which always kind of ride the line between funny and obnoxious and sometimes misstep

i enjoyed a lot of the cast, both new characters and characters who were returning but who i had no particular feelings about before, hammerlock, zer0 and ellie as particular examples

hammerlock and wainwright were cute af and it’s nice to see a gay couple in a triple-a game 

thought the twins were fun and funny af i liked them. because fandom is Like That i was a little exhausted by troy before he even showed up but even then, like, idk i liked them as a duo and i liked the break from jack honestly 

a lot of the new gun quirks were fun. i’m not like a big... gun person... but i found some cool ones i enjoyed playing with. 

loved getting to see different planets, it was a nice break from pandora all the time. and skywell was super fun! love the low-grav playfulness from TPS without the infuriating oz kit nonsense

the little quality of life improvements from previous games were great, like fast travel from anywhere, auto-refilling ammo, etc

some of the side quests were really fun. i liked the ratch quest for rhys, the birthday party quest for mordecai, the claptrap dancing quest was sweet, the buff movie buff quest was fun, the quest where i killed grandpappy 2 seconds in and got a reward was funny as hell esp because i drove off a cliff by accident, etc

lots of people had really bad glitches and stuff but... honestly can’t relate the game ran very well for me. advantages to not marathoning it before they’ve released their first couple patches, i guess, lol 

the less good

i played a solo amara and there are some bosses that seem like they would’ve been pure hell to do alone... i was lucky and able to phone a friend for a lifeline in those scenarios (shoutout to @heavybreathingcatt and @valoscope) but if i couldn’t do that idk i would’ve just broken my controller in rage i guess lmao 

why is resurrecting each other so hard? i don’t think i’ve ever done it successfully, because it takes too long and more importantly bc while i’m doing it some enemy will just toss a grenade or punch me and i get knocked away from the ally, rendering it useless

rest in peace maya, the best res AI in the whole damn game, got me through the rampager fight her damn self

there were a lot of characters and themes and ideas that i liked in theory more than in practice... because in practice they felt like a first draft. very often i felt like i liked a thing, and then on reflection thought about nine hundred ways it could’ve been better, deeper, more emotionally resonant, more developed, whatever. 

the angel stuff was kinda nice but... also... my longest deepest sigh ever @ Poor Sad Jack Some People Terrorize Entire Planets And Abuse Their Daughters To Cope With Their Fridged Wife

like the siren lore... wish i coulda heard it without having to backtrack across every map post-game

while i found the game generally pretty funny,  almost all the emotional scenes fell completely flat for me and there were a number of scenes that SHOULD have been emotional that just were not 

for eg i am actually not upset about maya or lilith dying (or turning into the moon as it were) -- i am ok with those beats for those characters, especially lilith getting a heroic sendoff. however... both of those scenes could’ve been more impactful than they were. maya’s i think was better than lilith’s, but both of them felt flatter, either in the moment or in the aftermath, than those characters deserved. 

related: NPCs reacting to major events is fun. i liked to do the tour and check in with all my buds to get their couple custom lines after a big plot thing happened. HOWEVER... those lines are obviously timed which is *mostly* fine but in some cases really, really weird? the lines about maya should stay in rotation for a lot longer. ava shouldn’t go back to LOL LET’S STEAL two seconds after maya’s gone. i missed zer0′s maya lines entirely bc i didn’t track down zer0 on time lol. stuff like that 

the bad

i miss my girls :( we really did keep only the white men huh

the last act felt severely underbaked. i have to wonder how many rewrites this game went through, and how much the back end was slapped together last minute, or cobbled together from various drafts. a lot of this felt very first or second draft, where the characters and themes are *there* but not refined at all, or they contradict each other. the family theme that goes basically nowhere and says nothing. the way the story handles atlas vs the way the story handles jakobs vs the way the story handles corporations writ large. 

for the twins -- lack of proper emotional resonance or development for them is one of the biggest failures imo, because i think they WERE very enjoyable villains and the core concept of like... evil video game streamers is honestly on-brand and funny af for the franchise... but as soon as troy died everything went downhill? tyreen’s non-reaction to her brother dying isn’t even a reaction, it’s not even “tyreen doesn’t care she’s evil lol” which would’ve been a boring direction to take anyway) it’s just.... “we barely wrote a response don’t worry about it”. her endgame is to be a big monster because... she’s ... fame hungry? huh? her motivation fell apart.w whether they went with “troy and tyreen are shitty people who get caught up in a power struggle but ultimately love each other” OR “troy and tyreen are shitty people who turn against each other in individual bids for power” could both have been interesting stories but they did neither. 

i’m def missing some echos on the twins which brings me to another thing i hate although it’s endemic to the series and not to bl3 specifically -- hiding important lore and characterization in random echos in random places on the map without even an indication of how many there are total, how many you’ve collected, where to find them... frustrating as hell. a lot of those echos are some of my favourite material in the game! at LEAST tell me “1 of 5 echos on this map” if you don’t wanna tell me where they are! why is major lore like the twins’ backstories hidden?????? 

and bc i haven’t heard them i don’t know if it’s fandom doing what fandom always does, or if it really is the game implying tyreen is The Evil Mastermind and troy is poor manipulated brother, but either way fuck that entire noise lmao of course the women of colour in the series are just Born Evil but jack and troy and whoever else are just Sad :( fuck off actually 

typhon... sucks... what an irritating character. irritating to retcon him in as The First Vault Hunter, irritating to have him talk about shit and sex all the time, irritating to have every established NPC be like oh wow my HERO typhon deleon what a HERO i LOVE him, irritating that we skate over his parenting failures, irritating that he has a fridged beloved wife, ESPECIALLY irritating he gets a memorial sidequest and maya didn’t . just. bad.

aurelia is evil now cause reasons... bad... 

vaughn also bad lmao i can’t believe they made amara yell “blood feud”... disgusting... 

the playable had no role in the story. they’re just a fly on the wall in every cut scene. this is whack in general, and a crit i can apply to all of the main borderlands games, however it is extremely jarring to play amara in a siren-heavy game and have no one acknowledge it. 

OVERALL... I guess like a B-? Maybe a B. I had fun playing it and I’m still having fun running around in Mayhem Mode and I am def looking forward to the DLCs. Gameplay is great. But while I had hoped this installment would take the storytelling of the main games a step further, it actually felt like a step back in virtually every respect. 

[wonderfulworldofmichaelford]

Psycho Analysis: Liev Schreiber Birthday Special - Sabretooth, Kingpin, and The Storm King

(WARNING! This analysis contains SPOILERS!)

Liev Schreiber is quite an actor, one that I think it is sadly easy to overlook despite his talent at portraying villains or other morally dubious characters. From his integral role in the Scream movies to his later numerous villainous roles, he manages to show himself as a rather skilled and versatile actor, particularly in regards to the latter; Schreiber is easily able to slip into playing a villain and deliver a fantastic performance… most of the time anyway.

The date I’m posting this on (October 4, 2019) is his birthday, so we’re going to take a look at three of his biggest villain roles to date: 

Sabretooth from X-Men Origins 

The Storm King from My Little Pony: The Movie

Kingpin from Into the Spider-Verse 

The first is a great villain trapped in an awful movie; the second is an awful villain inside a fun and enjoyable movie; and the third is a great villain in an outstanding movie.

Motivation/Goals: Sabretooth is, in short, a psychopath. The guy lives for the thrill of battle, and is never satisfied unless he has someone to kill. He’s a predator, using the numerous wars he and his half-brother Logan fought in throughout history to sate his appetite, but it was never enough. Vietnam is when he really lost it, and soon after that his relationship with Logan became tarnished, leading to their numerous conflicts throughout the film. It’s rather simple, yet it’s effective. This is what we want from Sabretooth after all, a bloodthirsty, murderous psychopath who crosses every line imaginable and who just really wants to make Logan as miserable as possible.

The Storm King is kind of approaching dominating Equestria as if it were a business venture, complete with merchandise. Beyond that, he’s a bit of a one-note evil overlord, with none of the complex motivations and characterizations of the other antagonist of the film, Tempest Shadow. He’s just here for some quick laughs and to be the final boss in the third act.

Kingpin has my favorite motivation out of the entire lot: once when he was battling with Spider-Man, his wife and child walked in, and in fear and horror they fled, driving off only to be struck by a truck and killed. Kingpin then shoveled as much money as he could and hired the likes of Doc Ock and Green Goblin to help create a giant dimensional portal all so he could be reunited with his family. It’s such a tragic motive that adds layers of depth to Kingpin, and ultimately makes him an interesting foil for Miles, who decides to continue fighting so he can live up to those he loses (Peter and his uncle) while Kingpin cannot accept his loss or his responsibility and so decides to damn everyone else in his desperate struggle to undo the damage he himself caused.

Personality: Sabretooth is easily the most simple of the villains, in that he is just a completely unrepentant monster who revels in the fact he is a vicious, remorseless killer. Normally a villain like that would be boring and generic… but this is Sabretooth. This is what we want out of him. Add in his brotherly banter with Wolverine and his single-minded desire to ruin Logan’s life at every turn, and he just ends up being a really fun and engaging take on the character, with Schreiber injecting just the right amount of soft-spoken sadism and menace to make Victor Creed pants-crappingly terrifying.

Kingpin is a sleazy, scummy mob boss. He’s another seemingly simple character, but his design really helps show what kind of guy he is without telling us. This iteration of Wilson Fisk really plays up him being a mountain of a man, with him being a hulking behemoth with a very bulky design. Despite being a normal human, he looks like the kind of guy who could kill a superhuman with his bare hands. Despite all this, he does have sympathetic  (but, and this can’t be stressed enough, not redeeming) qualities, such as his love for his family and his single-minded desire to be reunited with them. Of course, this desire is what leads to most of the troubles in the film, so he does show the dangers of that sort of careless and reckless pursuit of a goal is a bad thing, no matter how noble it seems.

Final Fate: The Storm King is the only character out of these three with a clear-cut fate, and it goes a long way to redeeming how bland the character is due to how out-of-place and dark it seems in the world of Friendship is Magic. In short, he is turned to stone, and his statue is allowed to drop to the ground, where he shatters into pieces. By all accounts, he is dead, a fate that seems to befall all terrible Friendship is Magic villains (cough Sombra cough).

Kingpin is the most open-ended, as after Miles stops him and in true Spider-Man fashion strings him up for the police. This does open up the door for Kingpin to appear again, which is a plus. The final showdown beforehand is a lot more interesting. The beatdown he gets from Miles, where Miles gets up from the pummeling that killed Peter and delivering a confident “Hey” like his uncle taught him right on Kingpin’s shoulder, sending him flying back to shut down his dimensional portal really is an  awesome moment for the film and Miles in general.

Sabretooth… it really is impossible to say. He apparently makes it out of this film alive, but Schreiber’s Sabretooth is so disconnected from the one who appears later in the timeline (mostly on the token that Schreiber’s take is actually good and memorable) that it’s impossible what to say happened to him. Further muddying the waters is the numerous canon retcons to the timeline as shown in films like Days of Future Past, which altered the timeline in baffling ways such as causing people to be born earlier than they would have been, and then there’s the deleted idea for his cameo in Logan… Really, there’s no telling what exactly Happened to Victor Creed, as the X-Men series is such an utter mess.

Best Scene: Sabretooth has a few, such as the awesome opening montage where he and his brother fight through multiple wars, but perhaps the best part is when he and Wolverine team up to kill that awful thing pretending to be Deadpool. The real Deadpool would beat them to the punch much later in Deadpool 2, but hey, at least he knew what had to be done when he had the chance.

Kingpin’s is almost definitely the scene where he kills Peter, which shows him going through a shocking amount of emotion, but there’s also the flashback to his family’s demise or even that moment on the train where he becomes a lifetime achiever in the Pontoffel Pock Awards by screwing up in every conceivable reality imaginable and disturbing an entire multiverse worth of his family in his quest to murder Miles. Few people screw up on that epic of a scale.

The Storm King… I don’t know. He’s kinda scary in his final battle? Maybe when he plays with the sun and the moon? Nothing really stands out for him super well, because quite frankly he is massively overshadowed by Tempest Shadow, who has the honor of getting the villain song of the movie. And let me be completely frank: if you are a villain in a musical, and you don’t get a song, you suck. Period.

Best Quote: For Sabretooth, it has to be this quote that really sums up who he is: “I'm not your friend. I'm an animal, who dreamed he was a man. But the dream is over. And the beast is awake. And I will come for you without mercy, because it's my nature.”

Kingpin is a little trickier, because Wilson Fisk is a man of actions, rather than words; I feel like he doesn’t have too many great quips, but he has a plethora of awesome actions. However, I DO enjoy his intro, where Schreiber just kills it with the delivery and establishes Fisk right off the bat as one hell of a crime boss: “Doo-be do. Doo-be do. Yub-yub, doo-bee do, doo-bee-do. Watch out! Here comes the Spider-Man! You like my new toy? Cost me a fortune, but hey, can't take it with you, right? You came all this way. Watch the test. It's a hell of a frickin' light show, you're gonna love this.”

For Storm King… well, this is kind of a funny line: “Here's the deal. I'm in the middle of a big rebrand here. "The Storm King" is tracking, well, as "intensely intimidating", but you know what? I need to back it up. You know what I need to back it up with? A STORM! THAT WOULD BE GREAT! You promised me magic that could control the elements, and right now, I'm holding a what? A branch. A twig. Bleh!” Kind of a reach, but I think he does have some decent comedic moments here and there, and his initial, er, phone call with Tempest is charming enough.

Final Thoughts & Score: These guys are really all over the place, but I think they really showcase Schreiber’s talents very well, as well as how to use him effectively.

Sabretooth is easily the best villain out of this bunch. While X-Men Origins: Wolverine is a terrible, bloated mess of a film, Sabretooth is one of the few redeeming factors, with Schreiber turning in a wonderfully terrifying performance as Logan’s arch-enemy. It’s frankly insulting they never had him come back to the franchise, because he was certainly far more deserving of a comeback than someone like Jennifer Lawrence. At least with Schreiber it was clear he cared about the character, which is more than can be said for whoever played the original Sabretooth (a character who is not even worth a Psycho Analysis; there’s just nothing to talk about there).

Really, the only major issues with Sabretooth are the fact that he’s in the bottom of the barrel when it comes to the X-Men franchise and the writing doesn’t do him many favors, but Schreiber is just acting his butt off to the point where it doesn’t matter, he’s selling it, he’s giving us the Sabretooth even the “better” first X-Men movie couldn’t deliver, and he seriously earns that 9/10. It should come as no shock that his take on Victor Creed is the one thing besides Ryan Reynolds fans truly love about the film.

Contrast the Storm King, who is just a depressing waste of potential. The prequel comics set him up to be something far more fascinating than what we get in the movie; he goes from a silly yet cunning overlord to a comical goober who barely gets any screentime, accomplishes half of his evil actions offscreen, and just leaves very little impression on the audience. Not helping is that he is by and large one of the biggest idiots ever seen in the Friendship is Magic franchise, backstabbing his own loyal followers for no good reason and basically playing with his hand revealed. It’s pretty telling that his henchwoman Tempest Shadow is the one who gets the villain song of the film (which, as I’ve pointed out, is a sign that he really, really sucks as a villain) and who is far more memorable, enjoyable, and interesting.

All that being said, I do appreciate the sentiment of the character, and I do like that Schreiber did it so his kids could watch something with him in it that wouldn’t make them scared out of their minds, and I don’t necessarily think Storm King is one of the most horrible villains ever or anything – he’s just boring and a waste of potential. I’d say he just barely makes it to a 3/10, and that’s mostly because he does have some amusing moments and how bad he is is offset by Tempest Shadow being such a fantastic antagonist; if she wasn’t in the movie, he’d easily be a low 2 and a lot less forgivable. That does seem kind of weird, but I think with a villain like Storm King where he’s just a simple goofball being played by a talented actor isn’t so bad as long as there’s an actual, serious antagonist. It doesn’t exactly make him any better but it keeps him from sinking to the rating of soomeone like Jared Leto’s Joker.

Kingpin is, quite simply, fantastic. I love his design, I love his motivation, I love how he just commands the scene when he walks into the room. This guy is just peak villain design, story-wise and design-wise. Some have taken umbrage with the fact that Kingpin is the one who got to kill Peter rather than a more personal foe like Norman Osborn, but frankly I like that they took a unique approach and decided to utilize a more unexpected foe of Spidey’s.

I think what’s best about Kingpin is just how they manage to make him a rather tragic and pitiable figure despite all the evil he does. Normally it would be a tall order to make the man who murders Peter Parker a tragic figure, but somehow the film manages, showing him to be a bitter, broken man desperately clinging to the tiny hope he could ever see his family again by destroying the dimensional barriers, no matter the cost. And if someone tries to tell him otherwise? Kill ‘em. Obviously this doesn’t excuse his actions, and the movie thankfully never pretends to, but I like that they made this Kingpin such a rich character in his own right, continuing the trend of Kingpin always being given a fantastic performance. Much like Sabretooth, Schreiber really earns the 9/10 with this fantastic vocal performance and just how impactful and even proactive Kingpin is in the story. He gets two major deaths to his name after all.

Liev Schreiber is such a fascinating actor, one who I think is so often overlooked and ignored. While he certainly is typecast as villains fairly often, I think it’s safe to say he excels at those kinds of roles, and he always manages to inject something unique into his roles. You wouldn’t confuse any of these three villains for each other after all.

[whittertwitter]

How I’d fix Kingdom Hearts III.

Bearing in mind that the issues I had with it were mostly story-related, namely: integration of the overarching plot into (some of the) Disney worlds, pacing, characterization, female characters getting sidelined, and threads left dangling. In terms of gameplay, I’d probably just tie Team Attacks and Attraction Flow to MP (or make Attraction Flow location-specific, like Reality Shift in 3D) and Formchanges to Focus, just so the player has to use them more strategically. I’d also make the Riku and Mickey scenes in the Realm of Darkness playable, or at least have more player input than they do.

First of all, I’d change Olympus to Agrabah. They used the first movie in the first game and Return of Jafar in II, so they really should have used King of Thieves in III. Since the whole reason for Sora going to Olympus in the first place (to gain the power of waking) doesn’t come into play until the end of the game anyway, I don’t see it as that big of a change. If you really need a reason for him to go there, I think either learning something from Aladdin as the diamond in the rough or from Genie adapting to being semi-phenomenal, nearly-cosmic could work. Axel will tag along to Agrabah because: 

 He went there on a lot of missions for the Organization, so he’s familiar with the world and won’t drag them down, plus he could learn a lot from Sora because...

I’ve decided that Axel should struggle to consistently summon his Keyblade, both to mirror Sora’s power of waking thing and to provide the Guardians of Light with incentive to rescue as many Keyblade wielders as possible just in case he doesn’t prove up to snuff.

I think there’s a good character study that could be done between Axel and Cassim, what with them both being charming roguish types who fell in with a bad crowd and struggle with breaking old habits.

I’d also introduce the New Seven Hearts concept here, with Sora and company realizing that Jasmine is no longer a Princess of Heart. From here, Axel’s still struggling, so Yen Sid sends him on a mission to confirm if any of the Princesses of Heart have retained their status; Axel visits Wonderland--or rather, the world Alice is actually from--and Beast’s Castle in cutscenes between worlds in Sora’s first world set, and probably encounters Xaldin in the latter world. (Xaldin replaces Xion as a Nort, because it’s still so weird that he’s got the pointy Nort ears after becoming a Nobody and as a Nobody is obsessed with negative emotions AND needs time to recover after being re-completed, but somehow isn’t a Nort?)

Meanwhile, Kairi isn’t in active Keyblade wielder training yet, but only because she’s at Radiant Garden, where Zexion is focusing on Namine first because it should be easier to untangle just one heart in another than three hearts in another, and Namine’s power over memories would sure come in handy. While she’s there, you could explore her childhood in Radiant Garden. (If her grandmother’s still alive, that’d be a touching reunion!) I’m leaning toward not having her be part of the New Seven Hearts, because going from having a heart of pure light to a normal heart with the capacity for darkness seems more interesting to me. (Aaand now I’m thinking about Master Xehanort taking advantage of that lack of experience with darkness and Norting Kairi instead of killing her. It’d make Sora less likely to fight, which is the opposite of what he wants, but damn it’s so much more compelling than what we got.)

For the first set of worlds, I’m pretty satisfied with how the overarching plot was integrated. However, in Kingdom of Corona, some things aren’t well-explained unless you’ve seen the movie, like Rapunzel suddenly having the crown back. For that one, Heartless/Nobodies could show up when Mother Gothel meets Sora, Donald, and Goofy, and she drops it while running away; Sora could give it back to Rapunzel and mention something about her mother looking for her. Also, I still think Mother Gothel should’ve knocked Marluxia out with the tree branch instead of his Reapers, lol. 

Someone on Reddit made the suggestion to move rescuing Aqua and Ven to between the first and second world sets--possibly with fully playable Castle Oblivion/Land of Departure--and I absolutely love the idea. Others pointed out that it couldn’t work because they go to the Keyblade Graveyard after gathering all the Guardians of Light, which is why I suggest having Vanitas reawaken and assume control of Ven as soon as Sora returns Ven’s heart to his body. 

Other cutscenes will have to be moved up to this point, including Vexen recruiting Demyx and the latter dropping off the completed Replica, which will now go to Namine while Zexion reverse-engineers one for Roxas. (Or not; Namine’s entire existence is pretty weird, so she might be able to generate her own body after her heart is untangled from Kairi’s, leaving the Replica to Roxas.) Regardless, Namine is now awake and starts work on freeing Roxas and Xion; Axel is now capable of consistently summoning his Keyblade, so he and Kairi start training under Riku and Mickey; Sora and company possibly revisit Twilight Town, just so we can get that first world revisit that was in the first game, II, and 3D; and Aqua recovers from ten years in the Realm of Darkness plus having Ven snatched out from under her nose, then gives Riku and Mickey a hand with training.

Monstropolis won’t change too much, though Sora and company now knowing who Vanitas is and having beef with him will impart a different tone. As for Arendelle...Larxene needs to interact with people besides Sora and company, like trying to bully Anna into giving up on Elsa or taunting Hans and turning him into a Heartless; Sora and company need to go to places besides the North Mountain; and there need to not be random out of place musical numbers. Since the 100 Acre Wood was even more of a minigame hub than usual and didn’t actual adapt the plot of Pooh’s Heffalump Movie, I propose cutting it in favor of a Wreck-It Ralph world, with the arcade being one of Scrooge’s many business ventures in Twilight Town; Xigbar would actually be a great Nort if the world needs one, since going Turbo kinda reminds me of Luxu body-surfing through the ages. (While I’m on the subject, I’d replace Ralph and Stitch with Jack Skellington and Tron, that way Sora has all the party members from past worlds that required a change in appearance as Links; Simba would be obtained in Agrabah, Dream Eaters in Toy Box, Jack Skellington in Monstropolis, and Tron in San Fransokyo, and I’m leaning toward Tron being in his Tron: Legacy form.)

For The Caribbean, its biggest problem comes down to the audience already knowing that the chest of Davy Jones isn’t the box the Organization is looking for, so it feels like a waste of time; Sora and company barely having any impact on the plot doesn’t help. Having them actually interact with characters besides Jack would help. I’d also have Beckett play a larger role and Luxord turn him into a Heartless. I thought it was an odd choice to have Dark Riku show up in San Fransokyo instead of the Riku Replica or Data-Riku and make it seem like he’s time traveling (UGH) from when Ansem possessed him...only to have it be a Replica anyway! So yeah, I’d probably change that to Data-Riku in a Replica to make the Bug Blox from Coded showing up actually matter, and I’d have Vexen supervising him instead of faffing about in The Caribbean.

At this point, Zexion and Namine have finally succeeded in getting Roxas free, but are still working on Xion. However, since they now have seven Guardians of Light, the decision is made to rest up and prepare for the Keyblade War, as in canon. I’m keeping the scene with Axel and Saix before the final battle but cutting out the bit about them becoming apprentices to save their heretofore unknown female friend, because it’s just a blatant retcon; Nomura confirmed in an interview after BBS that they were just ordinary kids who got caught up in the Heartless experiments.

As for the final battle itself, my thoughts are much more scattered as of right now, besides Kairi not getting fridged of course. I like blackosprey’s idea of moving Sora’s little jaunt in The Final World to after the boss rush of Norts but before Scala ad Caelum. Since Xaldin’s taking Xion’s place as a Nort, it’ll be Saix who’s tasked with killing Axel and hesitates; Zexion and Namine get Xion free just in time for her to possess the discarded Replica and make the save. I'd prefer Terranort be re-completed after you defeat Ansem and Xemnas instead of being a Nort from the get-go, or have him around from the get-go instead of Ansem and Xemnas, because him existing at the same time as the Wonder Twins is only possible thanks to time travel bullshit. (Same with Master Xehanort, for that matter, but he’s harder to work around. Unless you have Young Xehanort pulling the strings for most of the game, fight him after Ansem and Xemnas and/or Terranort, and only fight Master Xehanort in Scala ad Caelum?) And if they’re going to bring up Demyx, Luxord, Marluxia, and Larxene’s connection to the mobile game, the least they could do is have dead people close to them besides Strelitzia hanging out in The Final World, giving out exposition tidbits.

Also: I know Nomura said this was just going to be the end of the Xehanort Saga, but I really feel this game should’ve retired Sora as well. Part of the reason the ending left me unsatisfied is because Sora doesn’t get any closure, and I know it’s because they want us to keep buying these games, but if they try, they can easily make us care just as much about a new protagonist. Maybe even, horror of horrors, a female one!

So yeah, those are my thoughts on how to improve KHIII! Several days after I said I’d post them. Maybe before the next ice age, I can work up the motivation to post about my series-wide KH rewrite, lol.

[sclfmastery]

ok headcanon: the master gets showy and jealous whenever the doctor gets too close to others (I know you pretty much agree I just would love to see you elaborate lmao)

Send headcanons for my muse and I’ll tell you if I agree.

AGREED. Honestly this is literally his modus operandi, like, canonically.  Lmao, though, I love your motives here.  I’ll gladly pontificate XD 

….Okay let’s just lmao limit it to Simm Master because otherwise we’ll be here all night and since I’m still a Classic Who novice I will miss some great example from the Delgado, Ainley, Beevers, Roberts, et al eras. 

 Although I absolutely feel that Missy is an extension of this tendency, and an interesting one, because she took it and refined it by changing her gender to that of a “typical companion” and by actually GIFTING the Doctor with a companion (Clara) that she thought she could, by extension, manipulate (and then, through the Doctor, murder: thereby making the Doctor even more like herself, by showing him that his hatred for Daleks made him capable of killing an innocent who was dear to him, the “enemy in the friend and the friend in the enemy”).  It was only after that blew up in her face that she established tentative detente with the Doctor’s most recent companion, Bill Potts. But she still absolutely sees humans as the Doctor’s “pets.” 

As for Simm, some stellar examples of abusing and grandstanding over companions:–The Toclafane:  “Human race, Doctor. Greatest monsters of them all.” Need I say more? Take the Doctor’s “favorite species” and show him explicitly how revoltingly, how wickedly, they turned on themselves and others.  –Rose Tyler: researched her during phenomenally productive year and a half as Harold Saxon, built a respect for her capacity to withstand the Heart of the TARDIS, but then weaponized this knowledge against both the Doctor and against…..–Martha Jones:  used her sister to keep tabs on her family, kidnapped and physically threatened her family, made her family his slaves on board the Valiant, made calculatedly and artificially donned sexist remarks about and to her (this could be its own meta but I’ll refrain), threatened her life, gave her entire family, particularly her mother Francine, PTSD via said actions. Uncharacteristically reckless in his resolve to underestimate Martha, this is ironically what led to his defeat in Last of the Time Lords.  I headcanon that of all of the Doctor’s companions, Martha ended up being the one he respects the most, for beating him fair and square at his own game. –Lucy Saxon: “his” companion but absolutely a mockery, a staged pageantry, not only to maintain appearance of a “respectable” British civil servant, but ALSO to sneer at the Doctor for his preoccupation with human companions (basically, “look Doctor, I can get one too, I’ll even marry one to make you furious and jealous!” I know, infantile, lol.) I do not believe that for one moment the Master felt a thing for Lucy, and took advantage of her propensity to social-climb to blind her to his true ambitions and nature.  All to take a jab at the Doctor.  She was a pawn from start to finish, and it’s awful.  –Jack Harkness: murdered “the freak” daily and jovially and entirely to hurt the Doctor, because Jack was close to the Doctor and dared try to thwart the Master’s plans.  –Donna Noble:  “Eugh, he loves playing with Earth Girls.”  As soon as he learned, during his self-replication over every human being on earth, that Donna was crucial both to Wilf and to the Doctor, after she rebuffed his dopplegangers with Time Vortex energy, he was visibly upset, bristling with jealousy, and immediately started grilling the Doctor for the location of his TARDIS.  The Doctor saw this vulnerable, agitated moment and even used it to make the “wonder what I’d be without you” speech, effectively and totally disarming the Master, and reducing him to tears, for a period of several moments, arguably leading to his choice to save the Doctor from Rassilon.  –Bill Potts: The biggest victim of the Great Simm Master Series Ten Characterization Retcon. Ahem I mean. Anyway.  Need I even explain this one?  The worst case by far, and an example of the Master’s obsessive propensity for a long-con.  Didn’t turn Bill into a Cyberman himself, but entirely took advantage of his previous knowledge of that platform’s conversion center “hospital” to hand her over to their authorities, after ten years of  being her friend (and honestly, I think he really WAS her friend, which makes it arguably worse, that he can turn on anyone who isn’t the Doctor that easily even if he cares for them).  Why? Ultimately, I believe, because he’s learned that DERIDING THE HUMANS THE DOCTOR PAYS ATTENTION TO DOESN’T WORK. It just makes the Doctor CHAMPION THOSE HUMANS EVEN MORE.  So instead, he LETS THE HUMANS TURN ON THE DOCTOR AND DERIDE HIM THEMSELVES.   “I waited for you,” Bill accuses, and the Doctor looks like he’s just been shot in the hearts.  

[gascon-en-exil]

A Not Actually Definitive Ranking of Fire Emblem Games

So after a lot of deliberation I’ve decided not to revisit last year’s Zelda ranking project on a full scale for FE, but that doesn’t mean it’s not something I really wanted to do. 2018 is the year we’re going to get alternatively hyped for and disappointed by FE16, after all. With that in mind have an abbreviated list that will end up being one very long post. I’ve got games to gush over and an anon or two (and very likely actual followers…eep) to piss off, so here we go.

The “personal favorites of the series, love revisiting them” Tier - FE10, FE2/15, FE4

I’m never going to argue that Radiant Dawn is a perfect game or even just a perfect FE game, but damned if it doesn’t manage to do so much right all at once. An extremely ambitious story that builds off its mostly conventional predecessor in a variety of interesting ways, deconstructing a bunch of series narrative standards (life in a defeated country kind of sucks and there are people that don’t warm that quickly to young and inexperienced rulers, go figure) and taking an eleventh hour hard right at Nietzchean atheism as read by a Pride parade. Kind of falls on its ass by the end, but every experimental FE story does the same thing so I can’t fault this one. I love the army switching as motivation to try different units almost as much as I love the oh-so-exploitable growth and BEXP mechanics. Its Easy mode also hits a sweet spot for me of being challenging enough to not be a complete snore while also allowing the freedom for all manner of weird self-imposed challenges that don’t even require grinding. By all accounts Hard mode is one lazy design choice after another, but I don’t play at that level so no complaints here.

Never played Gaiden, but to its credit around half of the unique gameplay mechanics I like in Shadows of Valentia were also in the original: the modest army size, the novel approaches to inventory management and magic, the pretty basic class system with just a hint of nuance. The remake threw in some hit-or-miss questing, dungeon exploration, and achievements, but all the rest was either a solid addition or a continuation of NES-era annoyances that I could live with. And the story…SoV makes me dislike the DS games even more just because this game does so much with so little. Even leaving aside the mostly great voice acting there’s a bunch of new content that characterizes almost everybody and makes half of them (the men, anyway, because this is a remake of a Kaga-era game and therefore misogynistic as can be) gay because why the hell not, and then some development that constitutes the only solid attempt at worldbuilding Archanea-Valentia-Ylisse has ever really gotten and also retcons some stuff from Awakening into making sense. It’s even got some solid DLC with lots of character stuff for the Deliverance, the least sucky grinding of the 3DS games, and probably the only context in which I’ll ever be able to comment on anything from Cipher.

No remake needed for Genealogy of the Holy War to make it competitive with the rest of the top tier - just an excellent translation patch and the standard features of an emulator. I’ve never watched Game of Thrones and probably don’t plan on it, but I gather that this game provides the same essential experience with less blood and female nudity and marginally more egalitarianism for all. I can forgive it for being the original Het Baby Fest since you’d be hard-pressed to find a single entirely healthy and well-adjusted individual anywhere on Jugdral and I relate to that just as much. Screwed up family dynamics for everyone! It’s also arguably got a more fun breeding meta than either of the 3DS games, lacking Awakening’s optimization around a single postgame map with very specific parameters or Fates’s high level of balance that ironically stymies analysis. This is another game for interesting inventory management and unit leveling that isn’t too obnoxious, which mostly makes up for the maps taking an eon to play through even with an emulator speeding through those enemy phases. This would be a strange game to remake, but if it got a localized one of the same caliber as SoV I fully acknowledge that this could climb to the #2 spot. SoV would probably have the queer edge though unless they do some strange things to the plot or just make Gen 2 really gay…but then again Gen 2 is the part that’s more in need of fleshing out as it is. (Also, this game has So. Much. Incest. That’s not even really a kink of mine especially as it’s all straight incest, but I just find that hilarious in light of how Tumblr’s purity culture speaks of such things.)

The “good games, but don’t come back to them as much” Tier - FE7, FE9, FE8

Blazing Sword is not here for nostalgia purposes, especially since when I first played the game at 14 years old most of what I like about it didn’t really register. It was just that game with RPG elements that I liked and permadeath that I didn’t, and it took a few games after that for me to become an established fan of the franchise. Massive props for putting such an unconventional spin on a prequel to a textbook FE; this is a game in a series about war in which no war is fought, how crazy is that? We actually get to see the backstory of FE6′s tragic antagonist, even as it’s completely tangential to the plot of this game and so just feels like random Jugdral-esque family drama without context, and on top of that we get the first hints of interdimensional travel and kinky human/shapeshifter sex several years before either of those became controversial talking points about how they were ruining the series. I am so there. Lyn doesn’t matter to the saga, but her character arc is distinct and self-contained and also she picked up a disproportionately large fanbase while being bisexual and biracial so go her. Eliwood is sympathetic and homosocially-inclined even if his growths frequently make me want to cry (at least he gets a horse unlike his similarly-challenged son), and I can live with Hector even if I could have done without his lordly legacy. Throw in some average-for-the-time gameplay with just enough variety across the two routes and even more good character work *waves at Sonia and Renault and Priscilla -> Raven/Lucius and Serra and…* and it’s all in all a solid experience. The ranking system can go die in a fire though, which funnily enough it did after this game. Yay!

Like most early 3D games - except on Gamecube so it’s even more embarrassing - Path of Radiance has aged terribly by every aesthetic measure aside from the soundtrack. It’s also painfully slow, and my computer can’t run Dolphin apparently so an emulator’s not going to fix that for me. Those obvious flaws aside, it’s still an entertaining game, and more importantly it’s the prologue that had the crucial task of setting up all the pins RD knocked over in stellar fashion, whether we’re talking about the basic storyline that actually isn’t or the many het relationship fake-outs (more so in localization…I guess we’ll never know if NoA was actively planning that when they pushed Ike/Elincia like they did). PoR is also a love letter to Jugdral in both gameplay and themes, albeit an occasionally critical one. The jury’s still out on whether Jugdral or Tellius succeeds the most (fails the least?) of the FE settings at developing a complete world with a nuanced and resonant saga narrative, but that Tellius manages to be competitive while being kind of clumsy overall with racism and shifting the series’s overarching motif of dragon-blooded superhumans to one of kinky interracial sex is pretty impressive. The less I say about Ike the better since it’s only his endings in RD that save him for me; suffice it to point out that his worldview and general personality were clearly designed to appeal to a demographic that does not include me.

And finally comes The Sacred Stones, truly my average benchmark FE as I like it but struggle to have any particularly strong feelings on it one way or the other. The story is standard but has a few intriguing quirks, like the light vs. dark magic meta, surprise necrophilia, and how the main antagonist’s sexuality sort of depends on which route you take (except he’s still never getting laid so does it really matter?). It also seems to have been the first game to have made a legitimate effort toward the kind of replayability that’s normal for RPGs, what with the branched promotions, the route split, and the actual postgame. That’s all much more engaging than just filling up a support log. The gameplay is also more polished and (I think?) more balanced than the other GBA games, if one is willing to overlook the minor issue of Seth. Let’s see…something something twincest that’s now an IS running gag, something something guys talking intimately about their lances, something something SoV did the whole dungeon crawling with monsters bit better but I can forgive SS for not taking it that far. Moving on….

The “they have Problems” Tier - FE14, FE13

Probably qualifies as a fandom heresy, but yes I’m putting Fates first of these two. Fates is in every conceivable way for me the “You Tried” game, because I had such high hopes for it from the moment we got the earliest promotional content. I was expecting a World of Warcraft-style conflict between two morally grey factions with myriad convoluted grievances against each other messily resolving themselves one way or the other according to player choice (though note that this is already somewhat damning with faint praise as no one’s going to call WoW a storytelling masterpiece), with Conquest in particular a true villain campaign that I imagined might play out as European Imperialism: The Game. What we actually got was…not that, not at all, but amid all the complaints about plot holes and idiot balls and moral myopia most fans seem to have forgotten just how much there is to this game. It’s three full stories that together average out to be just about passable, with possibly the biggest gameplay variety in the series that fixed most of Awakening’s more broken elements (pair-up, children being unquestionably superior to the first generation) while also adding in new features that undoubtedly appealed to someone or other like Phoenix mode and the castle-building aspect. I can even mostly forgive the obvious growing pains Fates exhibits in terms of queer content, as they were pretty much inevitable once the developers realized that (almost) everyone was picking up on the subtext and that that approach just wasn’t going to cut it anymore. Again, they tried, and if the results included face-touching fanservice and plot contrivances left and right and two-way cultural posturing that inevitably crosses over into real world racism at some point I can still step back for a moment and acknowledge that Fates began as a distinctive, high-concept setting on par with Tellius and Jugdral that was willing to do something different with the narrative norm (for two of its routes at least, and even so I’m not begrudging Birthright its conventionality because that grounding is important overall). And who knows? Maybe a later game will come along and retroactively make this setting coherent.

Fates might have more sexual fanservice, but if there’s any FE that I feel ends up a slave to fanservice in a broader sense it would be Awakening. Yeah, I get that when it was in development everyone thought this would be the final game, so it makes sense that the finished product turned out to be a nostalgia-laden greatest hits piece. It’s still hard to forgive Awakening for feeling so insubstantial, doubly so since it ended up revitalizing the franchise and now it and Fates are everywhere. It’s got a plot that only makes some sense in light of SoV and possibly on a meta level (following my theory that the plot structure is meant to mirror FE1-3 in sequence), the first iteration of an Avatar dating game heavily coloring the characterization and support system, and a queasily feel-good atmosphere that allows almost no character to actually remain dead and centers everything around the self-insert and the power of friendship. So much for the series’s traditionally dim view of human nature and recurring theme of the inevitability of conflict. What’s more, in spite of its theoretically broad scope (including a criminally under-explored time travel plot with a bad future) and numerous call-backs to older games Awakening does surprisingly little for developing the series’s most frequently-visited setting. I think it was in large part how generic this game has always felt to me even before release that I never got very hyped for it and as a consequence was never very disappointed by it. It’s just….there, with its nostalgia and its chronic “no homo” and its host of hilariously broken mechanics. I wonder if we’d have ended up viewing Awakening more favorably if it really had been the last game? Eh, probably not.

The “needs a remake or needs a better remake” Tier - FE5, FE6, FE3/12, FE1/11

I don’t have a specific order for these, except that FE1/11 is almost certainly the bottom since 5 and 6 have remake potential and, lack of localization aside, New Mystery was a better remake than Shadow Dragon.

I still haven’t fully played Thracia 776, but I’ve watched and read through Let’s Plays and have read more than enough analysis and meta on the game to where I can definitively say that I wouldn’t enjoy playing it too much and don’t feel all that emotionally connected to the story except insofar as it relates to the overall Jugdral saga. The concept of a standard FE plot that ends with the playable cast losing is an intriguing one, though they really could have done better than the weird non-ending that is this game’s final boss. I’m also not as invested in Leif the fallen aristocrat as I usually am those types of characters, possibly because it’s a foregone conclusion that he eventually gets his kingship anyway. I would like a remake, hopefully one that smooths over some of the original’s mechanical roughness and also makes a bunch of characters gay because the material’s certainly there in places, but I also admit that I��d rather have a remake of Genealogy first. Or, for that matter….

Binding Blade doesn’t have the potential for an amazing story-driven remake that Thracia does; after all, it’s basically a soft reboot of FE1 with an equally bland lord saved by his Super Smash Bros. fanbase and possibly his weirdly large harem. That said, there’s a fair amount of character potential and worldbuilding opportunities what with the series’s first true support system and the content of its unorthodox prequel. Even by itself I feel like BB does more to sell Elibe as its own distinctive world than any of Marth’s games ever did for Archanea, and that’s even with the reality that like the Archanea games this playable cast is inflated with some really forgettable characters (that seem to have followed a semi-rigid numerical quota by class in this instance. It’s weird.). This game never really stuck in my mind as a good playable experience either, not helped by the fact that it feels simple and antiquated compared not only to the GBA games that followed it but to the Jugdral games that preceded it. Good on them for throwing out some of Thracia’s more unwieldy mechanics, but did they have to throw out skills, hybrid classes, and varied chapter objectives too? The space limitations of the GBA couldn’t have been that severe.

While I’ve been spending much of this post ragging on Archanea, I will say that (New) Mystery of the Emblem has some interesting character beats, like the resolution of the Camus/Nyna/Hardin tragedy, Rickard and the situationally bisexual(?) Julian, and some of the antics of Marth’s retainers. I did like bits of the remake’s new assassin plot even if most of it is cribbed from the Black Fang; Eremiya’s no Sonia, but Clarisse and Katarina have their moments. Also, Kris isn’t that offensive to me since I was never all that engaged in Marth’s inconsistent personality and from what I’ve seen his/her supports don’t all devolve into a dating sim. New Mystery has a broader array of characters than either the original or the previous remake, without requiring the player to kill off characters just to get some of the new ones. That said, the reclassing in the DS games is still broken and allows the player to strip even more character out of their personality-deprived units. I’m getting to the point where I’m having trouble separating the two actually, so I’ll just go ahead and remark that I think everyone can agree that Shadow Dragon is the worst of the three remakes so far, with no supports, the aforementioned killing of units, a prologue that adds to the story but only exists on Normal mode and also requires you to kill someone off (seriously, what is it with this game? Is it commentary on the necessary sacrifices of war that they tried forcing on the player for one game until they realized it was a terrible idea?), the needless removal of features from earlier games like rescuing even as others like weapon ranks and forging were left in, that first clumsy iteration of reclassing, and little to nothing that I can see as elevating the story above the standard fantasy adventure fare of Dark Dragon and the Sword of Light that might have been good in 1990 but didn’t look so hot in 2008. Archanea just feels so lifeless overall compared to every other setting in the franchise, to the point where I don’t even feel that guilty about putting the first game in the series way down at the bottom when over in the Zelda ranking I raised the NES games above ones I found more fun to play solely because of their historical significance. Isn’t FE1 arguably the first tactical RPG? I feel like I should appreciate it more, but I just can’t. *shrugs*

[tessatechaitea]

Cerebus #4 (1978)

Elrod! So soon? Be still my quivering loins!

I may not have understood a lot of Dave Sim's historical references when I read began reading this series in my early twenties but I sure as hell got all of his Looney Tunes references! I read the Elric books the summer after my first year of college. I was eighteen. I would have begun reading Cerebus a year or two later. I was definitely reading it by 1992 when I was volunteering with the Santa Clara Junior Theater helping backstage because I passed the first Cerebus phone book around to anybody I could convince to read it by telling them about the characters stowing away on a ship and hiding in some barrels where one of the characters says, "Nobody here but us mice!" and Elrod pipes up with, "Squeak, I say, squeak!" Goddammit that still makes me chuckle. That was my long-winded and autobiographical way of saying that I understood the Elrod/Elric parody! I sometimes think of the first 25 issues of Cerebus as being less than the rest of the series. I suppose because they're a lot of individual stories coming just before the huge 25 issue High Society story arc, they can seem trifling and inconsequential. But we're only on Issue #4 and we've already been introduced to Red Sophia and Elrod of Melvinbone, two of the series most iconic characters. And examples of what Dave Sim does so well: characterization, parody, and mimicry. Sure, Red Sophia is basically just an exaggerated mash-up of Red Sonja and Pepé Le Pew. Of course, Elrod is just a blend of Elric and Foghorn Leghorn (mostly Foghorn Leghorn with an outer glaze of Elric). But he does their voices so well and makes them completely his own, fitting their foibles and eccentricities into Cerebus's world. And Dave Sim is funny. He can be absolutely hilarious. And is it next issue already that we'll get The Roach (it is not. Next issue is Bran Mac Muffin!)? I mean, can you name a comic book that got off the starting block faster without any actual planning?! Deni Loubert announces that she and Dave have moved in "A Note from the Publisher" and not much else. Well, she does exclaim how she forgot to write her editorial. I'm getting the feeling she doesn't really give a shit about these notes and just wants to get on with the real work of getting the stupid comic distributed. In his Swords of Cerebus essay, Dave Sim admits to having never read an Elric story so I guess I probably never had to bother with it either! Although knowing the author's name, Michael Moorcock, helped score some pretty good points in Scattergories on occasion. Speaking of Scattergories and not Cerebus, I once played the game with Sam Adams (ex-Portland Mayor and also my Uncle-in-Law. He also played the assistant to Kyle MacLachlan's Portland Mayor in Portlandia). The category was "type of dance" and the letter rolled was an "L". So my answer was "Lap". Sam sneered and said, "Classy." At least it scored me points and I didn't have to cheat the way Sam and his mom did! That was the Brush with Greatness story I would have told on David Letterman if time and experiences and space were different.

I realize a lot of you are living your worst online life because you view everything on a phone so, really, don't bother trying to read this. Although maybe it's actually easier to increase the size of on a phone! Stupid laptop. I hate you now!

In this essay, Dave Sim mentions how someday he's going to write an issue with Elrod, Lord Julius, and Cerebus locked in a closet. I'm pretty sure that eventual story is the one I mentioned earlier about the mice. I believe the story takes place between High Society and Church & State, maybe Issue #50/51 or something weird like that? When they're fleeing Iest after Cerebus's run as Prime Minister ends? Anyway, it was a great idea and a well executed and hilarious sketch. The issue begins with some guy dying mysteriously to some cursed gem he stole. But never mind his story. It's over and it probably wasn't very interesting anyway. The gem, however, continues on until it winds up in Cerebus's clutches. Cerebus has arrived in Serrea to spend the last of his gold (remember, he never keeps his riches for long) gambling and drinking apricot brandy. I called it Peach Schnapps in a previous review because, have I mentioned, my memory is utter shite? This is also the first appearance of Cerebus's vest. Dave Sim says so in that essay I scanned. But I'm sure I would have commented on it without the prompt because he's so fucking adorable. Plus his snout is nearly to its regular shape and size. That means he's maturing into an adult Earth Pig. After picking up the gem, some strange shit begins to go down.

Cerebus could have been meeting the stripper love of his life but instead he's battling weird magic figments of his imagination.

Remember that thing about my terrible memory? I can't remember if Death was an imaginary character brought on by the aardvark's strangeness mixed with the gem's magic. But I do remember Elrod was some kind of illusion created by this confluence of events. One of the saddest moments in this entire series for me was when Elrod blinks out of existence. I can't say how long I was in denial about that but, month after month, I kept hoping that he'd come back in another of Dave's retcons to make sense of past stories that didn't fit his vision of Cerebus's current world and story. I kept hoping that a bedraggled Elrod would wander into Cerebus's bar in Guys having once again somehow eluded death or capture or nonexistence through his strange blundering overconfidence. Maybe my hope in the reappearance of Elrod was what really kept me reading until Issue #300! Death's plan is to have the Crawler (that's the squiddy, octopus, vagina-stand-in thing) drive Cerebus into Death's clutches. But Cerebus has a knack for winning battles by knowing when to retreat and when not to retreat. Previously, he would have died in the wizard's tower while hunting the flame jewel if he had attacked the skeleton; this time he realizes that if he keeps retreating, he will lose the battle so he presses the attack. Four issues in and I now have total confidence in Cerebus's strategic mind. He can't be defeated even by what amounted to a Great Old One! At least according to Death's description of the beast. I'm not sure Death is the most trustworthy of narrators though. Also, is he really Death? Seems like a crazy character to introduce four issues in. How many issues was Gaiman's The Sandman on before readers were introduced to their next huge comic book crush, Death? Death realizes he can't manipulate Cerebus to force Cerebus to bring him the gem. So he searches for somebody he can manipulate.

Or does he create one? I suppose that spark is the moment Elrod comes into existence.

The first half of this issue was lacking in, as Dave says, "Ha-ha." And true to form, it wasn't that great. Standard sword and sorcery fare with Cerebus battling a monster and magical forces intervene in the barbarian's life. Death isn't much of a character and the monster wasn't much more than any of the listings on a typical wandering monster chart. But then Cerebus wanders into the market to meet one of the top three characters in the series! No wait. Maybe top four because I just remembered another character I love. Whoops! Make that top six. No, no, top seven maybe? Top ten? Christ I forgot about all the characters in Guys who read that Wankerman comic book which puts Elrod in, what? Top twenty, maybe? And do we count all of The Roach's incarnations as one character or several?! Anyway, he's a pretty good character.

Is this the most iconic entrance for a character ever? You know what? Don't answer that. I already said that I hate debating other comic book nerds.

Oh man. I'd completely forgotten about how Elrod refers to Cerebus as the kid in the bunny suit. Which provides for some great imagery later when we see their first encounter through Elrod's eyes. It must have been tough living in barbarian times and also this fictional world because, once again, Cerebus finds himself drawn into a sword fight for practically no reason. I mean, there were probably more reasons for every other fight he got into, like the one against the shadow beast and the one against the skeleton and the one against the wizard and the one against the Boreleans and the one against Klog and the one against the army hypnotized by the succubus and the one against the succubus and the one against Red Sophia and the one against Thugg the Unseemly and the one against Feras and the one against the Crawler. This fight happens because he just tries to ignore Elrod and Elrod is all, "Look at my hat! It's tall and pointy!" Remember that joke from Dave's essay where he said it made him laugh a lot? Yeah, it was pretty good.

Elric's sword was black but it was not called "Seersucker." It was called, um, Black Razor? No wait! Stormbringer!

Speaking of Black Razor, does anybody remember the names of the other two magic weapons that could be found in S2 White Plume Mountain? If so, I'd like to steal your lunch money and give you a swirly. A minor bit of explication happens on the next page which describes Death's motivations for seeking the gem currently in Cerebus's possession. It's the Chaos Gem and would be the 13th magic gem in Death's collection. That would enable him to kill even more people than he presumably already kills. I figure he's eventually going to kill everybody anyway so what's the hurry? Elrod's sword shatters when Cerebus blocks his first blow and Elrod decides maybe they should team up instead. Cerebus has yet to say a word as Elrod talks enough for the two of them. Also, it's a Foghorn Leghorn parody and Foghorn's foils usually have little to say. Half the character is in the bluster and overblown confidence. Elrod gets them both in trouble with the guards and hauled off to prison.

Maybe I loved Elrod because he reminded me so much of my gaming group's role playing encounters.

Cerebus breaks his chains in prison and escapes while Elrod continues to shoot his mouth off. He's useless for anything but talk, evidence, I suppose, that he's nothing but an illusion. I'd like to believe Dave Sim retconned Elrod into being some kind of magical, illusory creation because I don't like to believe that any writer plans that kind of stuff. Why even consider if he's a real being or not this early? But Dave Sim has that bit in the Swords of Cerebus essay where he says, "He always pops up, seemingly from nowhere, with no explanation of how he got out of the fix we left him in (Aha! You hadn't noticed, had you) and an entirely new vision of the best direction for his life to take." It's almost like he's winking at us and nudging us with his elbow, daring us to guess that there's something not right with the character. Maybe Dave Sim only came up with the "Elrod is an actual cartoon character" after a few more Elrod appearances. Cerebus throws the gem in a well, figuring it must be bad luck, and Death walks off dejected that his plan failed. Who's he going to manipulate into climbing down a well?! I mean, The Roach would probably do it. But it seems like Death's heart wasn't really into killing everybody quicker anyway. He probably realized it was just too much extra work. And that's it for the story! Not much in Aardvark Comment except for this list of creatures Cerebus has fought which I did not know existed before I wrote out my list earlier or else I would have simply used it and missed out on some of them.

Also, Frank Thorne wrote another letter.

Cerebus #4 Rating: B+. Dave Sim was correct in his essay about not much really happening in this issue. It's a lot of Death hoping for some gem for some reason which he never gets and nobody ever notices he's even trying, and Elrod going on and on and on about himself. It's a good first appearance by Elrod but he's definitely better utilized when he has actual dialogue with other characters. I loved this issue so don't take it the wrong way when I say my favorite part of this issue was probably when Dave mentioned of Wendy Pini. Elfquest was my favorite thing from 6th to 9th grade. Wendy Pini and Dave Sim have this thing in common: they're two of three comic book creators whom I went out of my way to get to sign my books. The other one was Terry Moore. And I guess you could include Richard Pini but I just think of him as a subset of Wendy.

[praycambrian]

/////the exorcist 2.08 spoilers below so Look Away if you must

SO my thoughts on mouse and marcus in this ep are many and varied and detailed below, but they mostly boil down to hmm….nah.

mouse’s characterization

first of all, how come we sat through those flashbacks and still don’t know her fucking name

second, i am Bored with the characterization of nuns as meek, hesitant, fumbling innocents. especially after season 1 gave us mother bernadette and the sisters of mercy, who were badass and tart and vastly compassionate, to see mouse—fierce, angry, devout mouse—ducking and scurrying just…sat wrong with me. i think we all guessed from hints in earlier eps that she’d been possessed herself, hence the burning motivation she brings to her work as an exorcist. but here her possession wasn’t even treated like the turning point it should have been? we hardly saw it, and i’m For Sure not complaining there weren’t graphic, skin-crawling scenes of a woman being violated like that (what we did see was bad enough), but it deserved more weight than it got. 

(also >:{ at that “know your place, bride of God” comment from that other priest)

i suppose my main problem is that i suspect we won’t really get to see her develop from a to b—we won’t get the twenty years of her guilt and fury hammering at her until the soft, young, bright-eyed woman desperate for god’s full love is forged into the rogue joan of arc we know now. which is a shame, because that could be interesting as fuck.

marcus’s characterization

That Wig aside…

….you’re telling me that marcus “i exist only to be a vessel through which god kills demons” keane, marcus “i will shoot you if you try to stop me finishing this exorcism” keane, marcus “taking things too far is the only way i know” keane, marcus “we stand in the doorway and push back the darkness” keane—you’re telling me that marcus would stop an exorcism because…it was hard? hmm, nah. 

i recognize that this is flashback marcus, and that people change in twenty years. but i find it very hard to believe that marcus could run away from an unfinished exorcism, ever, at any point. sorry jeremy, he’s going to grind himself to dust before he abandons anyone to a demon, let alone someone he loves. that’s, uh. the whole Point. 

and even if—IF—marcus could somehow end up leaving an exorcism unfinished, you’re telling me all it took to push him to that point was one (1) demon taunt? we’ve seen marcus carve himself open for weeks on end to complete an exorcism. by the time he meets mouse in 1999, he’s been doing that for 23 years. if he cares about mouse so profoundly that a bare six minutes of seeing her possessed is too terrible to endure, more terrible than anything else he’s endured in his brief but very long life, then we 100% deserve to have more to show for that relationship than one (1) scene of her cutting half his hair as he daydreams about a normal life.

mouse & marcus

two distinct but interlaced issues at play here: the contextual elephant in the room that is the Great Marcus Sexuality Debate of ’17, and the episode itself. 

without wading too far into that cesspit, lemme tackle the former: i’m bi and about as desperate for good bi representation as you might imagine, but in the case of a character that was pretty clearly presented as gay from the get-go, i’m pretty uncomfortable with what seems to be some clumsy retconning to favor a past “straight” relationship over the current queer relationship(s) that are being/could be developed. do i think presenting marcus as a canonically bi character could be done well? absolutely (and i’m writing several thousand words of fic to hopefully do just that). do i think the show’s currently doing it well? no. 

exhibit a: season 2 episode 8.  

all props to ben and zuleikha, who are both very talented actors, but…no. everyone with whom marcus has shown even the bare minimum of what could be construed as romantic chemistry (peter, tomás, bennett, even the regos or the flirty nun) is someone who takes him aback, who pushes and challenges him, who has at least a little bite. flashback mouse…does not. marcus literally tells her he finds her hesitance charming. like bitch…where? 

if you want whatever happened at the abbey to be a source of profound shame, regret, and guilt for marcus, enough that it serves the plot by leaving him open to manipulation in current exorcisms, cool, awesome, bring on the angst. A Dramatic Failed Almost-Romance does not have to be the way to do that! 

Platonic Alternative: maybe marcus, in the prime of his life and flush with over two decades of successful exorcisms, succumbs to his arrogance and a desire to show off for this bright young thing (whose admiration gives him the validation/affirmation he’s literally never gotten in his entire care-starved life). so when she leaves the abbey to follow him as an apprentice he doesn’t stop her. his poor tutelage combined with her inexperience & god-desperation get her horrifically possessed, changing the course of her life and giving marcus his canonical reluctance to take on a partner. catholic guilt and drama galore, no romance needed.

or hell, if for some reason romance is a must, have marcus have a hard time with experiencing attraction to a woman after a lifetime of being attracted to men (though again i say: where). so because he has no fucking idea what to do with those feelings, he’s hot and cold to mouse, making her that much more desperate to see god’s face/become an exorcist etc in order to earn his love and respect, and driving her to the mistake that gets her possessed. there you go! there’s the guilt and vulnerability for the demon to exploit, resulting in a cruelly protracted exorcism that launches mouse on her self-loathing warpath and leaves marcus even more desperate for & terrified of intimacy/his own desire for love. i mean, as a bi person who’s struggled with doubts re: Am I Being Queer Right, i think this take could be even pretty meaningful. 

i am ALL ABOUT marcus and mouse having a sincere connection to each other. i love them individually, i love the ways they’re similar (their devotion to god and disdain for the church, their barely-sheltered soft spots, their fear & rage & love) and i want to know where they conflict. i want them to be important to each other! i just think the way this ep chose to show that—i.e. an uncomfortably forced Apparently Straight Love Story ™—was, uh. Unfortunate. 

like, recognize platonic relationships are profound and meaningful in themselves and not a stepping stone to Romance, the Ultimate Goal!! or like if you’re gonna show a romantic relationship between two characters, one of whom is CANONICALLY QUEER, (1) make sure it actually makes sense and (2) remember it’s still a queer relationship!

anyway, i have Feelings, shout at me if y’all do too