#but I really do think there are many ways they could execute this plot

[protect-namine]

.

[cryptidliker]

Just heard about Sonic 3 sorry for my loss

[becausegoodheroesdeservekidneys]

When you point out how neurodiversity affects whole areas of the brain, not just what we see as the presentation symptoms, it seems so obvious. I've known that many neurodivergent conditions have high rate of co-morbidities, but haven't thought about what that would mean. I really liked your explanation of what else dyslexia affects, it made me recategorise some of my sister's mom behaviours. I see time blindness, some executive dysfunction, organisation difficulties and go, yup, I've got that too, it's normal, and forget that most people don't struggle with that (I've suspected I have undiagnosed ADHD for years, but never got checked for it, since I suggested it my dad freaked out, insisting there was nothing wrong with me. I really should though)

May I ask how your synaesthesia manifests for you? I'm always curious about how neurodiversity manifests in people and how it affects them, because there are so many minor and major things not talked about. I apologise if that question makes you uncomfortable, you don't have yo answer it.

Anyway, thank you for your explanation! It made a lot of things click all at once for me.

If you want lots of examples of how my synaesthesia works, I have a tag you could trawl here. But, I have a few different types; the common numbers-have-colours one, but I also get textures and sensations and feelings, and about... literally everything. Numbers, words, people's voices, names, personalities, the plots of media, images, everything.

Soooo, yeah. Sensory overload is the big impact; trial and error over the years has shown me it's primarily auditory, so if I can wear earplugs I can cope for longer in 'busy' environments. The other thing is that it really does a number on my mathematical ability, though, because, I shit you not, the colours get in the way. When I was a small child I was shown that 3 + 5 = 8, and my brain went "Yes, orange + pink = brown, got it" and ever since then if I see a 3 and a 5 together in a sum it DOES NOT MATTER what the operator is, I immediately assume the answer is 8. 3 plus 5? 8. 3 minus 5? Also 8. 3 times 5? Buddy you'll never guess. But it's 8.

It takes conscious effort not to do this T_T

The other thing is that I really, REALLY suffer from this thing where someone goes "Hey, we should watch Program X" but the problem is, you see, the problem is, I cannot stand the sensation I get from the name Program X, and therefore I will not watch it out of disgust that is totally unrelated to the actual show. This applies to all media, places, human beings, etc. (It is obviously a thing I have to be careful of when it's human beings.)

I think everything else I have is ADHD-related though, so that's probably everything I can put down to the synaesthesia.

[uriekukistan]

i wanna talk about this thing gege said

i’ve seen a lot of people saying that this is a bad way to write a story, and i couldnt disagree more. from a writer’s perspective, there is no reason to kill off a character if it’s not going to have impact.

in any case, i think this reaction points out two things i’ve noticed about the jjk fandom.

i. jjk fans prioritize enjoyment of characters over the plot

which is fine, i guess. i’m not gonna begrudge any readers the space to enjoy their fav characters. however, what i disagree with is the constant trashing of gege and jjk as a story because the narrative doesnt treat the characters as you want it to.

i mostly talk about these things from the perspective of someone who has been writing for a while, so i will take a second to acknowledge from the reader perspective. it’s easy to get attached to characters and see them as real people in your life.

but they arent real people. they only exist for the author’s intentions. every time i see someone complain that “x character only died because plot” i just think “yes?” characters exist for the plot. they exist to serve the narrative. they live and die for the plot, and that isn’t a bad thing. this is a story. that is how stories work.

with characters like gojo or choso, it’s easy to look back and see their character arcs and how their ends fit their purpose in the story, but i think people get so caught up in wanting to fuck the character, or fanon, that they forget their original purpose is to do what gege wants them to do.

this is a war against the most powerful, most evil sorcerer in history. of course characters are going to die, and of course it’s going to be characters we love. it’s honestly unrealistic to expect anything else.

and i think it’s really disrespectful to say so many rude things to gege because he is thinking about the story he wants to tell, and not the story that best suits your favorite character.

ii. few people want to feel anything from what they’re reading anymore

which again, is totally fine, but maybe read something else?

tragic stories have existed and enjoyed immense popularity for millennia. and theres nothing wrong with that. there’s nothing wrong with authors intentionally stirring up their readers’ emotions.

i wanna bring attention to the origins of the words “tragedy” and “catharsis”

“tragedy” is a genre that stems from greek drama based on human suffering and the terrible or sorrowful events that befall the main character. the intention of of tragedy is to invoke “catharsis”

“catharsis” is commonly used to refer to the purification of thoughts and emotions by way of expressing them. in terms of tragedy, this refers to arousing a negative emotion with the intention of expelling it so the audience can walk away feeling relieved.

for all intents and purposes, jjk is a tragedy. it’s meant to make you feel sad. that’s gege’s intention. yet every time people feel upset by a specific event, they call “bad writing.” if anything, according to what jjk is, it’s good writing if you feel sad.

i have seen some people say that jjk wasn’t set up this way, and i disagree so strongly that it’s hard to comprehend.

jjk0 ends with gojo having to kill his best friend, his one and only. tragedy. yuuta’s story is tragic too, having cursed rika and accidentally isolated himself just because he didn’t want her to die.

jjk starts with yuuji faced with execution just because because he wanted to honor his grandfather’s dying wishes. within a handful of chapters, there’s yuuji’s “death” and junpei, and there’s a clear set up of tragedy and repeated loss, despite characters giving their best effort.

i could get into how this relates to my interpretation of the themes of jjk, and sharing burden/responsibility to be stronger together, but that’s another point.

tldr; the point of this post is to say that gege killing characters and making readers feel sad is not bad writing or a bad narrative choice. it’s true to his intentions and the essence of jjk. if you don’t like that, then don’t read. but there’s no reason to disrespect gege and his hard work just because it’s not your cup of tea

[alygator77]

alright, now that I have sat on this ending a bit I’d like to express my frustrations with this manga—this is entirely my own opinion, you have every right to disagree with me if you do, just please be respectful.

spoilers ahead.

it’s just… what was the point…the theme of JJK? can anyone please tell me? like honestly, I would really like to know what you think it was, because I feel like there were so many plot points that were introduced, and they led no where.

look—as a new writer I know it ain’t easy, I am still a novice and I’m not trying to completely disrespect geges writing. obviously there are some things he did right, otherwise this manga wouldn’t have gotten as popular as it did—I’m just so disappointed that this story feels so… empty. It’s shallow. It’s action with shock value—that is all this manga is to me, because everything gege built up to amounted to nothing.

the story starts with yuji talking about “proper deaths.” lol. lord the fucking irony. yet, satoru doesn’t get a proper burial. look… death is a big thing in Japan. they dedicate literal shrines to their loved ones. the disrespect for satoru as a character is so disgusting to me. we see yuji preemptively “mourn” him in a flashback—but not when the guy is actually dead?

this is not how real people are—real people mourn death. I understand everyone grieves differently—hell, yuji felt weird mourning his grandpa in the beginning, but you’re telling me no one gives a fuck? no ones gonna say anything? talk about how he’s gone? what he sacrificed? yuta got out of his body and…that’s it? we don’t know where tf it is or what happened to it.

nobara mourned yuji when she thought he was dead back in the beginning, and she barely knew him then—so what, everyone just hates satoru? the guy that literally cared so much for his students? the guy that was willing to completely overthrow a system just for yuta and yuji because he cared so much for their youth, their happiness?and yet, even they don’t acknowledge his death?

there were multiple chapters that just ended on some sort of cliff hanger or introduced a new side plot—giving the readers something to keep them interested, only for it to amount to nothing. yuta in gojos body—what was the fucking point of that? It accomplished nothing. It was just shock value. what was the point of these last 3 chapters?

look I don’t hate angst, and I’m all for tragic characters—satoru is definitely a tragic character—but god, there is also some tact in handling it. his character is amazing, yet the way he was executed in the end is just so fucking sad. especially considering he’s one of the most beloved characters in the fandom. this literally felt like a big “fuck you” to us satoru fans.

I could literally write an entire book about how unhappy I am so I’ll just stop there…

I’m so upset.

[genericpuff]

Are there any things you like about LO? Or is it all shit to you. Personally, I think it could be a great storyline with the right execution, but a lot of the stuff and plot is unnecessary (I.e. Hades being thousands of years older than Kore and making characters fall in love with people they are racist/classist towards 😨😨)

Oh there are LOADS of things that I liked and still enjoy about LO despite all the shit I've thrown at it. I love love LOVE a lot of the older art-

Like, damn, that shit is so charming! I swear I had that Tower 4 panel as my phone background for like, 2 years LOL

Rachel had a really strong understanding of shape language, composition, color theory, and expressive linework in a way that was really appealing and unique at the time, but along the way it was just lost, undoubtedly due to her taking more of a backseat in the character art process and leaving it to her assistants.

That said, there's a lot of... not so charming, too.

I think, on the one hand, there's a lot to appreciate in the old art that shouldn't be rejected as we criticize this series. At the end of the day, as much as we riff on it, many of us did love this series at one point in time, so we shouldn't cringe at what it used to make us feel or pretend like we were ever above it when we were very much lost in it for ages before it went down the tubes.

But there is a lot to be said about the effects of rose-colored glasses, and how LO was never perfect. The reality is that much of Rachel's work is exemplified by the odd beautiful thing that sticks in our memories, but when we actually go back to relive those memories, we find they're all strung together by some not so beautiful stuff that makes us go 'wait what???'

Case in point, with LO we remember beautiful compositions like this:

But then within those same episodes we get:

And it's like oh. Yikes.

Aside from the art, there was also the SA plot as well as the Act of Wrath. The SA plot felt really special to me at the time because I was someone who was once in Persephone's shoes, being pressured into sex that I wasn't ready for but wasn't capable of saying no to. I can appreciate what Rachel was trying to do with that plot, but over time it became clear that she wasn't committed to seeing that plotline through and so I kind of just dropped my expectations for it entirely.

That said, it wasn't the SA plotline that set me off. I had good faith in that one still that it would be addressed eventually. It was the Act of Wrath plotline that did me in. The premise of it was totally my cup of tea in the way of "quirky character has a dark evil backstory!" which is shit that I absolutely LOVE, but then when the "twist" happened that Eris was the one to give her wrath, that was literally when I had my almost "canon event" moment of realizing "wait... I don't think Rachel knows what she's doing." And then it was just all downhill from there. The S2 finale sealed my fate LOL

All that said, as much as my brain is often defaulting to "ew! gross! bad!!!" in all honesty I do still appreciate what LO meant to be back when I still enjoyed it. It meant enough to me that I just couldn't let it the fuck go when it started to go downhill, so much so that I started making my own version of it! And that's something that sets it apart so much more from other comics I really don't like anymore (or comics I never liked to begin with) like Down to Earth, The Kiss Bet, Let's Play, etc. where I really can't even be bothered to think about them let alone talk about them to the extent I do about LO. I may be full of beans when it comes to LO, but I'd still rather be talking about it and all its failings and what it used to mean to me than about any of those other works. I loved it enough to still want it in my life and that's what Rekindled has accomplished for me.

[fuckyeahisawthat]

Re-skimmed through a bunch of Dune Messiah last night because why not and now I am having thoughts:

The thing that sticks with me most is the tone. It's melancholy, it's eerie, it's unsettled and weird. Cannot think of a more pitch-perfect director for it than Denis Villeneuve. He's gonna nail it.

There is...not that much...actual story? Denis has referred to it in interviews as "a small book" and I'm like my guy it is 350 pages. But there are actually not that many plot beats. It's just that every. single. scene. is WILDLY overwritten. The real challenge of adapting Dune is not the giant worms or the dense complicated worldbuilding or the fact that actors have to say the name "Duncan Idaho" repeatedly with a straight face. It's that there are pages and pages and PAGES of internal monologue that have to be externalized somehow for film.

After a re-skim my gut instinct for "how much story goes in a feature film" is that if you just wrote out the dialogue and action that happens in every scene in the book in screenplay format you'd end up with...maybe about an hour of material? Which is great, actually, because it means there is room to add stuff. Like a whole new independent plotline for Chani if they decide to do that.

It may seem insane to add things to an adaptation of what's notoriously one of the wordiest series in classic sci-fi but it's worth remembering that they added quite a bit to Dune Part Two. Most of the first hour of the movie--almost everything before the worm ride except for Jessica drinking the Water of Life--is stuff that isn't in the book. And it's the best part of the movie essential to making the movie work as well as it does. Yes, they also cut elements from both parts (the dinner scene, the whole plotline where Gurney thinks Jessica is a Harkonnen spy, Thufir Hawat's fate, Leto II the Elder, murder toddler Alia) but I understand why each of those elements was cut or changed in the service of cinematic storytelling.

There's an interview (can't remember which one) with Jon Spaihts, the other co-writer of the scripts along with Denis, where he talks about how Dune is like a stage play, with so many of what would be the big action set pieces happening off-page. I kept thinking about that comparison while reviewing Dune Messiah because in addition to the scenes that do exist being wordy and internal as fuck, an absolutely insane list of major events/reveals/emotionally significant moments happen off-page. The list of things that we don't actually see in the main action of the story, that we're only told about after they happen, includes:

Chani finding out Irulan has been secretly dosing her with birth control for YEARS

People trying to capture a sandworm and take it off planet

Chani and Paul finding out Chani is pregnant after 12 years of trying to conceive

Paul flying an ornithopter carrying his extremely-about-to-go-into-labor partner while blind

CHANI DYING (first time reading I did NOT know this was coming and damn near threw my Kindle across the room at the way the information was delivered)

Alia executing a bunch of people including a Bene Gesserit Reverend Mother

Paul walking into the desert at the end

You could add all these moments into a scene-for-scene film adaptation of the book and probably still have room to add more material.

The other thing that jumps out is that Paul doesn't really...govern...much. Like there's this whole subgenre of post-Dune/Dune Messiah-era fic that's just some combination of Paul, Chani, Irulan and sometimes Feyd traipsing around the palace having feelings while vague politics happens in the background, but I forgot that Dune Messiah is actually kinda like that??

There is a whole thread of Paul feeling kind of abstractly bad about being Space Hitler but he does not, in fact, actually do anything about it. And like yes both bureaucracies and religious movements can grow to have a life of their own that seems beyond the control of any one person. But also my dude you are the Emperor of the Known Universe. Someone is signing those space checks for the Endless War budget. You are not powerless here.

The one thing that really, clearly drives Paul to actively do things in the plot is not feeling guilty about having unleashed catastrophic religious war on the universe. It is protecting his family. Chani, Alia, his unborn children, and you could probably throw in Duncan by the end. That is what motivates him to act at key moments, and to want to hold on to power. And hey, y'know, if I'd experienced almost everyone I'd ever known getting murdered in a single night, I would probably get a bit intense about that too! It makes sense from a character point of view!

I'm very curious to see how these threads interweave with each other in the film, because the Villeneuve films put a lot of emphasis on Paul's agency and the fact that he may be constrained by shitty circumstances thousands of years in the making, but he still makes choices within that context. I can't see the narrative allowing film!Paul to get away with the same Poor Little Dictator routine as in the book. There are a few ways they could play this but I think the most interesting one is kinda the way they started going at the end of Part Two. Which is that as soon as you start reaching for that kind of power, then power becomes its own end and you will end up doing increasingly horrific things to maintain it. I think it would be quite interesting if the film shows us Paul not just being like "woe is me" but actively choosing to make the world worse because his trauma-driven fear of losing the people he loves makes him cling ever more desperately to power for its own sake.

If they went this route I think it would make Paul's decision at the end hit even harder. FWIW I actually really like Paul walking off into the desert at the end of the book. I think it brings things full circle with his relationship to the Fremen and creates this beautiful arc going back to the duel with Jamis. He first won a place among the Fremen through respecting their customs even though he really did not want to fight and kill someone he had no beef with. And by respecting the Fremen custom of the blind walking off into the desert, he proves himself to be fully Fremen and protects his children not by making them heirs to the throne but by making them Fremen.

And yeah, to a modern audience here on Earth it can look like "Paul conveniently fucks off and doesn't have to raise his newly-motherless children." And we can have a whole discussion about the unexamined ableism of the idea of someone who's gone blind voluntarily choosing death so as to "not be a burden" on their community. But neither of those readings is really the point here. Within the logic of Fremen cultural values, where the survival of the group as a whole is more important than the life of any one individual ("your water belongs to the tribe" etc.) Paul's choice is a willing and intentional self-sacrifice (see also: fedaykin) that wins him huge respect. There's a line in the book about Paul that's like "He would be one of them forever now" and damn if that didn't give me shivers. Like!! The political-symbolic implications!!! Which maybe I'm particularly attuned to because I just wrote a whole fic about what does it mean for an outsider to become Fremen but hmm something something Paul's final* act not being an exercise of Imperial power but an expression of kinship with an oppressed group and that being the thing that's needed to keep his family safe even if he is not physically present with them...IT IS RICH SYMBOLIC TERRITORY.

(*Yes yes I know about events in the next book. Shush.)

This kind of stuff is why I tend to think Chani may start out in a very different place in the story but the end will still be pretty close to what's in the book. It's too thematically powerful and tragic to go any other way.

But also...if they change things around enough that she is still alive at the end of the movie...I won't be sad about it.

[the-silver-cookie-thief]

A Story Done Right

Kill Bill, The Princess Bride, Blue-Eyed Samurai, Wrath of Khan. Our media is saturated with revenge stories. Even children's tales often have revenge as a sweeping premise (e.g., the countless Star Wars villains as a modern example, but older tales such as Cinderella were even more rife with vindictive messages). And to be honest, I have never cared for this plot type.

Revenge stories are usually violent, merciless, myopic, and pretty disregarding of 'collateral' losses. Not all, but most lack any type of interesting moral symbology and substitute dynamic storylines and complex character development in lieu of exciting action scenes and a prosaic fixation on bloodshed. There are certainly exceptions to this, many of the titles I listed above actually have a lot of great things going for them. But I would say that these qualities are in spite of their focus on revenge and not because of it.

And there are an endless number of animes, movies, books, and other stories based on revenge that simply do not appeal to me (not judging other people if they like violent action media, just not my personal taste). Most of the time, I am just left feeling empty at the end, like Neo after volume 9.

But there is one exception to this theme. One revenge story that leaves me feeling whole, not empty. From the banner image, I think it is pretty obvious which story it is. This is my own highly subjective opinion, but I truly believe that the fight with Adam represents the perfect revenge story. And here is my reasoning.

Revenge is Not The Hero's Purpose

In too many stories, the premise begins with douchebag 'X' killing damsel 'Y', leading to hero 'Z' killing a lot of henchmen and blowing up a lot of buildings all for the singular purpose of making Mr. X pay. Once they achieve this purpose, they look around aimlessly before wandering off to have a milkshake or play golf or something. Yeah well, this story does not do this. Killing Adam was never the objective for Blake and Yang, because they have actual goals that involve saving people and not just executing some vendetta.

Don't get me wrong. I love redemption stories, I find them so much more satisfying, especially when the character in question has to struggle to overcome the gravity of what they have done (note: a redemption arc does not mean instant forgiveness, it might never end with actual for absolution for what they have done). I love Emerald's story and think it has a lot of interesting twists that it can take. But there are some characters who are just too far gone to save. And Adam fits that perfectly.

He has a tragic backstory and I truly pity him. But he is also an abusive, murdering shitlord who manipulated and groomed Blake (I wouldn't be surprised if he physically or sexually abused her, which is somewhat implied by her frequently defensive body posture, but is not definite). He kills out of spite and represents Yang's demon, who she could have become. It was cathartic to watch him fall, but I am ever so grateful that his demise was not the purpose of Blake and Yang. Because killing him out of spite for what he did to them would not be much different than the way he lashed out at others for the traumas that he has endured. Some might call it justice, but justice and revenge are two sides of the same coin and the edges between them can be blurry.

The point is, Yang and Blake are so much more than Adam. They killed him out of necessity, not out of hate.

They Are Set on the Future

As I mentioned, I often feel empty at the end of a revenge story. When the villain lies dead within a pool of their own blood and the hero has achieved everything they sought to accomplish, what more is there really? Often, I feel like the story has reached its ending without really achieving anything of note. Often, without really making the world a better place. A plot about revenge is not the same as one about taking someone down to save other people. The former is what Adam wanted and it would have made the world a worse place. But Yang and Blake are protectors. The fight was exhilarating and satisfying, but it ultimately humanized these characters whereas most revenge stories do the opposite, treating human life as cheap entertainment to be killed in the most 'epic' way possible.

But more important, the fight left me feeling excited about the future, rather than feeling burn out from seeing the villain die. Adam was fixated on the past. He was a character of the past. He represented Blake and Yang's trauma, their old demons and fears. He had no further place in their character arcs, because they had evolved into something so much more. Killing Adam was not the end of their story as it is in so many revenge plots. It was simply a new beginning. It felt whole and wholesome. Past, present, and future.

Because it is the People Who Matter

Ultimately, the fight was never about killing Adam. It was about bringing Yang and Blake together. About having them overcome the demons of their past. About the importance of mental health. About their individual traumas (abandonment issues & PTSD for Yang and Blake's fear of hurting others). About the challenges that LGBTQ+ people face in finding security in a hostile world. It was about these two, fucking amazing characters and the ineffably wondrous relationship that forms between them. One based on actual fucking support, equality, and love.

That is all I have on this right now. Hopefully, I did not offend too many people by criticizing typical revenge stories. But I have been wanting to talk about my love and appreciation of this scene for years. I know there have been so many more people who have discussed these same themes and points before, probably more adroitly than my rambling mess, but this is my rambling mess. Thanks for reading!

Random side trivia 1: Mandy Patinkin, the actor who played Inigo Montoya in The Princess Bride, is famous for his iconic line, "Hello. My name is Inigo Montoya. You killed my father. Prepare to die." Mandy felt that the scene was symbolic of feelings towards the illness that took his father. But regarding revenge against people, he actually dislikes his iconic line and how it idolizes revenge.

Random side trivia 2: I love Jeff & Casey William songs and I just love BMBLY (except or that creepy line about the birds and butterflies knowing, wtf). But as an ecologist, I should note that bumblebees do not make honey. Jeff was thinking of European honey bees. Bumblees are cute, fuzzy, chunky super pollinators that live in the ground, in hollow plant stems, or other obscure spots and are either solitary or have very small hives. They virtually never bother people and are super pollinators, actually much better pollinators than honeybees (which are super awesome cool in their own right, but also highly invasive in the western hemisphere and hurt our native pollinators D: And yes, I cherry-picked the ugliest picture of one that I could find). Many bumblebees are endangered, just like our beloved Bumblebees. Save the bees! AND THE BEES!

[tossawary]

Yes, I can be frustrated when plot tension seems to arise solely from characters communicating poorly or refusing to speak to each other at all. Sometimes, the reasons for it don't seem very good or even true to character when they pale in the face of some other threat. Sometimes, it gets drawn out too long and it feels like things would be more interesting if we just moved on to whatever could happen next; I do really like it when characters come together and attempt to solve problems as a team.

And yet, on the other hand, there are situations where I can't agree when someone says, "UGH, why don't they just TALK to each other?!" Because it's like... it's the trauma, bro. It's the shame and the fear and the desire for privacy and control. It's the violence of this world and the LIFE-THREATENING risks of vulnerability. It's potentially another character having a knife to their throat. It's the precarious situation of NOT KNOWING that you're a character in story and that this other character is a decent person who will react with understanding and compassion.

"UGH, why didn't this character just hand someone else their heart and the power to destroy them on a platter?" "UGH, why didn't this character confess to something that has been repeatedly shown to be murderously reviled by most people in this world?" "UGH, why didn't this character just TALK to people when they've been burned before and no one has demonstrated that they're trustworthy, and also they're being threatened to keep them silent?"

Again, miscommunication plots often drive me up the wall, especially when they seem so repetitive. Everyone has a limited tolerance for certain story elements and story elements can definitely be executed poorly. It can be fun to mix things up with characters who throw their issues on the table and demand that someone try to fight them on it, with characters who are open about previous issues but are struggling not to backslide, and with characters who are TRYING to talk it out but can't find the words or the right people to listen. There are many ways to do communication plots! There are many good reasons to complain about these plots! And it's all to personal taste anyway, so I don't begrudge anyone their venting! I can be petty too!

But... also... "UGH, why didn't this character suddenly overcome all of their personal issues in order to effectively spill their guts to someone they have good reason to think wants them dead?" BRUH, COME ON and put yourself in their shoes, PLEASE.

[absolutebl]

Top 10 Great BLs That Are REALLY hard to find (but worth tracking down)

You may want to go hunting anyway!

Seven Days

Seven Days: Monday-Thursday

Seven Days: Friday-Sunday

Japan 2015

Never doubt my ability to recommend this show. One of the best live action yaois ever made, with perfectly structured angst, fantastic characters and acting, and no problematic tropes (rare in Japanese BL). The leads have excellent chemistry although it’s low heat there’s still some really cute mutual kisses.

Cherry Magic AKA 30-sai made Dotei Da to Mahotsukai ni Nareru rashii

Japan 2020

The sweetest fluffiest magical realism BL, packaged as a pinning office romance, very low heat (practically chaste) but the cutest. It’s truly great.

Cherry Magic Thailand

Thai 2024

A soft charming warm hug of a show about crushes and mind reading and self worth, with no-fuss execution from a consummate team and an OG lead pair proving why they remain eternal and deserve to grow up. Look, here’s the thing, Cherry Magic is a great Thai BL in its own right not comparing it to any other iteration. But even when I do compare (and I've seen all the Cherries and read the manga) it still stands. I personally like it slightly better than the Japanese live action, but I think that’s because I just really like Thai BL and I LOVE TayNew. Also all the kissing was both present and better than any other iteration. As it should be from Thailand.

I Feel You Linger in the Air

Thai 2023

IFYLITA is an exquisite BL, from filming techniques to narrative framework (much like Until We Meet Again). Steeped in history and family drama it edges into lakorn (but no as much as To Sir With Love and with way less scenery chewing). This is an elegant and classy BL... from Thailand which normally doesn't even try for classy. The main couple (both as a pair and individuals) were excellent, particularly Bright (Yai) whose eye-work acting style is a personal favorite of mine. Pity about the ending. Oh it wasn’t that sad but it wasn’t good either. This show could easily have earned a 10/10 from me except that it fumbled the… erm… balls in the final quarter. Argh. Whatever.

All about the ecstasy and the agony here.

Restart After Come Back Home AKA Risutato wa tadaima no ato de

Japan 2020

Atmospheric study in rural Japan meets complex family dynamics built on a romance framework of city boy meets country boy, grumpy/sunshine. It’s beautiful and icy sweet. Slow moving in places but ultimately worth the patience, low heat, low angst, and stunning.

Given

Japan 2021

Boy joins band, falls in love with other boy. The singing is terrible, fast forward through that but with the possible exception of the hair styles, this BL could have been made in 2015 and no one would be surprised. As such, it wasn’t ground breaking, but it didn’t disappoint either.

Make a Wish

Thai 2023

A doctor who can see the dead strikes a bargain with a wish-granting irreverent tree angel - naturally they fall in love (from Sammon: Manner of Death & Triage). Stars Fluke Natouch opposite not-Ohm, but who tf cares because Fluke has chemistry with everybody. Once again the Thai afterlife is incredibly bureaucratic but I enjoyed the premise and the unfolding of the story (it’s not predictable but still satisfying and with nice little twist). I like that the doctor is just gay AF - fag hag bestie and all the swagger. The cast is excellent even if the comedic stylings are a bit overblown and tonally off. It had sad parts and did make me cry but is ultimately happy with a great sex scene, good smiley kisses, and all the agency. Definitely recommended.

2 Moons The Ambassador AKA 2 Moons 3

Thai 2022

A Thai pulp that felt like it came out 5 yrs prior, with many of the flaws inherent to that time and studio system, including manufactured angst and convoluted plot, but an ultimately sweet main couple that (as a pairing) feels a bit more modern and satisfying to watch than they started out. This will probably go down in history as one of the few BLs where I genuinely didn’t care about any of the side couples. All that said, I find this show oddly appealing and rewatchable and I have no excuses for that except, I enjoyed it probably more than it deserved. Nostalgia & d**k, it's what's for dinner.

I Want to See Only You AKA Kimi no Koto Dake Mite Itai

Japan 2022

This is a beautiful well acted piece of cinema, about two boys who are opposite personalities and grew up together. Gifted and serious Sakura pines after outgoing eccentric manic pixie dream boy, Yuma. It is very pretty and this is the kind of atmospheric elegantly performed BL that only really comes from Japan (complete with dead fish kisses - what you though Korea invented them? oh no). If you want something stylish, this is it.

Triage

Thai 2022

BL does Groundhog Day featuring a doctor stuck in a time loop who must save a poor little rich boy from death by seducing the stuffing out of him, then PLOT TWIST, poor little rich boy must do the same for the doctor! Unfortunately... stuffing keeps leaking. I thought the plot was engaging if a little redundant and occasionally exhausting. The pairs were all well done, low heat but with decent chemistry and the support characters were likable (or unlikable, as required). If anything, the romance arc detracted and distracted from the main plot, but that doesn't stop this from being a genuinely good show.

HONORABLE MENTION

Great Men Academy

Thai 2019

Bodyswap involving unicorns turning a teenage girl into a boy makes this questionable as a BL (because, ya know, gender). But the fact remains that James is killer in the lead, and I (who do not like bodyswap) loved this damn show. Look, there is actual plot, hotties at boarding school, "bully the one you love" trope, some weird VR shit, very bad CGI, and yes, the boys end up together... whether they boys or not, so to speak.

Some of these shows may appear on a smaller streaming service, like WeTV, or they may be on a legal platform in your territory. I hope it goes without saying you should check there first.

(source)

This list updated Spring 2024, not responsible for cool stuff that went missing (or was added to a platform) after that date.

It's it last in a series the rest of which are:

[brodorokihousuke]

Brodoroki's Big-Ass Post of Apollo Character/Plot Headcanons

because I said I was gonna do it, and by god i'm going to commit. and commit I did. this is 1.7k words long. on-brand for me tbh

I'll probably make a subpage of my blog to post this in a... more refined manner? I'll definitely do as much for my RP blogs. But having it as a post is nice too.

I will note that a lot of these things have barely any backing canonically. It's just what I've come up with over the years. Additionally this is subject to change or gain additions.

ALSO spoilers for all of AA456.

PLOT-RELATED HEADCANONS:

Pre-AA4

Thanks to him being sent to America on his lonesome, as well as his own eventual assumptions regarding the situation, Apollo has fairly intense problems related to being abandoned by, separated from, or otherwise losing people he is close to.

Partially due to this, those that he comes to see as role models often gain a sort of parental status to him, maybe a little more quickly than they should.

He has problems making new friends, thanks to how prickly and focused on his own things he tends to be.

Clay was his only friend, pretty much up until he was hired into the WAA. (yess i know capcom just doesn't care to mention the other ones he probably had but I chose to imagine it this way)

Clay is also the only person he willingly spoke with about his past in Khura'in. Due to this, he was also the one to help him through adjusting to America, on a language/accent/cultural basis.

Apollo is likely at least decent acquaintances with Clay's father, but isn't that close. They're at least on good terms.

Figured out how the bracelet worked much earlier than implied in the games. Has a rather deep curiosity regarding the object's origins (much stronger than the curiosity regarding the identity of his biological parents).

He can take his bracelet off, it just requires at least one person to help him pull it off.

AA4

Because of the parental thing noted above, Apollo saw Kristoph as at least a father-adjacent figure, up until his arrest... but the familial connection wasn't something he could completely get rid of. So, up until whenever Kristoph is executed (assuming that ever happens), Apollo visits and speaks to him in prison. Phoenix is never told about this, nor is anyone else. Even Clay wasn't aware.

He had a much brighter and cheerfully energetic personality prior to his first trial, but the brutal reality of everything that happened on that day turned him a bit bitter. He does still show that side of himself sometimes, but only rarely.

After Turnabout Corner, the Kitakis and Apollo (and the WAA in general) stay on good terms. Wocky assumes he and Apollo are great friends, though Apollo probably thinks less... Anyways, the office often receives gifts of baked goods from their bakery, due to this.

While Apollo did consider Phoenix to be a sort of parental figure fairly quickly, him being a cryptic asshole for the entirety of the game was not lost on him. At least until the start of AA6, his feelings on the man remain mixed, though he refuses to talk to him on the matter.

He is, however, at least happy to be part of some sort of family unit.

Since Apollo really had no guardian of sorts, Kristoph had been listed on many of his emergency contact forms. Thanks to a mix of not immediately liking Phoenix and forgetfulness, Apollo never really ended up changing it. Of course, since having a contact in prison doesn't really work... his contact, unbeknownst to anyone involved, has defaulted to, of course... Klavier.

AA5

Phoenix's attitude change was initially met with extreme distrust by Apollo, which wasn't helped by the sudden appearance of Athena (whom Wright had apparently been working with for a while now). Apollo and Athena likely talked about it at least once after the latter sensed the annoyance in his voice and cornered him about it.

Even though it's implied that no one met Clay before his death, Apollo likely introduced him to everyone at least once, with the guy maybe occasionally stopping in to the WAA.

Took off from work (the first time in months) to watch the rocket launch. Which ended up, of course, being a rather poor idea.

Since he's basically alone, couldn't take his bracelet off (see note in pre-AA4). Hence, eye bandage. He likely figured out the silly depth perception (?) thing by accident at some point, so knew that was his only option.

Aura likely pulled him aside while he was investigating to speak about the case, slowly easing into his opinion regarding Athena. They continued to occasionally speak over the next few days, meeting every time Apollo visited the space center.

Prevented himself from grieving at all before everything was over. Barely let himself rest as he didn't want to give himself any time to think about it.

As the bombing happened, Apollo was standing with his back to the explosion, though was thrown on top of Juniper as a result of the blast. His injuries included various burns and flesh wounds (shown below), as well as internal bruising, general bruising, and possible fractures/contusions.

(ignore the jank anatomy. all i meant for that to be was a diagram ngl)

Spent about half the day in the hospital before getting himself (against everyone's wishes) discharged early. He was absolutely in an excessive amount of pain, but as with his grief, he refused to let himself deal with it until everything was over.

Getting knocked out the following day gave him a concussion. It made his memories of the preceding days murky at best, as well as causing him to act with more irritability and less focus.

He was put in the hospital again, of course. By evening, he was out once more.

At the end of his testimony in Turnabout for Tomorrow, when Phoenix finally proves that Athena absolutely did not kill Clay/that the culprit is Fakebright, Apollo relaxes, gives a very genuine thanks to his boss, before collapsing at the stand. He reached his goal, after all, and let himself give in to all the pain and exhaustion he felt... while scaring the shit out of everyone in the courtroom.

His bandages stay on for the next two months, to some degree. For at least the next month, Phoenix just about forces him to take a vacation, with even a (probably not serious) threat to fire him if he finds out he's doing any work.

Sort of assumes everyone in the WAA hates him for a bit after the game ends.

Apollo grows closer to Klavier after the game ends, wanting a friend to fill the hole that Clay left who also isn't a WAA member. Whether their relationship is entirely friend-level or romantic-level depends on my thoughts at the time... but they are at least good friends who meet once a week to talk over things.

As an extension of this, Apollo may at some point speak to Klaiver regarding his past in Khura'in, just needing someone to speak about it with.

Speaking of his past, Apollo briefly gets incredibly hopeful/desperate for Dhurke to show up after the end of the game. With Clay gone, he longs for the man who raised him, to just spill his guts about all his issues, to be comforted fully. He feels awkward thinking about talking to Phoenix on a personal level, and he doesn't want to break down in front of his closest non-coworker friend (Klavier). Of course, this never happens, and Apollo soon grows bitter regarding his past once more.

Scars from the bombing cover his arms and some other spots. Prefers long sleeves afterwards, as he doesn't like to look at them or explain them.

AA6

Apollo still keeps up with news regarding Khura'in, just barely. He also practices writing and speaking the related language, enough to stay fairly fluent.

At least one keepsake from the country was also kept, even though Dhurke hadn't been fond of the idea. While still bitter about his whole situation, Apollo has kept it safe this entire time. Not sure what exactly it is, but it's likely something deeply personal. Maybe a little craft or carved figure Dhurke gave him? An eagle, maybe, since I've implied that's one of his favorite animals.

Athena and Trucy likely picked up Apollo's prickly-ness regarding Khura'in at least once, though he always refuses to explain himself. While they stop asking after a certain point, they're definitely curious.

This curiosity becomes much stronger after the incredibly suspect behavior of both him and Nahyuta during the Magical Turnabout. Both men absolutely had odd tics and tones to their voices while speaking to one another during the trial, and with the ladies being both the co-counsel and defendant, they'd get a front-row seat to it all.

Given the comments Apollo & Nahyuta make to one another at the end of the trial, along with everything else, they can assume the two were very close at some point in time, early in life. Athena and Trucy likely talk in private to speculate on this (and might drag Phoenix or even Blackquill into the conversation).

While the games leave it pretty vague, I do think Apollo genuinely considers Nahyuta and Dhurke (and sort of Datz, in a weird uncle sort of way) to be family. Vice versa, as well. While Dhurke's death leaves him devastated, he's happy to be in contact with the two others, as well.

Building upon something mentioned above, even though they really barely talk about it in-game, the occurrence of Dhurke Dying not even a year after Clay leaves him in shambles. After the decision to stay in Khura'in, he quickly starts to regret his decision, breaking down in front of Nahyuta after the latter checks on him, when he doesn't leave his room for an entire day. They have a very long, serious but heartfelt talk about both of their lives, and their hardships, and everything. It lasts hours, and is emotionally taxing on the both of them, but leaves them more accepting of everything that has happened as of late.

Actually remembers when that one photograph of him, Dhurke and Nahyuta was taken, even if barely. It was the first time he had seen a camera, at least a modern one.

MSC. HEADCANONS

Likes spicy food.

Knows a few low level magic tricks, thanks to Trucy teaching him.

Would rather be busy than idle. Troubling thoughts bother him more when he has nothing to do. Thanks to this, he didn't mind offhandedly doing chores around the WAA... but he started to get annoyed when people started to expect such a thing from him 24/7.

Favorite season is fall. Summer is a close second.

Frequently gets too little sleep, though it doesn't seem to adversely affect him...

...though it does make him prone to napping in odd places.

Doesn't like coffee. If he's drinking anything, it's tea.

Low tolerance to alcohol. Barely drinks it anyways.

Favorite animal is some sort of eagle or hawk.

Okay at cooking.

Bi, demiromantic. Never has been in a relationship before the games.

[prommytheus]

i love apollo and i love his ominous implying that he’s going to take advantage of his sick leave go do something deeply illegal to solve (and avenge) clay’s murder, but the way that got executed ingame was that he didn’t do anything. they. they cut off his plot thread entirely. because they needed to write him out so that nick could take the spotlight. even though it’s apollo’s trilogy. “it’s your story now apollo” MY ASS jkaksjdkjd

i think phoenix returning to law is fun and has a lot of potential, im very fond of his cute lil suit and his dlc case. but the final case? the final fucking case??? phoenix should have just weirdgirled. or better yet- peaced out of the main plot to go on a rage fueled excursion to the space center to FUCKING KILL AURA for holding his fucking daughter hostage. also miles im glad you’re back but wh. why are you prosecuting this case. why would aura choose you of all people. how much do you know anyway

….i dont really have a closing argument for this. i guess my point is that i fucking love aa5 because it introduces so many cool concepts, characters, and plot threads—

—and i also fucking hate aa5 because it drops all of them without hesitation to put those red and blue fuckers back behind the benches and then kill a man for shock value.

[scoobydoodean]

Your thoughts on Amy are really interesting to me because when I was watching I'll admit I saw it as another tragic scenario that's often presented in the show. Like, she found a way to live her life with her son that wouldn't have her kill people (being a mortician) but when her son was sick she turned to desperate measures to save him. It's a sort of situation we see time and time again on the show. I'll admit I didn't quite pick up on the classist rhetoric going on in the episode and while I'm not entirely sure that was intentional by the writers it's definitely had me looking at this plot point in a new light. Dean killing Amy and its consequences has always been a really interesting narrative beat because while I ultimately don't fully agree with Dean's decision there, I totally see why he did it and understand his reasonings for it. Idk how many other fans feel the Amy conflict and the arc it has the brothers go through but I do think that at least at it's core it was an interesting one to explore even if it's execution of it left something to be desired for me

Sorry to ramble in your ask box but I seriously love your metas even when I don't always agree with your opinions 💜

If you don't mind a little rambling as well: I don't know that I'd say we see this same situation time and again. We have "Monsters Who Manage". For example, Lenore and her nest (2.03, 6.19). Benny. Garth and Bess. Sometimes those "monsters" feed again despite their best efforts (ex: Lenore in 6.19).

Amy isn't like any of them though. Sam seems to want to present Amy as an addict who relapsed (like Lenore), but that isn't what happened. She didn't feed on the brains of the people she killed. That was never her goal. She just had an opportunity to do something immoral to save her kid and she did it. In the end, her being a kitsune has almost nothing to do with her actions. A human parent could have done something very similar to save their own child. Imagine if your child needed a new heart and there was a long waiting list, so you went out and killed someone else and had their heart transplanted. That's more like what Amy did. Her kid got a food borne illness or infection. Normal human children get listeria and other dangerous food borne infections/illnesses. The only way in which Amy being a kitsune really impacts the situation is that it presented a unique solution to her child being sick that wouldn't be available to other parents (fresh pituitary glands). Her choosing to act on that opportunity just kind of shows that on some level, she does think of humans (at least "lower class" humans) as food.

At the same time, I do think Dean's actions go further than a moral difference with Sam. Dean is spiraling after the events of season 6. Cas lied and then died, and when it all went to shit, Death blamed Dean for everything and Dean crumpled under the weight of those expectations (we jump further into this in the following episode). It leaves Dean hyper-focused on not making a "mistake" again (for example, trusting someone he shouldn't have). At the same time, Dean's deeply depressed and suicidal (7.02), and his outlook on life and his own family is incredibly cynical when "The Girl Next Door" takes place. He says "the other shoe will drop" in regards to Sam because he doesn't have hope that anything could ever turn out right for their family. He repeats it in regards to Amy because people never change. Everyone is doomed to repeat their mistakes for all time (Dean's despair often looks like falling into the spiral of causality instead of remembering he can leap out of its flow). He also says "People are what they are", and I do think he's thinking about Cas at that point.

Amy mingled with humans and was a part of their world, but her actions showed she saw them as food on some level... and I think that Dean looks back at Cas and worries that he was a fool to ever think Cas was (for lack of a better word) human (or at least an ally to humanity who truly respected them as equals). In 6.22, Cas tells Dean they were never a family, and in 7.01, he follows that up by telling Dean he only ever saw him as a pet. He reinforced the traditional hierarchy where humans are lower creatures to monsters—food. And what has Dean been fighting all his life? Powerful creatures who believe their physical dominance gives them license exploit humans as food. When Dean tells Amy "people are who they are"... I do think he's thinking about Cas and the trust he had in that relationship that was deeply crushed. He's scared to trust anyone again because he trusted Cas so very much and now his world has been ripped apart. He doesn't trust Sam's judgement on Amy because he trusted Cas and that backfired spectacularly. He doesn't trust Amy not to do this again. Tbh I think he's right not to trust her because she has absolutely zero remorse of any kind at all whatsoever at any point. To me, that makes it quite apparent she'd be more than happy to do the same thing again if her kid was ever sick again. Hell—maybe even if she got sick. But it does go deeper than a moral clash for Dean. He's full of despair. At the same time, his actions also aren't as simple as dropping into the doom of "Monsters bad" because he doesn't kill Amy's son. Something Sam's never really grasped is that monsterhood has never been about physical characteristics to Dean. It's always been about actions. For Sam on the other hand, monsterhood has historically been more about physical characteristics (post here). I think this also plays a role in their feelings about Amy.

[blackbat05]

Unexpected Refuge

Detective! Joaquin x Bookstore Owner! Reader

Plot: Your book store is a place of refuge for those seeking knowledge, and shelter?

Genre: PG-13

A/N: K-drama giving me ideas once again. Also SDCC 2024 announcements?!!! Just blew my mind🤯 Excuse me for the poor execution, really wrote this on a whim. Also realized that Joaquin was a character I wrote before I went into a mental health crisis😂 How time flies~ (Tag update because I am a nuisance: @tom-whore-dleston)

The man pants heavily as he darts into the nearest alley. Shouts of anger and thinly veiled threats were getting closer. He’s proud of his stamina but he can’t keep running away from them. He needs to recover his energy.

But where?

A light shines up ahead and without a second thought, the man races towards what could be his potential temporary safehouse.

Bang!

There were no customers inside. Just plenty of books, and a wide-eyed woman blinking at the hurricane of a man that just stormed her store.

He hurriedly digs into the inside of his coat, showing his credentials.

“I’m so sorry, my name is Joaquin Torres. I’m a Detective and it may sound crazy to you but I’m being chased by a group of Gangsters and I could really use some shelter.” His plea comes out in rapid fire.

The poor woman takes a quick look at his badge and for a brief moment, Joaquin believed that she was going to toss him to the dogs.

“This way.” She leads him further into the store and opens a latch on the floor that leads to storage. “In here!” She commands with urgency.

As soon as Joaquin is safely tucked away, she locks the latch and places stacks of books on top of it. The door flies open and the same Gangsters rowdily burst into the store. Joaquin feels a tinge of guilt. He can’t imagine how her store must be tossed upside down thanks to him.

What he didn’t expect was the woman holding her ground and demanding the Gangsters to leave as they apparently ruined one of her newest books that was just bought in.

“And stay out!” She screeches before flipping the sign to inform customers that they were closed for the day.

“Um…” The woman reverts back into her bashful form that Joaquin was amazed at her acting skills. “They’re gone. You can come out now.” The door opens and she helps Joaquin out.

“Thank you.” Joaquin doesn’t know what else to add. His shoes are suddenly very interesting.

“I thought you were lying about being a cop.” Her voice is soft and gentle, causing the insides of his stomach to do a couple of flips. “I guess not. Those guys were scary.” The tension breaks and Joaquin grins at her becoming flustered at the attention he was giving her.

“You can stay here for a while more. To make sure.” She offers.

Joaquin really wanted to. But if he didn’t get back to the precinct. Sam will have his ass.

“I would love to but my partner’s waiting for me. I should probably go.”

She nods in understanding, “Of course. Be careful.” The two walk to the door and she pops her head out to make sure that the coast was clear. She smelled like berries and vanilla.

“Coast clear, officer.”

He liked the way it sounded on her lips. He didn’t want it to be the last time.

“Um… would you like to have dinner sometime?”

She raises her eyebrows in question and Joaquin hurriedly explains, “It’s not what you think! I just wanted to thank you for today. Really. You saved my life. Not many people do that. I usually do most of the saving- I guess I should shut up now.” He observed her amused expression as he continued to ramble.

“Sure. I know a great steak place.”

***

“Hey Barnes! Torres here has a date! Any tips?” Captain Sam Wilson, loud as ever whenever he felt like heckling his best friends follows Joaquin around like a wart on his foot.

“Leave the man alone, Sam.” James Barnes gives him the middle finger. Cool blues turning to Joaquin, “Just be yourself. Everything will be fine.”

Yeah, not exactly reassuring either.

The old fashioned way it is.

Joaquin finds himself standing in front of your bookstore with a bouquet of roses in his hand. He catches your eye and you give him a sign to give you a couple more minutes as you cleaned and locked up the place for the night.

“Thanks for waiting!” You rushed out in sunflower colored dress, looking radiant. He swears his heart thumped loudly against his chest. “I was surprised to get your call.”

“Well, I made a promise.” Joaquin leads the way to the Steak Restaurant where you had the absolute time of your life chatting with the boyish detective in front of you.

“Oh my god! That really happened?” You laughed, tears forming in your eyes. “It seems to be like a recurring thing going on in your team.”

The two of you headed down the street after that sumptuous meal. Your hair is tousled all over the place and you feel like you’ve just ate a whole cow, but Joaquin doesn’t take his attention of you for a second.

As he recounts another mishap during a undercover mission with Sam, a wolf whistle rings through the air and a figure, no- three of them appear from the dark alley, each looking more menacing then the other.

Joaquin’s mind kicks into overdrive instantly and feels you tense up against beside him. He instinctively moves forward to shield you from them. But they’re not blind.

“Look who we found… Detective Joaquin Torres and oh! I see you got company.” The middle one leers at you and Joaquin has the urge to punch it off his face. You give his hand a squeeze, as if to reassure him to do whatever he needs to do to get these suckers.

As quickly and quietly as possible, you take out your pepper spray and ball your fist to conceal it from them.

“How is it that you three assholes show up at the most inconvenient timing?” Joaquin distracts them.

They smirk at each other and Joaquin lunges forward to take the middle and left man onto the ground, leaving the last as easy prey for you to pepper spray him to your heart’s content.

What you didn’t expect was the man to wildly brandish a pocket knife, nicking you in the process as he swings it around.

“Ah!” You hissed loudly, clutching your left hand. Joaquin immediately turns his attention to you and swiftly takes the third man down with ease.

He dials in a number and police cars arrive in no time to take the men away. Joaquin jogs over to you while a uniformed policewoman helps to bandage your hand.

“Let me.” He smiles and thanks his colleague for the efforts and works on finishing the job in silence. You can’t read minds, but you could guess.

“Hey, it’s not your fault.” You reassure him.

Joaquin doesn’t say anything. He lets out a small exhale. So you try again.

“In fact, I feel pretty badass. Don’t you think?” You gently pry your hand away and show him your now bandaged hand proudly, grinning from ear to ear.

“Torres!”

The Captain jogs over, giving a pat on his back. “Came as quickly as I could. Everything alright?”

“Yeah. Thanks Sam.” Joaquin reassures. Sam nods, his gaze falling onto you.

“This is the girl you couldn’t stop talking about?”

“Ok, Sam. Stop.” Joaquin pleads, trying to push him as far away from you without much success.

“He was asking me how to impress you! Hey? I didn’t get your name though!” Sam yells over his shoulder, making you laugh at their antics.

“Y/N! I’ll see you around Sam!”

“Oooh I like her already, don’t fuck up Torres.”

“Leave!” Joaquin has to push Sam into the car and makes his way back to you, looking sheepish.

“Sorry, about that. Sam can’t seem to keep his mouth shut.”

A pocket of silence fills the air and you have to know.

“You were trying to impress me?”

Joaquin blinks. He momentarily opens his mouth and comically looks like a fish out of water. “Did it work?”

“Well…” You pretend to tap your chin carefully and Joaquin squirms in his shoes a little. “You impressed me the moment you came bursting into my store seeking for shelter.”

You laugh at Joaquin’s groan. “Not the answer that I was expecting.”

You give him a peck on the cheek and Joaquin momentarily freezes. “Is that a better answer?”

He holds his hand to the cheek that you just left a kiss on. For a moment, you’re scared that you’ve fried Joaquin’s internal circuits to respond coherently. But he breaks into a foolishly but adorably big smile.

Joaquin holds you by the waist and brings you closer to him and gives you a kiss of his own that leaves you spinning senseless.

“One hundred percent.”

[stackslip]

like i'm all about critiquing the execution of 03's ending and how sloppy cos is as an actual conclusion bc there's stuff that can be excused (the rushed production and cancelled final season and how little time/money they had and how much stress they were under) and stuff that can't (i love terminarcher objectively but it is deeply silly; winry's arc should have been concluded; imo it could have been executed better as much as i love the themes and ever since i learned of the original plan to finish the show in liore again i have been dying about it; cos is frankly a disaster on the amestrian side and nothing about the way it treats roy and riza makes sense except that the military are fan favourites who HAD to be in the big budget shounen movie)

but you cannot, for the love of everything holy, tell me with a straight face that manga/brotherhood's ending is better, nevermind perfect. like is it all tied up neatly. yes it is and herein lies the issue, again, bc it's so desperate to be a good happy ever after for everyone that it chooses to ignores the most vile implications of many characters' fates and plot threads' endings just so the Designated Good Guys can get domestic married and roy can be a benevolent military dictator. i've even seen people say that bh's ending inherently values winry more because she gets married to ed and settles and has babies with him. and yknow for how fucking messy the ending of 03 is, and how much of a weird mixed bag of a follow-up cos is too, for how out of context it SOUNDS weird but really if you've actually been following the plot and themes it fits perfectly, the ending to 03 is actually thematically coherent with its themes from the very beginning and drives home all its most salient points as hard as it can.

like sure the ending to brotherhood is much simpler and effective but you think about it for more than like five minutes and want to throw up. roy uses the souls of ishbalans to heal his eyes and becomes the fucking führer. ed and al have done nothing wrong ever. all the evil of the amestrian military comes from this Big Alien Bad Guy who Just Felt Powerless and when he's gone amestris is now a benevolent society that just happens to use ishbal as a frontier colony. scar wails and sobs about how evil he was for killing the people who actively participated in the genocide of his people while being scowled by an amestrian soldier. winry gets a domestic het ending. ling is gonna be cool emperor now and i guess mei can just deal with it. did any of the women ever really matter bc i keep being told brotherhood is a feminist masterpiece but what do any of them do besides return to the status quo with their boyfriend/husband/master or get domesticated and then olivier keeps being a fascist girlboss i guess. yay happy ending and don't you dare think about it deep it's not THAT deep, says the same crowd that calls og fma an anti imperialist masterpiece and a perfect series

meanwhile no matter how much 03 stumbles it legitimately feels like it's taking a look at all of these contradictions within the manga and slowly strangles them to death while looking you dead in the eye. THERE IS NO WAR THAT DOES NOT CONCERN US, ALCHEMY AND YOUR VISION OF PROGRESS ARE BASED ON MASS DEATH AND ATROCITIES, YOU CANT SAVE THE WORLD SINGLE HANDEDLY BUT THAT IS NO EXCUSE FOR NOT FACING THAT WORLD FOR WHAT IT IS AND STILL CHOOSING TO TRY TO MAKE IT A LITTLE BETTER. and then i have to hear all about how grimdark and supposedly lacking in hope it is when it literally ends on the realization that you cannot separate yourself from the world or ignore its issues you have a duty to it and it is bigger than your dreams or selfishness. anyhow

[susansontag]

studio ghibli ranking list let’s go

(will include nausicaä and the red turtle)

the these-are-actually-bad section:

24. earwig and the witch

actually the only one I haven’t watched so it’s cheeky to put it here. but I won’t be watching it and no one will blame me.

23. ocean waves

who sincerely cares about these teenagers they’re so annoying. if the boys had been gay it would have honestly been homophobic.

22. pom poko

this film is about shape-shifting raccoon dogs waging a war on humans and there’s copious jokes about their testicles. so on paper a perfect film. execution wise it’s so long and so boring and you care about none of them.

the cure-for-insomnia section:

21. tales from earthsea

hayao miyazaki was right to walk out of this one even though he probably is a terrible father for having done so. some of the animation was really nice but these protagonists made me yearn for the ocean waves cast because at least they have semi-personalities.

20. castle in the sky

proof miyazaki was judging his son too hard for earthsea because this is basically his version of the same thing: a nice idea with good animation and the most boring boy/girl protagonists imaginable. has got that whimsy he does so nicely however.

the passable-films section:

19. the cat returns

but should he have? was that really necessary? has a scene of cats walking in a procession on their hind legs though so that’s a plus.

18. arrietty

visually gorgeous but otherwise a very run-of-the-mill adaptation of the borrowers, which in something that should feel wondrous is less than ideal.

17. my neighbors the yamadas

some harmless and inventive fun that you can put on in the background whilst eating lunch or doing some light yoga stretches.

the don’t-harm-me-I’m-right section:

16. howl’s moving castle

yes I do in fact understand the intricacies of the plot and I still don’t care. this is one of ghibli’s messiest films for sure, it can’t decide what it wants to be or focus on and the plot just seems to happen and then not happen for no good reason. I also think howl’s a whiny bastard and hate that sophie has to mother him and endure his contemptible man tantrums. a shame because she’s actually cool.

15. grave of the fireflies

it was sweet but I’ve watched more moving animated films set in war-time, even. I don’t have much desire to watch it again honestly but maybe I will at some point.

the this-is-getting-there section:

14. the red turtle

I liked it! an acquired taste but I really felt the harshness of the elements and the cruelty and the love. it's also very beautiful to look at, one of the most visually arresting ghibli productions.

13. only yesterday

a tale of two films with this one. the parts where she's a young girl are much more interesting, but if this had stuck the landing and it'd been more even overall, could have potentially been a favourite. alas.

12. the wind rises

a genuinely weird one in ghibli's lineup, in which miyazaki meshes two different stories together (one of inventive 'genius' and a doomed love story, respectively) in a likely attempt to try and grapple with his having chosen his career over all else, including family (noteworthy is that his wife was not able to retain her career as an animator). as a piece of art it's less whimsical and more mature than many of these films, but I struggle to not let my distaste for what it potentially represents get in the way of my appreciation for it as a film, but it's so blatantly personal that it's impossible.

the that-was-just-a-good-fun-time section:

11. nausicaä of the valley of the wind

aesthetically one of the coolest films on this list but I don't remember the story as well. great protagonist too. must have been great to experience when it first came out in the '80s.

10. porco rosso

I love this film about a tomboy mechanic and some pilot guy who went off to war and was so changed he is now a pig. watching it feels like if the mediterranean was so small it fit into your back pocket and was also populated by all your friends all your enemies and your ex-lover also.

9. from up on poppy hill

I found this one boring the first time I watched it but it really grew on me with subsequent rewatches. I really like her predominantly female household and the community they share in the backdrop of the rest of the drama is sweet. the bit of drama midway through is still batshit though but in a loveable, disney-would-never way.

the near-perfect section:

8. the tale of the princess kaguya

probably takahata's magnum opus with the studio, if slightly overlong. folktales are tricky because they tend to feel moralistic and the characters one-note if you're not willing to build on them but kaguya herself feels very spirited and alive. the prettiest on the list too I'd say.

7. my neighbor totoro

cozy late summer comfort film. perhaps even more special now because I was able to see the london production. cute!

6. when marnie was there

surprised this one has ranked so high for me but that's the power of tomboy lesbians heck yeah etc. also the fantastical element of this one is so up my alley and touches upon a particular kind of childhood nostalgia I have of being in old houses and imbuing them with magical qualities. the image of anna facing the house across the marshland is burned into my retina.

the I'd-die-for-her section:

5. princess mononoke

aesthetically too cool for school and has one of the best ghibli villains and female characters (lady eboshi). they really said all the spirits of the forest are going to die in this one but well it was a nice thought.

4. ponyo

my comfort movie of all-time! heartwarming! with another great female ghibli character in lisa, sosuke's mum who is legally allowed to drive like that apparently. also one I actually watched for the first time in my childhood when I was around 7 or so at an after school club. the subtitles taught me the useful and now underused gem of a phrase "bog off".

3. kiki's delivery service

asks the important questions such as: what if you were a young witch from a dying tradition who moves to a gorgeous town in sweden? what if your remarkable gifts were no longer appreciated due to rapid advancements in aviation technology? what if you could live in a bakery?

2. spirited away

when you're just a timid child who is scared of admittedly a lot and your parents manage to mess everything up spectacularly so now you're forced to work at the age of twelve for people who steal your identity. still one of the best honestly they may never top this as the peak of their artistic achievement.

1. whisper of the heart

have you ever been a struggling artist? have you ever been in love? have you ever been obsessed with john denver's take me home, country roads? in all seriousness love a story of two artistically inclined people inspiring each other and this has a unique feel compared to other ghibli films forever favourite probably. it feels like basically no one has watched it and that's a shame. rest in peace yoshifumi kondō.