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

[psychopomp-namine]

.

[raven-at-the-writing-desk]

Dear Raven, do you have any opinion on the Tangled event in terms of it’s “story”? Cause I personally feel that it was rather underwhelming…

I have a lot of thoughts about Wish Lantern, so I'd be more than happy to expand on those here. First of all, I think a lot of us were underwhelmed by this event because we went in with a certain set of expectations. We thought this would be THE Riddle event and hyped ourselves up about how this would further his character development. And technically, the event did do that--even if said development was only relevant for parts 2-7 to 2-13, and the final part, 2-18. I think we just weren't fans of the execution. Rarely are story events contained mostly in a single room--but Wish Lantern was. Rarely are modern Twst story events a mere two episodes long--but Wish Lantern was. Rarely do story events call for characters to just stand around and reenact the exact same things the Disney characters did--but in Wish Lantern, they do. It was just a storm of blandness when I think we were wanting and expecting to explore a new place, and more in-depth exploration of Riddle's complicated relationship with his mother, especially considering we got Wish Lantern right off the tail end of his book 7 dream in the JP server. But we didn't get that, so many people ended up disappointed.

Now, how do I feel about it? Well...

I think I get what they were going for by cramming everyone into the library. The devs were probably trying to show us how claustrophobic and suffocating it is to be trapped inside and stripped of your freedom. They wanted us to feel the same way that Rapunzel did up in her tower, and they did it all without telling us to our faces "doesn't it suck, don't you feel awful about this?" But the problem with this setting is that it also makes for a dull story, especially when you combine it with the fact that Riddle and the others come to the stunningly stupid conclusion that they HAVE to live out the same life the Princess in the Tower did to get out.

We never got an explanation as to why this chain of events was even set off by the lantern to begin with. As a writer myself, this really bothers me :/

We got NRC library lore, but it was not that interesting because this could have been easily guessed, given the age and elite status of the school.

One bit of new lore I thought was very interesting was Jack saying that only a handful of mages are authorized to move humans using magic + there are restrictions on this kind of magic. This fleshes out the magic system of Twst and the laws around its use.

I found it silly that Riddle was the one to suggest that they pretend to be princesses and that this is what would help solve their problem. That's so nonsensical and such a huge leap of logic, I expected it of KALIM, not Riddle. (Maybe you could argue that Riddle has a desire to let his inner child out, but I do not see current day Riddle so overtly expressing that; he has shown time and time again he is uncomfortable going outside the bounds his mother laid for him, and that includes acting in traditionally immature ways.) And not only that, but why did they all insist and automatically invest so much in being princesses, and continue to dig into details about the Princess in the Tower's life, truly believing that reenacting it would get them out of this bind??? I know it's for plot convenience, but it was so contrived. They literally had no proof this would work yet kept acting in ways that implied they genuinely believed it would work. Why wouldn't they just believe "okay, this isn't working" after changing into their new clothes, makeup, and hairdos and try something else? No, instead they just fully dedicated themselves to this reenactment strategy after questioning their assumption maybe once or twice.

The Princess in the Tower is even a FAIRY TALE in the world of Twisted Wonderland. It's not actually a part of their history. The characters point out (at multiple points in the event) how silly the fairy tale is or how little sense it makes. So... that gives them even less reason to believe in reenacting it as their solution.

Shoutout to the part where Jack talks about how tight his shirt is in the chest area (boobs too big, lol) and how he had to alter it to be more comfortable for him...

There were strange parts where the event was like a... poorly written locked room mystery? In a good mystery, the reader is handed all the clues to come to their own conclusions. In a bad mystery, important details are not given to the reader, so there is no feasible way for them to come to their own conclusions until the story tells them that missing crucial information. This happens a few times, with Ace handing Riddle "something he'll need" (which turns out to be a frying pan), Riddle "taking a long time" to jump out of the window (because he was contacting Silver to tell him to bring Vorpal), and Vargas giving them climbing rope (to aid in their escape). We only anticipate these things to occur if you're familiar with Tangled already. If you haven't seen it, you would have NO IDEA what is going to happen with these scenes.

I liked that every NRC character, including staff, got their five minutes in the spotlight. We don't often get events like this, so I appreciate them when they do happen.

Mom!Jamil was so very prominent this event 💀

Jade killed me when he showed up wearing THAT STUPID VARGAS CAMP MONSTER MASK THING.

... Remember what I said earlier about how it's confusing how Riddle, Jack, Deuce, and Kalim are throwing literally their ALL into these hobbies??? Well. Leona comes in and tells them it's inefficient to do that. Why are they trying to play an entire game of chess when moving a single piece is enough to constitute fulfilling the (supposed) requirements? If they were so worried about the time crunch, they should have been more economical with their time and spent the minimum amount on every activity, not spend hours trying to do each one. AGAIN, I HAVE TO GIVE IT TO KINGSCHOLAR... HE IS CORRECT. Of all the characters, I can only really see Riddle being anal about doing everything perfectly, but the other three could easily coast by on the bare minimum.

This is a bit of my book 7 salt spilling over into this event, but I kept having this nagging thought that Riddle and co. (+ Crowley) seem VERY concerned with escaping the library before it rolls over to the next day. Like... I understand why they're worried--but they oddly do not demonstrate this same level of urgency for most of the dream hopping in book 7 even though the stakes are much higher there. It doesn't make sense to me...

The devs got creative with the framing of this event; there was the diagonal slice and then showing two characters in two different locations speaking, as well as the Jamils low fade in + vanish.

The new music tracks were nice; one emulated the Kingdom Dance, and the other was a combination of the instrumentation of When Will My Life Begin and At Last I See The Light, which I appreciated.

The rhythmics/twistunes were cute. Nothing else to add.

I did like the character development we actually got for Riddle—I just wish it came attached to a better event and was executed better. His development is sort of poorly spaced out (especially when compared to Deuce in White Rabbit Fest), the event itself is short, and Riddle doesn’t even bring up his mom until 2-13�� when the last part is 2-18.

I still felt that the parallels between Rapunzel and Riddle were sufficiently conveyed; it just requires reading between the lines.

I loved that they made a point to mention that the Princess didn’t know she was kidnapped by a witch because the witch provided all that she could ever want in her tower. Delicious food and lots of things to do… why would she ever go against someone that provided these amenities for her? It is similar to the mindset many abused children have—simply because an abusive guardian provides for them, children are compelled to give them grace and feel guilty about disobeying. These kids don’t realize they are “kidnapped” (under the abusive guardian’s thumb). The same goes for Riddle.

When I think about it… the window is an important symbol for Riddle. The manga more explicitly shows us that Trey and Chenya knocked on Riddle’s window to get his attention. It’s also through the window that Riddle escapes to go play with them. Now, again, a window is his escape, and, learning from past experience, he hesitates to take that route even though it is so easily accessible. I've decided... Never again. Almost made me gasp out loud, honestly. This was the part I expected from the start, and Twst actually delivered.

Another point I feel is very important is how Riddle consistently brings up the rules as a means of depriving himself of basic things like food (because you cannot eat in the library). The others have the be the ones to convince him to take better care of himself. He even has trouble jumping from the window too—and this is the same as Rapunzel. It’s not that they cannot leave the tower. They can leave anytime they like—but they trap themselves in it, psychologically speaking, due to how they’ve been isolated and controlled. That takes real strength and willpower to overcome.

It’s great that Jack, Deuce, and Kalim support Riddle through this tough decision-making, even if they’re blunt about it. (Sometimes bluntness is what he needs to really snap into action!!) “I don’t want to see you turning into a loser that uses the rules as an excuse to not act.”, “Are you planning on staying there forever?” etc.

The ending nicely wraps up Riddle’s little arc. He connects the dots that both he and Rapunzel broke the promises made to their mothers—but it was worth it to see this amazing sight, wasn’t it?

I happen to have my own Wish Lantern rewrite if you're interested in an alternate versio of the event. As it currently is, it's okay to pretty good in the Riddle development scenes alone and has some cute interactions, but everything else surrounding that is pretty bleh.

[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.

[lurkingshan]

Thoughts on ThamePo

I finally got some time this weekend, so I decided to go ahead and binge ThamePo, a show many of you seemed to enjoy and that quite a few people have told me is one of the more solid to come out of GMMTV's BL lineup in awhile. I told a few friends I would share thoughts when I watched it. Let’s go!

The TL, WR: I had a fun time watching this show and agree it managed to avoid a lot of GMMTV shows' worst pitfalls, but I also found the writing around the core plot to be an inconsistent mess. I'll break down the good, the bad and the huh from my perspective, so only read on if you care to know. Disclaimer: I am not a LYKN fan and in fact knew almost nothing about them before watching this.

The Good

The show looks fantastic. As soon as I turned it on I said "is this a Parbdee production?!" And it sure was. It seems GMMTV picks one BL a year that it's willing to actually fund high production values for, and ThamePo was the lucky winner of this round. It was quite a startling contrast having just watched My Golden Blood.

The flirting between Thame and Po in their talking stage was a lot of fun. I don't think it made me swoon quite as hard as some of you, but I was charmed. Is memorizing someone's phone number the new height of romance?

Drake and Sammy were here! And looking cute! I was happy every time they showed up.

Nano's colorful sweaters. I want every single one.

All of episode 10, which was my personal favorite of the show. It was the only episode where I felt like they had a strong episodic plot and theme that they executed well and that showed a realistic sequence of events around how idols are treated by their fans.

Baifern learned something about how to love and support her idols without crossing boundaries. This girl made me so uncomfortable for the whole show and I was glad they had her realize she was wrong and speak directly into the camera about it. GMMTV owed us that after the disastrous handling of this issue in Only Boo. Plus, Baifern growing meant I could enjoy the absolute comedy of her reaction to finding out who Mr. B was. Ciize is so funny.

Noble idiocy was given the respect it deserves: none.

I liked the resolution for the romance, and that ultimately what Thame and Po wanted was just an ordinary relationship where they could spend time together and pursue their careers on their own terms. It was wonderfully straightforward and low drama.

Contra GMMTV's usual pattern, this show's strongest run was its last four episodes, and I actually thought the finale was strong given the story they had set up for themselves. I appreciated that rather than indulge in the fantasy ending of Only Boo, MARS had to suffer real consequences for choosing their personal lives and orchestrating a breach of contract. They had to reckon with the fact that being idols was directly at odds with the way they wanted to live, and make a choice. Kudos to the show for that.

The Bad

It feels like this script was written by someone who doesn't really understand the idol industry or how anything works. Much of the plot for MARS and the business machinations of managing them was nonsensical and contra how idols are actually managed in the industry. It was extra jarring to then cast a real idol group and have them act out this weird incorrect version of their reality.

Relatedly, the writing for Pemika was all over the place. We are supposed to see her as a smart businesswoman who knows what's best for their careers even as she is very unkind to them as humans, but the way she handled Thame throughout the show was ludicrous. First of all, it is the industry norm for idols to do solo work while staying in their group, so for her to insist on dismantling MARS so that Thame could go solo made no sense, and the entire plot hinged on this! It's not only bad artist management--she is deeply pissing off and damaging her relationship with her most important performer--it also just doesn't make sense from a revenue standpoint. Why kill MARS, a popular idol group with a large fanbase, when you could just negotiate with Thame for a solo album in exchange for another MARS album and keep both revenue streams? Pemika's approach was counterproductive. I was intrigued by what they tried to do with her in certain moments, but it didn't hang together because there were too many logic gaps.

On that note, I think the biggest problem with the way the MARS plot was constructed is that if they are already a successful group, most of the plot does not make any sense. Agencies don't destroy successful and profitable groups just for the hell of it, and if Thame is the leader of a successful group with a powerful fanbase he should have more power than the show implied. The whole story makes a lot more sense if MARS was struggling to break out and didn't actually have fans yet, but the show tried to have its cake and eat it, too.

This is a matter of personal preference, but I personally did not care for Thame's characterization as an extraordinarily selfless idol with no ego who only cared about his friends at the expense of his own career. Please, show. A little more nuance and complexity to his motivations would have been nice.

The whole subplot with Jun pretending to hit on Po was just stupid and I found it to be a very frustrating diversion that was mostly there to stall getting Thame and Po together. They already knew they liked each other and his interference did not accomplish anything except making me wonder why Thame considers that asshat his friend.

Must GMMTV continue to stab me in the heart by making me listen to the Last Twilight OST over and over again?? Write a new song!

On that note (look away stans), the music performances in this show were just unforgivably bad. I will not go into further detail so as to not hurt anyone's feelings (but you can come sit by me in the DMs if you want to talk shit).

The Huh

I don't understand why Thai idol dramas keep making getting recruited to Korea the standard. Not only is it deeply unrealistic to suggest that an industry already teeming with talent is eager to recruit middling talent from elsewhere, but if your goal is to promote the tpop industry, focus on tpop!

On top of the business plot not making sense, the way they presented the group and their roles was just strange. Idols all have to have baseline competency in singing, dancing, and rap--you don't have one member who does each like the show kept saying. I got confused every time the show reverted to this framing. Don't even get me started on the concept of Nano, the successful idol who *checks notes* doesn't know how to sing.

Let me not also forget that these are supposed to be famous idols, yet they are constantly casually hanging out in public spaces with no fans approaching them. Every time they sat around as a group in a park I wanted to scream.

Which of course leads me to my incredulity that so much of Thame and Po's flirtation happened in public, outside, in front of tons of onlookers, and somehow they were not spotted every time despite Thame being famous. As fucking if! The way the story ignored this reality for the first 2/3 of the show really undercut the final arc when they suddenly remembered idols can't date. And right after the group handled Pepper's scandal, Thame was back to holding Po's hand outside again. I felt like I was taking crazy pills.

I was also salty about Pepper directly encouraging Thame to pursue Po only to turn around the next episode and tell him idols can't date. Sir, what the fuck.

The whole thing with Mick was kind of a miss for me. They made a big deal about his incompetence in the first few episodes, then he functionally disappeared for half the show, then they revealed he was pretending to be bad at his job as some roundabout way of helping them, I guess? It was a half-baked idea poorly presented.

Since I mentioned Only Boo up top, it would be remiss of me not to mention that if ThamePo takes place in the same universe as the cameos imply, this plot makes even less sense because Moo already broke down this barrier and idols can now have boyfriends with no consequences! (Seriously though if you're gonna have them cameo at least let Moo speak I love that boy).

The show should not have been in the bubble. So much of the romance plot and the contrast between Pepper/Gam and Thame/Po would have been strengthened if their sexuality mattered.

Lastly, I'll just say that I found this plot a strange one if GMMTV's intent was to use the show as a vehicle to promote LYKN. The entire plot is that the agency thinks Thame is the only talented one and the rest of the group is holding him back, but he's a Good Person so he will stay with them anyway. If I was anyone else in LYKN I'd be side-eyeing this plot big time.

In conclusion: This was a fun binge but I am still waiting for the Thai idol BL of my dreams starring Daou and Offroad. I will write the goddamn script if I have to!

[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:

[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

[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.”

[nicodisigma]

characters i think will be back in TCOTD (please add more if i forgot someone!!)

obviously Hazel (and her horse), but that also means Frank to some extent since Rick started putting characters in 2-packs, 3-packs, xyz-packs (e.g. the hunters), because of how many of them there are now, and honestly can’t blame him

Jason, but i don’t really know if we should be happy cause that could mean resurrection and this trope usually is not executed well (that would be insane level of fan service too i fear 😭). also it was clear that Nico didn’t want to try communicating with him in any way like he did with Bianca, so i hope it will only be a ghost cameo and that’s it!

Percy, Annabeth and Grover, i actually ☝️ do think they are the people in the background of the tcotd cover. If Rick hasn’t messed up the timeline like he did in Wrath of the Triple Goddess, Percabeth should be in New Rome (idk what’s Grover doing there tho, probably visiting or helping)

Hades!!! Solangelo agreed to see Hades in tsats, cause Will had never seen him before, so I think it could even be a starting point of tcotd plot, which seems to revolve around monsters and the consequences of the events from tsats, so it all matches!

Naomi!!! It’s canon and confirmed!!! (she’s ginger trust me, you will see!!!!!) 🎊🎂🪅🎉🎊🎉🎂🎊🎉🪅🎊🎉🎊🎂 I just hope we will see her in her house in Austin and not on some concert venue 😁 i’m so excited

Lavinia Asimov and Poison Oak (omg i can’t believe it’s Lavinia’s gf actual name, in pl it was Toksykodendra i think it was way better idk 🙃). There are not many known* alive campers from CJ, so we are getting those 2 for sure. (notice how Lavinia is Nico’s second fellow European ☝️)

I forgot someone for sure (not Reyna, Apollo and Meg tho, I don’t really think there is a scenario where they could be easily implemented, especially that there were plans for a book about the hunters). Feel free to add or correct me 🚶‍♀️‍➡️

[floralcavern]

Vivziepop just cannot write, hm?

So… I think we’ve noticed a trend here. Vivziepop cannot write for shit. Let’s take a look at something.

So, most people I’ve met agree that the Hazbin pilot is way, WAY better than the actual show. Even hardcore Hazbin fans can mostly agree on this. So, you gotta wonder, what the hell happened? Was it because of Prime? Well, maybe, but probably because Vivziepop DID NOT write the pilot.. Ya. And, in typical Vivziepop fashion, she did not give credit or acknowledge someone else’s contributions to her stories. It’s almost like she has a history of this! So, Vivziepop was the writer in the actual show… ok, well, Prime definitely could’ve been part of the reason why it wasn’t good! Ya, studio interference has a history of ruining shows, especially in the animation industry. That’s the reason, right?

Well, that excuse could be used if Helluva Boss didn't exist.

Season 1 of Helluva Boss SLAPS. It is so good, so funny, so witty. Season 1 was written by both Brandon Roger’s and Viv. But, when did the quality in the show drop? Season 2, when the show completely abandoned the plot and focused on a generic, toxic, Wattpad type of romance rather than the original cast and the original show’s pitch. But, how did this happen?! Well… season 2 was almost entirely written by only Vivziepop. … OH!

And I just… ugh. It really, really frustrates me because she has so many good ideas, but terrible execution. And that’s fine! If she had other writers on the team that she’s actually willing to listen to, I do think that the show could be incredible. Good ideas and concepts are an amazing place to start! But geez, if you struggle with applying those concepts, GET OTHER WRITERS! And actually GIVE THEM CREDIT.

And, allow me to rant about how Helluva Boss’s new melodrama approach COULD have worked. Look at The Office. A workplace show with absurdist comedy. Wow, that’s a lot like Helluva Boss season 1! And, like Helluva Boss, The Office stayed like that at first. Ridiculous, episodic, and hilarious. But, as it went on, it became more of a dramedy. And it worked because it knew how to balance everything. Everything worked off of the characters well, because they actually got us to care about these characters, enjoy them, think they’re funny. Characters faced punishments, even in the most ridiculous and cringiest ways possible. But Helluva Boss doesn’t do this. It’s not a comedy anymore. It takes itself too seriously. And the problem with it taking itself too seriously is

It was originally pitched as an episodic comedy and

Vivziepop plays favorites

But with The Office, there are certain characters that you can tell are the writer’s favorites. Jim, Pam, Dwight, Michael. But wanna know something? None of these characters are safe from consequences. They get development and depth, all within this office setting, never letting go of that core setting. That it’s an office. Helluva Boss’s setting? It was originally this office filled with these demon assassins. But now it’s… Stolas’s castle with this toxic yaoi ship that we just can’t help but hate.

[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.

[8bit-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!

[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.

[ilikekidsshows]

Do you think ML would’ve been better if the writers followed the PV instead or do you think the PV would’ve been poorly executed as well?

I usually see people say ML would be a more well-written show if the writers went with the PV, but I personally disagree with that. The issues with ML is the poor writing and I think if the writers are not good at bringing their ideas to life, a different concept isn’t going to save them.

Looking at how the writers messed up a show that had good potential at the start, I just think if we got the PV instead, the writers would have messed it up too. And that’s actually why I’m kinda glad we didn’t get the version in the PV instead, because even though there’s not much, I’m really fond of it lol.

You know how the quality of ML right now ended up ruining the episodes in the earlier seasons for you? I feel like if it was the PV, the writers would’ve messed it up so badly that a good amount of people who adored it wouldn’t be able to enjoy it in the same way. So when I see people say the show would’ve been better quality if they went with the PV instead, I can’t help but think they should be more careful for what they wish for. I mean, I can still see where they are coming from, though. But I just remember how many fans were saying they wish they got Felix instead of Adrien, and then when Felix was introduced in Season 3, many of them were disappointed, saying “This isn’t the Felix from the PV” or “Felix isn’t supposed to act like this.”

As someone who likes the PV but has zero faith in the writers, I couldn’t be more glad ML doesn’t use more elements from the PV. I mean, I don’t want to see the parts I like being botched in the show by the writers. It’s different enough that I can enjoy it as its own thing without being reminded of the current state of the show.

What do you think? Would the show have been better if it was more based on the PV and not the actual show we have right now? Or would it be equally as disappointing, just in a different way?

---

I really don't think the starting concept being different would have made the show better. Because there's one big factor in the creative process for Miraculous that's constant that you also brought up, and that's Astruc as the head of the creative process and the writers working under him. I just don't think Astruc is capable of writer-directing a serious, long-form story the way it seems he really wants to. Like, Miraculous is really meta in the way that characters say a lot of stuff that relates to the creative process whenever they work on a movie or something. I saw someone point out how Harry's struggle to get a dramatic movie made when everyone wants him to make a comedy could be Astruc's own frustration expressed through the Harry character.

If this interpretation is accurate, Astruc is most likely the “clown that wants to make a serious drama movie but is stuck making comedy skits”. Like, maybe, mayyyybe, if Astruc got to make the show the way he wanted, instead of having to worry about what's marketable to executives, small kids and parents, he wouldn't be taking his frustrations out on the characters he made and the fans who dare to like them instead of his precious pretend daughter. That could fix the spite problem visible in the writing of the later seasons.

But, like, Astruc also just isn't a very good storyteller. His team can't keep their plot consistent for a single episode, let alone a whole season. The characters say the opposite of what they insisted half an episode ago when they don't start talking about something completely different being the point of the episode than what was set up. Not all of these problems happen because the crew is forced to sneak in the longform narrative while keeping the show mostly episodic. The inconsistency is caused by a lack of ability to stay consistent. Astruc's previous claim to fame was Totally Spies, which was often completely nonsensical, but it was forgivable specifically because the show was a wacky comedy. I'm not sure Astruc could keep hold of a more ambitious narrative, even if he really wanted to and got the freedom to do so.

Instead, I think he's just going to be stuck being jealous and envious of everything everybody else is doing. Have you noticed how he can make any movie or show that's making a buzz turn around to somehow relate to Miraculous? I really am wondering if that's actual evidence of him being dissatisfied. The Barbie Movie is a big hit? Astruc is on twitter insisting Adrinette is just like Barbie and Ken. The new season of Arcane is being praised? Astruc comes out with a detailed explanation of how Arcane is just so expensive to make because they spend so much time rewriting scripts, all the while acting weirdly smug when he admits Miraculous' script is almost the first draft like that's better just because it's cheaper. The Miraculous movie is praised for its satisfying conclusion to the Agreste Arc? Astruc tweets a weird, incorrect and nonsensical Dark Knight reference about the movie being what fans want but the series being what we need. He also spent that week hating on movies in general.

He also absolutely hates any other magical girl show, most likely because they did what his team is doing, better, at least a decade earlier. If he cared as much about little girls having role models as he claims, he'd be clad there are so many popular cartoons with female leads. But he can't be happy, probably, considering how much he praises his "unique" ideas, because these other shows existing make his show less special.

[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.